Seattle Weekly, September 18, 2013

SEPTEMBER 18-24, 2013 I VOLUME 38 I NUMBER 38

SEATTLEWEEKLY.COM I FREE

FEELING THE MENTAL HEALTH CARE CUTS PAGE 7 | NEW MUSIC: CASPAR BABYPANTS AND LAKE PAGE 72

2013

Nicole Hardy's first time, mixed dances, intimate trios, and a complete calendar to the new season.

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SHE’S COME UNDONE Through Oct. 13 Book-It Repertory Theatre

HAIL CAESAR: FORBIDDEN OASIS Through Jan. 26, 2014 Teatro ZinZanni

SEATTLE’S BEST DAMN HAPPY HOUR Beer • Wine • Cocktails • Food Specials Music • Games • Prizes Sept. 19 (Third Thursday), 5pm – 8pm Seattle Center Armory • No Cover (21+)

ARTS CRUSH KICK-OFF FAIR Theatre Puget Sound Sept. 22, 11am – 2pm Fisher Pavilion • FREE

FAMILY DAY: KIDS CAN Free Activities Sept. 28, 10am – 3pm Bill & Melinda Gates Foundation Visitor Center • FREE

JOSH GROBAN IN THE ROUND TOUR Oct. 4 KeyArena

BRICKCON 2013 Oct. 4 – 6 Exhibition Hall

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Events / dates / times subject to change • Seattle Center, 305 Harrison St., Seattle, WA 98109 • 206-684-7200 Photo credits: © Book-It Repertory Theatre; © Teatro ZinZanni; © iStockphoto.com/Chris Gramly; © Sam Read; © Tim Pannell; © Live Nation; © Matt Garcia; © Jal Schrof; © Alan Krell; © Square Peg Concerts; © Angela Sterling

VOLUME 38 | NUMBER 38

» SEATTLEWEEKLY.COM

»64

news&comment 7

GIMME SHELTER

Seattle faces hard questions about mental health and the housing market.

8 | SPORTSBALL

food&drink 47 COOKS’ BOOKS

BY NICOLE SPRINKLE | What spurs

writerly creativity at Hedgebrook?

In large part, the food.

47 47 50 51

| | | |

FOOD NEWS TEMPERATURE CHECK THE WANDERING GOOSE THE BAR CODE

arts&culture 11 FALL ARTS 2013

BY SW STAFF & CONTRIBUTORS

The new season begins onstage, in museums, and more. Plus our huge-ass calendar of events (see page 24).

53 THE ENDINO SOUND

BY DAVE LAKE | The man who made

Seattle sound like Seattle .

54 ARTS | | | | | |

AGENDA THE GEEKLY REPORT OPENING NIGHTS PERFORMANCE VISUAL ARTS THE FUSSY EYE

63 FILM

The Beatles, David Sedaris, and a sex addict (Mark Ruffalo) tries to score with Gwyneth Paltrow.

66 MUSIC

Ten things you should know about Neko Case, plus The National, a Burger Records showcase, and new releases.

66 | SEVEN NIGHTS

odds&ends 73 | TOKE SIGNALS 74 | CLASSIFIEDS

»cover credits

PHOTO BY PETER KOVAL

»47 Editor-in-Chief Mark Baumgarten EDITORIAL Managing Editor in Charge of News Daniel Person Senior Editor Nina Shapiro Food Editor Nicole Sprinkle

The Photographs of Ray K. Metzker On view September 21 – January 5

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inside» September 18–24, 2013

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news&comment»

Feeling the Cuts

A fatal stabbing highlights how Washington is failing its mentally ill.

BY MATT DRISCOLL

F

rom Seattle Weekly’s Pioneer Square office, you can see where 46-year-old college English professor Troy Wolff and his partner Kristin Ito were repeatedly stabbed Friday night. Wolff succumbed to his serious injuries Saturday, while as of this writing Ito was still hospitalized.

After being read his Miranda rights, 44-year-old suspected attacker Donnell Jackson told detectives that he suffers from schizophrenia and that “the victim was a member of a group that was trying to kill him.” The police report classifies the suspected attacker as a “total stranger” to the two victims, who were heading to the light-rail station after Friday’s Sounders game when the assault occurred.

The fatal stabbing came just one month after a mentally ill Martin Duckworth—who shared an address with Jackson at Pioneer Square’s Compass Housing Alliance—opened fire on an Metro bus, wounding the driver before he was killed by police. Is this the new normal? Stats showing a swelling rank of homeless and mentally ill people in downtown as millions of dollars are cut for

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SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

WSH campus was forced to close because of the cuts. It housed people with histories of violence, sex offenses, and noncompliance with treatment plans—in other words, the last people you want roaming the streets at night.

Here’s a breakdown of the statewide cuts: • The 2009 state biennial budget slashed Medicaid funding for mental-health services by 3.4 percent—or $12.2 million per year.

• The same budget took a 9 percent swipe at non-Medicaid funding, to the tune of $11.6 milper year.

According to numbers lion• The 2011 budget cut another $13 million per provided by the Alliance year in Medicaid and non-Medicaid funding.

• A 2011 supplemental budget enacted a onefor Pioneer Square, roughly time mental-health funding cut of $12.6 million.

According to Amnon Shoenfeld of King 1,200 of the neighborhood’s County Mental Health Chemical Abuse and 2,100 residents are in a Dependency Services, all these cuts result in a loss for King County of $11 million in Medicaid shelter bed or some form of funding and $18.6 million in non-Medicaid transitional housing. funding over the past four years.

As Shoenfeld tells it, the non-Medicaid funding cuts may be the most problematic. In mental-health care suggest a troubling answer.

King County, this funding has been used almost Figures from the King County Mental Health entirely to pay for King County’s evaluation Chemical Abuse and Dependency Services Diviand treatment facility, involuntary commitment sion show funding for mental-health services services, residential services, and crisis services. throughout the state have taken a beating from Since cuts started in 2009, Shoenfeld says the Olympia in the aftermath of the Great Recession.

King County Regional Support Network has As a briefing paper from the agency begging for been forced to make significant cuts to services. more money explains it, “Since 2009, there have It has fewer respite and hospital diversion beds been significant reductions in funding for comfor people suffering mental crises, and fewer munity mental-health services, while involuntary resources to go out on the streets to find homecommitments have increased substantially.” less people who need mental-health care. LongHow bad has it been? Starting four years term treatment, specialago, budget cuts in the ized treatment for severe state legislature have led cases, and Medicaid to the elimination of 90 PRINT IS GREAT, but if you want to see . . . personal care have also beds from Western State how you can help keep drawbridges been slashed.

Hospital. Another 31 from going up during rush hour, “You can see we’re beds were lost when the check it out on The Daily Weekly. hurting,” says Shoenfeld.

Program for Adaptive SEATTLEWEEKLY.COM/DAILYWEEKLY “The cuts get felt.”

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sportsball» Safeco Retirement Community Exposed

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ast week the Mariners played to their smallest crowd of the millenium—9,808 fans for a contest against the mighty Astros—so it was a good time to score great seats. A friend and I bought tickets in the second row behind the visiting dugout. This unprecedented proximity allowed me to deduce a chilling secret that explains the Mariners’ decade of incompetence.

When my friend and I got to our seats, a bored Astros player was tossing Double Bubble into the crowd. Why have opposing players dispense complimentary chewables?

By game’s end, I would know.

Soon it was time for a beer. The M’s vendors sell 22-ounce bombers, but the largest cup holds only 20 ounces. I asked the beer guy: “Why don’t they get you guys bigger cups?” His response: “You see what’s happening on the field; you can imagine how screwed up it is for the beer vendors.” Or maybe there’s another reason the Mariners limit their patrons’ intake of high-ABV microbrews.

My buddy ventured some G-rated heckling—even getting a laugh from an Astros coach. Then an old fart sitting in front of us piped up. “You’re right in my ear. Why don’t you move down a couple of seats if you want to yell?” At CenturyLink, they set Guinness World Records for crowd noise. At Safeco Field, you can also be as loud as you want . . . as long as you don’t discomfit an 80-year-old.

And then it dawned on me: the soft gum.

The downsized beers. An anemic offense, limiting noise and excitement. Yes, the Mariners are running a nursing home.

Maybe you joked about this when the team acquired 40-year-old Raúl Ibañez—never imagining how close you were to the truth.

Ever wonder who owns all those luxury boxes that sit dark night after night? No one does; those are the rooms of the nursing home and the lights are off because their occupants are sleeping. Notice how the team has expanded The Pen, the bar in the outfield? That’s to keep young rowdies away from the tenants, who sometimes wander down to catch a game like the geezer in front of me did. Notice all the skinny Southerners playing infield? It’s because the Safeco Retirement Community residents requested a team that looks like the 1940s Brooklyn Dodgers.

There’s still so much we don’t know. Was moving the fences in just a cover story to permit construction of a below-ground bingo parlor? Was the new video screen only necessary because elderly eyes require a 56-foothigh Matlock? Is Lou Piniella a tenant?

Wasn’t that long ago that the Mariners were as beloved in this city as the Seahawks are now.

Now we know why it all went wrong. E

sportsball@seattleweekly.com

news&comment» The results of this struggle play out acutely in the state’s most populous county, and especially on Seattle’s streets. As Seattle Police West Precinct Captain Jim Dermody told Seattle Weekly for a story on homelessness and street disorder earlier this year (“Everybody’s Business,” July 3), the bulk of King County’s social services are located within four square miles of downtown.

“Seattle is a service-rich city,” Dermody said at the time, noting that this concentration of social services leads to the inevitable: A disproportionate number of people who need help call Seattle’s streets home. In Pioneer Square, this is particularly apparent. According to numbers provided by the Alliance for Pioneer Square, roughly 1,200 of the neighborhood’s 2,100 residents are in a shelter bed or some form of transitional housing.

“When they cut mental health and housing, there’s not a neighborhood in the state that feels it more than downtown Seattle,” Jon Scholes, vice president of the Downtown Seattle Association, told The Seattle Times this week.

On Monday, reacting to the deadly stabbing and in full-campaign mode, Seattle Mayor Mike McGinn didn’t mince words, saying “We aren’t going to wait on Olympia ” while calling on local businesses to identify a new funding source for mental-health treatment beds. (McGinn’s mayoral challenger, state Sen. Ed Murray, has spent a lot of time in Olympia, as you may have heard.)

It’s a nice thought; local businesses coming together for mental health would be an admirable start. Unfortunately, the problem is likely bigger than that.

Can Seattle Help Distressed Homeowners?

According to the law professor, various city, state, and federal programs aimed at stemming the tide of foreclosure have had only modest success. Programs may cut monthly payments or draw out loans, but they don’t reduce the mortgage principal, so homeowners remain underwater.

Hockett outlines three strategies that would tackle that problem. Perhaps the most radical is the use of eminent domain, which allows governments to seize properties for the public good. The essential idea, batted about for some time among academics and officials, is that the government would take properties at risk of foreclosure and thus reduce the amount owed by the homeowner.

One of the biggest weaknesses of an eminent-domain strategy— aside from the backlash it would likely generate from financial institutions—is that it would take lots of money. The government has to pay a fair price for the properties it takes.

But Hockett advocates an interesting twist.

The notes on many properties are owned by bondholders such as pension funds. Hockett contends they might be induced to supply the money needed for the transactions if it were explained to them that homeowners might consequently be less likely to default on their loans. The government would then give the notes, with amended loan terms, back to bondholders.

Hockett also recommends a complex houseswapping arrangement, which would get around bankruptcy rules that don’t allow people to write off their primary residences, and the creation of a “land bank” that might have the government “foreclosing on the foreclosures.”

“I need to learn a lot more about all three” strategies, Licata says. He adds that his first step is simply to figure out whether writing down loans would stave off foreclosures.

At the same time, he signaled his willingness to try something radical. He says, “I come from an era where things that once seemed radical now seem normal.” NINA SHAPIRO E

news@seattleweekly.com

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SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

How big is Seattle’s housing crisis? And what are we going to do about it?

Those questions have been provoking debate over the past week in the wake of a report submitted to the City Council by Cornell University law school professor Robert Hockett.

So far the first question has generated the most attention. The report Hockett turned in last Wednesday painted a surprisingly bleak picture.

“Seattle has about 42,000 underwater mortgaged homes,” Hockett wrote. “That is over one-third— about 33.3 percent of Seattle’s mortgage total, a remarkable statistic.” It’s even more troubling, Hockett noted, because underwater homes— homes whose mortgages are larger than what they would fetch on the market—are particularly susceptible to falling into foreclosure.

KUOW and other media outlets reported that these numbers seemed fishy—particularly the 42,000 figure, which is far higher than other estimates.

In an interview with Seattle Weekly this week, Hockett explains that he had used a number about half as big—24,000— in a draft report submitted to the council. But a working group providing input to the council urged him to go with 42,000, a figure from a previous report commissioned by the Washington Community Action Network, an activist group, and the United Black Clergy. The higher number would convey more urgency, Hockett says he was told.

It’s a familiar tale. Individuals and organizations working on an issue frequently try to make the situation seem as bad as possible to dramatize the importance of their work and get as much funding as possible.

Yet even more conservative estimates, which Hockett put back into a revised report he’s finalizing this week, suggest that Seattle’s has a sizable problem on its hands. “There are thousands and thousands of people out there” with underwater homes, reiterates council member Nick Licata, chair of the committee dealing with housing.

The more interesting question is whether Seattle is prepared to take dramatic action.

Hockett is certainly advocating as much.

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SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

W

hat you see onstage this season is inseparable from the where of it; the show and we seat-fillers are all part of the same environment. The same context applies to galleries and museums or any performance venue you can name. There’s a sense of social occasion to visiting Benaroya, SAM, or McCaw Hall. You talk to strangers at intermission or find yourself appreciating the same canvas at the Frye. At Town Hall author events, everyone has read the same book, and they all want to talk about it. The audience helps shape the show—as when we laugh, or not, at Noel Coward’s jokes at the 5th Avenue. Artist and spectator go together, inseparably, rather like Berkeley’s tree falling in the forest. Some call it feedback, and Malcolm Gladwell—who’s coming to town, BTW—is probably writing a book on the

clustering effect at cultural institutions. If you see a line at a fringe-theater company like Balagan, that makes you want to see the show. The same applies during the First Thursday Gallery Walk. The arts are social, and they link us together. In the pages ahead, you’ll see some of that networking effect as we meet a local memoirist who cast off religion, and consider the history of moviegoing in Seattle. A socially conscious playwright asks us to ponder those living outside our city’s affluent bubble. Once-distinct choreography styles are blurring. A tormented composer’s private self-avowals draw roomfuls of eager listeners. And the city’s favorite video store is reinventing itself as a social hub. All that, plus a comprehensive calendar of events running up through Nutcracker season.

Brian Miller E PETER KOVAL

NECTIV CON ITY A • GU • • • ••

Nicole Hardy’s new memoir contemplates a loss of faith and other forms of letting go.

BY GWENDOLYN ELLIOTT

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

E ID

Losing It N

icole Hardy meets me at Freshy’s, the same West Seattle coffee shop she mentions in her new memoir Confessions of a Latter-Day Virgin (Hyperion, $24.99). I arrive early for lunch to stake out a spot for our interview. I recognize Hardy from her book-jacket photo when she walks in, and wave and stand to shake her hand. We’ve never met, but impulsively she hugs me.

“Great, now I’ve just made things weird,” she says.

She hasn’t, but the comment is apt for her book—a coming-of-age story about growing up Mormon in Redmond, then leaving the faith. After a long struggle, she ultimately decides that her once-unshakable LDS convictions are irreconcilable with her true self. The story, she admits, has been difficult for her family.

“My parents have found ways to be supportive,” says Hardy. “They would probably prefer I was writing about a different subject, but they have started to understand I haven’t written an anti-Mormon, anti-faith, or an anti-religion book.” Her father has a special copy—“a version of the book with certain passages I cut out with a razor blade.” » CONTINUED ON PAGE 12

11

University of Washington PUBLIC

LECTURE

SERIES

MARK YOUR CALENDARS

for these upcoming public lectures, offered to you by the Graduate School of the University of Washington.

October 10 - 6:30pm, Free

JILL LEPORE

Professor of American History, Harvard University

Unseen: A History of Privacy October 15 - 6:30pm, Free

MICHAEL PHILLIPS

Director of the Suicide Research and Prevention Center and the Research Methods Consultation Center of the Shanghai Mental Health Center at Shanghai Jiao Tong University School of Medicine

Mental health in the People’s Republic of China: an epidemiological journey

October 22 - 7pm, $5

JUNOT DÍAZ - Signature Speaker

Professor of Writing, Massachusetts Institute of Technology

An Evening with Junot Diaz - sharing readings from his latest book: This is How You Lose Her

October 24 - 6:30pm, Free

SEYLA BENHABIB

Professor of Political Science and Philosophy, Yale University

Hannah Arendt’s Eichmann in Jerusalem, Fifty Years Later

October 31 - 6:30pm, Free

LAWRENCE BUELL

Professor of American Literature, Harvard University

Environmental Imagination at the Crossroads

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

November 7 - 6:30pm, Free

12

Rear Admiral (RADM) BORIS D. LUSHNIAK, M.D., M.P.H.

An Evening with Acting U.S. Surgeon General

November 13 - 7pm, Free

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As a courtesy, stand-by seating will be offered. It doesn’t guarantee admission.

ALL LECTURES WILL TAKE PLACE IN KANE HALL ON THE UW SEATTLE CAMPUS

page»

BOOKS

Losing It » FROM PAGE 11 Hardy got her publishing deal on the strength of her 2011 essay “Single, Female, Mormon, Alone” in The New York Times’ Modern Love column. In it she wrote of her deep frustrations as a practicing Mormon. “My first act of open rebellion was to go see Brokeback Mountain,” she wrote, “and one thing became clear that day: I could empathize with those gay cowboys. I knew . . . how it felt to grow apart from one’s community. I knew what it was to be fundamentally bound to an ill-fitting life.”

Confessions explores at much greater length Hardy’s crisis of faith, with details far more touching and intimate than its titillating title might suggest. There are PG-13 dating scenes with men, but those are often funnier and more awkward than salacious. Most of those encounters take place fully-clothed. Though, true to the title, Hardy does finally lose her virginity at 36.

Even more revealing is her willingness to expose the emotional process that led her away from the church—as opposed to abandoning faith entirely. In Confessions she writes, “Living the way I’ve been taught to live, I’ve felt loved, purposeful, and connected to what is divine.”

Belief wasn’t the problem, but rather the conservative church’s notion of female roles: that a woman’s highest achievement in life is to be a wife and mother. To resist that stereotype,

park. She travels to the Caribbean and learns to dive. Later she gets an MFA in Vermont before returning to settle in West Seattle.

“I didn’t want to leave [the church], and I knew it would be the most difficult thing I would ever do,” Hardy tells me, speaking of a strategy of avoidance. “I was making incremental changes along the way to make my life feel more right.

I was trying everything in “I was trying order not to have to do the everything in order not thing that I eventually had to do. But I was afraid enough to have to do the thing of making the wrong choice. I like I had to pursue every that I eventually had felt single avenue before I made that leap.” to do.”

But leap she eventually did.

And her life, which she “was afraid would be worse if I Hardy now says, “was like 10 years of taking off left” the church, isn’t. Today a vivacious, blonde the Band-Aid, a tiny bit at a time.”

41-year-old, single and looking, Hardy has her “I’m really thankful for the way I was raised,” heart firmly affixed to her sleeve. In person Hardy says, her voice breaking. “I think some she exudes a vulnerability that’s refreshing and people might be disappointed that I wasn’t cathartic—well-suited to memoir. With the angrier in leaving [the church]. But what I same loyalty she once devoted to her church really felt was a deep sense of grief and loss for family, she now enjoys a hand-picked family this thing that was beautiful and inspiring for she calls her “tribe.” Among them are friends so long. To start to see that crumble underneath at Freshy’s and Circa, places she has worked as me was not something that made me angry, it a waitress. was something that just made me deeply sad.

“There are a lot of ways to make a family,” “People keep talking to me about the honesty says Hardy. “The community that I lost had not of the book,” she continues. “If you sit down been my true sisterhood or brotherhood. It had to write a memoir, you’re required to be honnot been a loving family for a long time, so it est about your own faults as much as anything was lovely to find that elsewhere.” else. If you’re reluctant to go there, this is not And what about God? “I still consider myself for you. The challenge is to go to those deep, a faithful person and a believer,” she replies, “but dark, emotional places, to avoid sentimentality I can’t see myself being part of an orthodoxy and self-pity, and realize that part of the human ever again. The spiritual part of my life will condition is to be sad or be lonely.” always be a priority. I’m just finding it in different places now.” E During the sometimes-solitary path she folgelliott@seattleweekly.com lows in Confessions, Hardy watches her peers get married and have children while she’s sorting TOWN HALL out her life. After college at Brigham Young, she 1119 Eighth Ave., 652-4255, townhallseattle.org. moves to Chicago and vends hot dogs at a ball$5. 6:30 p.m. Fri., Oct. 11.

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THEATER

She’s Got Issues Why a local playwright wants us to consider a rigged economic system.

BY JOHN LONGENBAUGH

Mootz plays the teenage Bo-Nita.

SEATTLE REPERTORY THEATRE

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NATE WATTERS

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

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Heffron features working-class characters in her lizabeth Heffron is one of the friendplays because she doesn’t find much inspiration liest playwrights you’ll ever meet. She in the lives of stable middle-class Americans. laughs easily; and when she listens, “When I see another play about a bunch of New it’s usually with the attentive, sensitive smile of an experienced mom. Pretty, relaxed, and Yorkers having problems with their condo,” she says, “that’s not what interests me. The lives of engaged, she doesn’t seem in any way a troubleworking-class people are relatively underrepremaker. But that’s only true if you haven’t seen sented—and frankly contain a lot more conflict her plays. “That’s what I was told by a literary manager I met at Hedgebrook,” she says, remem- and drama.” bering a recent encounter at the Whidbey Island writers’ colony. “After we read one of my plays, Still, the stage story of young Bo-Nita, as she she just looked at me and said, ‘But you seem like is called in the play, is darker and much stranger such a nice lady.’ ” than Heffron’s own life, with a large amount of Her geniality is an effective cover for a writer the show taken up with a comedic shaggy-dog whose work is rarely congenial. New Patagonia, presented at the Rep back in 2000, was about a man intent on staging his own Heffron doesn’t funeral, or “death festival.” forget the needy. Or Six years later, ACT prothe need to laugh. duced her award-winning Mitzi’s Abortion. “You might as well be open about it,” she says of the play’s title. She’s no less direct in discussing her latest work, Bo-Nita, a one-woman show opening next month at the Rep. In it, Hannah Mootz plays a 13-year-old girl being raised by a struggling single mother in St. Louis.

Heffron’s connection to the subject is partly autobiographical, she says.

Growing up in St. Louis during the ’60s, her family was educated, but her parents were divorced.

“Money wasn’t stable, and my home life was pretty turbulent,” she recalls. “I can remember things like walking to school wearing my Keds and realizing that they were split up the middle, but since I couldn’t talk to Dad about money without him getting angry, I just shored it up with some cardboard.” story involving a heart attack, a belly-dancer Decades later, relocated to Seattle, Heffron costume, and the roof of a Barbie Dream House. believes that confronting social issues isn’t neces“My inspiration, in a way, were the Homer Price sarily brave, just the basic response of an artist stories that I grew up with,” she says, referring alive to our times. And that includes the touchiest to Robert McCloskey’s much-loved children’s of social issues: the growing divide between rich books. “I call it Midwest magical realism.” The and poor and the shredding of the social safety surreal comedy that Bo-Nita shares with us net. (The few plays that do deal with such issues, pushes right up to the boundaries of the poslike last season’s Good People at the Rep, create an sible, then is willing to push further in search of almost palpable level of subscriber shock—you a great joke. can hear it in the lobby at intermission.)

While the play’s absurdity is high-spirited, in

other ways Bo-Nita’s circumstances are all too real. Her story includes episodes of domestic violence and abuse, and her world is one where the lack of a safety net forces people to depend on family as best they can. References are made to school and employment programs that promise much but are discontinued when the budget tightens; middle-aged men are told that the reason they’re still stocking grocery shelves is their own laziness, not a rigged economic system.

Heffron’s work defies the current truism that social-issue plays about contemporary American life are inevitably good-hearted but naive, feelgood pabulum for well-heeled audiences to feed their social conscience. “I do believe that plays can achieve social change,” says Heffron. “I don’t believe that people see a play about vegetarianism and go home and throw out every piece of meat in their freezer. It doesn’t happen like that. But what really opens the door to change is empathy for other people.” Referring to her next writing project, about the ’60s radical group The Weathermen, she says “The job is to make the people real, because the personal is political. You have to let the politics come second.”

In this, the script for Bo-Nita succeeds. Its protagonist/narrator is an impressive creation— matter-of-fact about the darkness in her world, but with a hilarious appreciation for just how weird things can get. Bo-Nita is tough and smart without being precocious. As she tells her story, you find yourself yearning for a way out for her.

Not that her creator needs any such help. As Heffron prepares to move Bo-Nita to Portland Center Stage next year, and plans a new play about Hanford whistle-blowers, she says, “I want to make sure I get it right.” The more serious the topic, the more she’s likely to smile and laugh.

As an artist with a sharp social conscience, she’s right in the thick of it. And that’s exactly where she wants to be. E

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CLASSICAL

Diary in Four Voices

Traversing the cycle of Shostakovich’s confessional string quartets.

BY GAVIN BORCHERT

LOCALLY DESIGNED AND MADE FASHION AND ACCESSORIES Parker, Hammill, and Bentley expose a Soviet genius.

Photography by Hami Bahadori, Parallel Jewelry by Jeni Falldine.

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

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s the Soviet Union’s greatest composer, Dmitri Shostakovich (1906–1975) was also necessarily its most scrutinized. Accordingly, the record of his music is also in part a record of his strategies for enduring the pressure he felt from the Soviet government—including thinly veiled death threats and the murders of close friends. One coping mechanism was to pick his battles: to dash off occasional Socialist-Realist potboilers (like Song of the Forests, his 1949 paean to Stalin’s reforestation plan) as a way of buying time and political capital to spend on more personally rewarding projects. It’s become a commonplace of Shostakovich criticism to see his instrumental oeuvre as a similar balancing act: His 15 symphonies were public statements in which he wrote what was expected of him—as opposed to his 15 string quartets, in which he said, for a far smaller audience, what he really meant.

It’s harder to make a case for this generalization as regards the symphonies. (To give one example, after World War II, during which Shostakovich had written a properly tragic Eighth Symphony, everyone expected a heroic, victorious Ninth à la Beethoven; instead he gave them a lightweight, even frivolous one.) But it does seem true that, like most composers who tackle this august genre, Shostakovich did reserve the string quartet for his most profound and interior moods, using its intimacy—the conversational approach to instrumental interplay that’s one of the form’s most attractive possibilities—as a sort of musical diary: thoughts to be shared with a few listeners or even just himself.

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Paradoxically, the private, confessional aspect of these quartets has made them popular—both for audiences drawn to the unvarnished truths they seem to tell about the upheavals of the 20th century, and for string players compelled to explore their depths.

But no Seattle musicians had attempted the entire cycle until Trio Pardalote (Victoria Parker, violin; Heather Bentley, viola; Rowena Hammill, cello) began their Club Shostakovich series last year, presenting one quartet roughly every other month with a rotation of guest second violinists.

“The thing about chamber music,” says Bentley, “is that you can play the music in private, if you want . . . So if Shostakovich was looking to put certain kinds of expression into something that would be considered too ‘formalist’—the Soviet term for overly abstract, non-programmatic music—a piece of chamber music would be a good place.”

Next in the series, on Sept. 29, is Shostakovich’s Quartet no. 7, written in March 1960. A rehearsal at Parker’s house, with second violinist Blayne Barnes, clearly shows another advantage of chamber music: the leisure to experiment.

After a sudden impassioned passage, Parker reflects and reconsiders: “I did an accent there; I’m not going to. I’ll just come in warm.” Later her pizzicatos are interrupted by a stab from the second violin; Barnes asks, “Was I too loud?”

This time the first impulse was right: “No, I love it! It’s so cool!” says Bentley. The musicians discuss only technical details: questions of balance, dynamics, vibrato, bowing. Yet these are the keys that unlock the quartet’s emotional content; each time play resumes, the music is more intense, more dramatic, more wrenching.

Almost the first thing you hear in the Seventh is three repeated notes—“bum-bum-bum”—a figure that comes to pervade the first movement and grow foreboding. One suggestion that Shostakovich thought of his quartet cycle as a sort of ongoing memoir is that the “bum-bumbum”s return in the next quartet, composed just a few months later, where they are said to represent the dread knocks on the door of the KGB arriving to make an arrest. Innocent at first in the Seventh Quartet, the three notes become gradually ominous and, in the Eighth, frightening.

The second movement opens with a wandering accompaniment in the second violin; it arcs repeatedly up and down but never seems to get anywhere. It becomes even more benumbed and lifeless, just a monotone-dotted rhythm, under which the viola and cello sing together at the

page» bottoms of their ranges like two Russian basses.

To transition into the finale, Shostakovich interrupts a lamenting descent in the viola with frantic slashes from the violins: anger seems to drive away the slow movement’s despair as the viola takes over to launch a manic, scurrying fugue.

The “knocking” returns at the climax with a new hammering resonance, only to suddenly collapse into an innocuous sort of half-waltz: The “oom-pah”s are fragmented, just random ooms and pahs dropped in here and there. The threenote figure naturally fits easily into the waltz-ish rhythm, and quotes from the first movement return to end the piece just about where we started. In this way, the Seventh Quartet seems to be a piece about resignation, even impotence: the inability even for extremes of madness or sadness to change anything. At a scant 12 minutes, it’s the shortest quartet of the cycle—but like the other 14, says Bentley, “when you listen through an entire [Shostakovich] quartet, you feel like you’ve been to Far, Far Away and back.”

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“I think there’s a generation of us who ‘discov-

ered’ Shostakovich in the ’70s, when his music was just becoming known in the West,” Bentley explains. “He was just the twisted Cold War–era artistic antihero who spoke to our desire to partly embrace the exotic and rich Russian musical tradition, but to simultaneously pity those who suffered under Soviet domination. I think Shostakovich scratches a lot of American itches that way.” A lot of Seattle itches, too. Shostakovich is a favorite composer of Gerard Schwarz; his years with the Seattle Symphony, and the orchestra’s strong Russian contingent (including

“He was just the twisted Cold War–era artistic antihero.”

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violinist Mikhail Schmidt and late cellist David Tonkonogui), have kept us well supplied with knockout Shostakovich orchestral and chamber performances for decades.

The idea for Club Shostakovich came when Hammill heard of a similar informal concert series in New Mexico based around Beethoven’s 16 quartets. Trio Pardalote performs in impresario Louis Magor’s homey, kitschy Kenyon Hall in West Seattle. At June’s concert, the root-beer floats on sale at intermission were a welcome comfort after the emotionally draining Shostakovich, and the room’s dry acoustic added grit and acerbity to the Trio’s performance.

“We’re already thinking of what to do when the cycle wraps up, says Bentley. “It will be 2015 by the time we’re done. We may do a retrospective of all of them,” perhaps over a single weekend, she reports. And then, perhaps, the Trio will take up Bartok, whose six viscerally harsh quartets span the first half of the 20th century and draw on Balkan folk music—an epic landscape of intense emotion to set beside Shostakovich’s intimate memoir. E

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FILM

From Edison to Shelton

MOHAI celebrates a century of local cinema—yes, including Sleepless in Seattle.

BY BRIAN MILLER

W

“Every time one of these old theaters dies, part of our history dies,” says Horton.

bmiller@seattleweekly.com

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The old Colonial circa 1929, where Century Square now stands on Fourth Avenue.

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SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

After the war, that all changed, and the boosterish 1963 Elvis vehicle It Happened at the World’s Fair exemplifies our new screen identity. Aircraft, the monorail, natural scenery, and ethnic diversity—signaled by the lost Japanese-American girl Elvis befriends—are added to our brand.

“What is the idea of Seattle in people’s movie imagination?” Horton asks rhetorically. More clips provide some clues: the Space Needle in The Parallax View’s assassination scene, Tom Hanks’ romantic houseboat in Sleepless in Seattle, even the sasquatch in Harry and the Hendersons. And such signature tropes extend to TV, which gets a gallery of its own, with artifacts and clips from Twin Peaks, Here Come the Brides, and even a set approximating Frasier’s old living room.

But the age of lattes and photogenic salmon-tossing was preceded

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ith Lynn Shelton’s Touchy Feely being but the latest example of Seattlemade cinema reaching a national audience, and with serious filmgoers returning to the Harvard Exit and Sundance for the fall season of Oscar contenders, now’s a good time to revisit Celluloid Seattle. The MOHAI exhibit opened with the museum’s relaunch in its new quarters on South Lake Union in January, and it’s proven popular enough to be extended through November, with a new catalog to be published, too. Walking me through the show is its curator, SW film critic Robert Horton, whose connection to the subject runs back to organizing arthouse screenings for the Seattle Film Society during the ’70s. (He also writes for the Everett Herald and is heard regularly on KUOW.) The exhibit is intended to celebrate both Seattle-made movies (or those that merely appropriated our skyline and name) and our actual consumer experience from nickelodeon days to the digital present, Horton explains.

Celluloid Seattle includes archival materials from MOHAI and the UW, local exhibitors and theaters (including STG’s Paramount), and from collectors including Horton himself. (Look carefully Connie Stevens is . . . the ’70s drive-in queen Scorchy! and you’ll find his treasured 1966 movie ticket stub for Namu, the Killer Whale at the Orpheum, razed and Jean Sherrard for their Seattle Times “Now the following year for what’s now the Westin and Then” feature). There’s a certain pathos and Hotel.) Horton has been informally researchfascination to the Coliseum now being a Banana ing for the exhibit for years, since it was first Republic, the Metropolitan being replaced by planned for the old MOHAI in Montlake. the Fairmont Olympic Hotel, and the Roosevelt There was no central archive or repository of plowed under for an office tower. knowledge for the show—the index “was only “Every time one of these old theaters dies, in my head,” admits Horton. part of our history dies,” says Horton as we Seattle became a city because of the Alaska walk through the exhibit and examine the Gold Rush during the 1890s, which neatly historical photos. coincided with the birth of cinema. The father of American cinema, Thomas Edison, even dispatched a film crew to document our booming Our city is always changing, and so is its reprecity in 1897. “I just think it’s amazing that within sentation onscreen. Looking at 1954’s The Far a year of the invention of the movies, someone Country, with James Stewart herding cattle from lugged a camera out here,” says Horton. You can Wyoming to Seattle (and thence to Alaska), Horsee that footage, along with dozens more movie ton says “the image of Seattle was still the image clips, at viewing stations in the five roughly of a cow town”—someplace sleepy, uncouth, and chronological galleries. provincial (see also: Tugboat Annie). In the same In them are also old movie posters and lobby montage are excerpts from MGM’s 1940 short cards, a nickelodeon, antiquated projectors and documentary Seattle: Gateway to the Northwest. movie cameras, blueprints and models, old seats The city doesn’t look that impressive (our second and chandeliers from demolished movie palaces great boom would come a few years later with like the Colonial and Music Hall, and many World War II and Boeing). The gold rush still photos of those extinct venues juxtaposed with loomed large when the MGM short was made.

It was all that Seattle was really known for.

18 their present use (several taken by Paul Dorpat

by “Seattle’s decline and rough era,” says Horton, “when you had movies actually coming to Seattle to capture all that.” Clips including Cinderella Liberty illustrate that postwar, Boeing-bust era before Starbucks and Microsoft. So does 1974’s McQ, with John Wayne’s cop prowling seedy Pioneer Square. The 1984 documentary Streetwise perhaps best exemplifies that dark period.

During the same era, as drive-ins and suburban theaters drew patrons away from downtown cinemas, says Horton, “Some of these places became porno houses.” Not that our suburbs were entirely wholesome. A display of drive-in artifacts includes titles like the T&A-tastic Scorchy (1976), starring Connie Stevens as a sexy Seattle undercover agent.

Horton’s personal connection to the Seattle film scene is felt in these parts of the exhibit.

“The drive-in thing came from my own experience,” says Horton. He was also in the middle of Seattle’s art-house boom. Looking at one display, he notes, “When I was 20, I was putting these posters on telephone poles” for Fassbinder and Godard retrospectives. “When I was at the UW, they had an arts-and-lectures film series in Kane Hall, and they would sell out. You didn’t have video and you didn’t have streaming.”

The old Ridgemont in Greenwood, Horton recalls, was “the Woody Allen theater in the ’80s,” where all his films would open and play for months. And it was there, from 1956 to 1971, that James Selvidge was the first local exhibitor to book Bergman, Truffaut, and Fellini movies.

It was also there that A Man and a Woman ran for 63 weeks (!) during the mid-’60s. Today, by contrast, even an acclaimed import like Amour is lucky to run a month at the Guild 45th before heading to DVD. And as we see in MOHAI’s before-and-after photos, the Ridgemont was knocked down in 2001. It was replaced by a condo, whose residents today are watching movies via VOD, Amazon, and Netflix. E

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SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

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DANCE

Off-Label Never mind the terminology—the new dance season is all about hybrization.

BY SANDRA KURTZ

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PNB’s Peter Boal with Tharp during rehearsal

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William Forsythe, that professional label became much more elastic. Forsythe has pushed the boundaries of “ballet” into experimental-theater territories, embracing a wild combination of kinetic possibilities. Coming out of that environment, Pite makes work that needs the strength and articulation of ballet training, but also requires a dynamic commitment and flexibility that comes from modern, jazz, and martial-arts traditions.

Donald Byrd is another choreographer with a magpie aesthetic. His work for Spectrum Dance Theater is powered by the expressive tradition of modern dance. He’s long been engaged with political topics (especially in his early creations), but his movement vocabulary is laced with traditional balletic virtuosity. This autumn he’s presenting work from both sides of that divide, with a commentary on Balanchine’s Prodigal Son and a revival of his own The Minstrel Show, which is sure to be as controversial as it is bravura.

Among all this cross-sampling are a few examples of work that stays true to a singular vision. At the University of Washington, Hannah Wiley is using the Chamber Dance Company to keep historical works from the modern-dance tradition in a living repertory. Working with graduate students fresh out of the professional world and trained in a variety of styles, it can be a challenge to get them to narrow their performance focus on an older model. Yet CDC programs are often a living history lesson. This year’s concert—featuring early work by modern pioneer Doris Humphrey— should be a great example of that pure approach.

UW alumnae Paula Peters and Rhonda Cinotto bring a similar philosophy to their startup company, the Contemporary Jazz Dance Project. Jazz dance has always been a loose category, with influences from vernacular music and social dance. Today, with hip-hop, competition, and cheer-team styles sometimes identified as jazz, the field has really exploded. Yet Peters and Cinotto want to bring a more traditional approach to their work.

At some point, we may invent some new dance categories and sort our heritage into a new set of file drawers. Until then, and certainly through this fall, it’s a fusion world in dance. E

dance@seattleweekly.com

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ver since God gave Adam the job of naming things, the rest of us have been busy finding ways around those labels. In the dance world, ballet and modern used to be mutually exclusive camps, with vastly different techniques, traditions, and aesthetic models. Jazz dancers were separate from flamenco artists; tappers didn’t mix with ballroom. But as dance became more popular through the last century, it also became less “pure”—combining different strains of the discipline in crossover works or branching out to absorb elements outside old-school dance traditions. As we move further along this pathway, the original labels seem to mean less and less.

Instead of digging into its historical categories, dance today is often just one component of a larger event—movement combined with theater, with visual art, with music or text. Just as the terminology is shifting in those other art forms, dance descriptors seem to be drawn on fundamental levels. The idea of “time-based arts” is a large umbrella that covers pretty much anything intended to change while we watch it.

Increasingly, the main differences among dance bills seem to be in the presenters rather than in the art they present. Most of the audience that fills the halls of On the Boards doesn’t really think about going to see Pacific Northwest Ballet, but last year both organizations staged new dances by Mark Morris. On the Boards gave us work by Crystal Pite last October; this November, it’s PNB’s turn. (See our Fall Arts calendar, page 24, for all performance dates.)

This fall dance season is full of works that mix influences and genres. PNB is adding to its collection of choreography by Twyla Tharp with a pair of dances. Brief Fling, which comes from her tenure as an artistic associate at American Ballet Theater, plays games with ballet technique and structures. Waiting at the Station is a new work, using music by R&B legend Allen Toussaint.

Tharp is still the reigning mistress of crossover choreography, combining a broad palette of traditions. In many ways, her work is a model for contemporary dancemakers in the same way that George Balanchine was a pathfinder for neoclassical ballet.

Right after its Tharp program, PNB will present another collection of works that draw from multiple sources. Jiří Kylián holds much the same place in European dance circles that Tharp does in the U.S.: not the first person to experiment with combining genres, but probably the best known. In his work for the Nederlands Dans Theater, he’s created a body of choreography that companies everywhere long to perform. PNB already has two of his more lighthearted dances, Petit Mort and Sechs Tanze, in its repertory, and is adding the poignant Forgotten Land. We’ll see all three in November, along with a new-to-us work from Pite, Emergence.

Pite started her career as a ballet dancer, but when she moved to Frankfurt to work with

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HOME VIDEO

25 Years and Dwindling Born during the VHS boom, Seattle’s favorite video store is struggling for relevance in the age of Netflix.

BY MARK RAHNER

I

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

KAREN STEICHEN

don’t worry about Google searches, but if the NSA profiles people by what they rent at Scarecrow Video, I’m on a few watch lists.

On a recent two-for-one Wednesday, I’ve got a Nazisploitation flick, a couple of ’60s Eurospy Bond knockoffs, and a spaghetti Western.

Plus early-’70s Satanic-possession and women’s-prison movies on VHS that’ve never been on DVD. “Stack o’ trash,” I say sheepishly at Shannon has the counter. The clerk doesn’t judge seen a big drop me. She’s seen the particularly vile in rentals. horror title in the stack. (Martyrs.

You’re warned.) She recommends something similar for next time.

I began gorging each week when I recently considered leaving Seattle.

I’d previously written for The Seattle Times that Scarecrow was the Alexandria library of video stores, and I wanted to take advantage while I could. (Disclosure: The store contributes surplus DVDs to my podcast.)

Recently I’d seen a couple of their jaw-dropping rare-clip compilations at the nearby Grand Illusion. A new espresso bar has a screening area with tables. Beer server-testing department for Microsoft Office. is even served during the free screenings—curHe’s never drawn a salary from Scarecrow. In rently including Monday-night servings of the 1998, he and Micro-colleague John Dauphiny 1994 Showtime series Rebel Highway; the regbought—make that rescued—the then-struggae documentary True Born African: The Story of gling Scarecrow from George and Rebecca Winston “Flames” Jarrett, who’ll attend the 6 p.m.

Latsios, who founded the store in 1988. (George Friday event; a crazy VHS compilation at 8 p.m. died in 2003.) Tostevin’s the sole owner now— Saturday; and Sunday’s All About Eve (1 p.m.) and and his own landlord. three TV episodes of Saved by the Bell (5 p.m.).

Here’s how it goes for him: “People say, ‘Oh, In addition to a powerful, searchable website, my God, you own Scarecrow Video. That’s so Scarecrow even has a podcast. It would appear cool!’ And I say, ‘Hey, when were you last in?’ ‘Oh, that the iconic store—a perennial winner in our I haven’t been in since I was in college.’ ” Best of Seattle® readers poll—is flourishing.

Ouch. General manager Kevin Shannon “What you’re seeing there is us trying new reports that the number of rentals dropped 58 things to try to keep the store open,” owner Carl percent from 2007 to 2012, and sales have fallen Tostevin tells me. “I would say we are struggling by 35 percent. That fits with the industry-wide to the point that I just don’t know how long we extinction of brick-and-mortar video stores, now are going to last.” in its tertiary stage. No one even knows how many God damn it. Now the gorging is because a are left, Home Media magazine editor-in-chief different clock’s ticking.

Stephanie Prange tells me. “The only people that Two-for-one Wednesdays and seven-day took stock of that were distributors. There’s no one rentals for older titles are also attempts to keep tallying it now.” She adds, “We just did a feature the store open, Tostevin says. They’ve cut store where each of us went around our neighborhoods hours and compressed the inventory to increase and looked for video stores. Basically, all we could space. Fixed costs—like health insurance for 30 find were Redboxes and one Blockbuster.” employees—keep going up while business keeps Blockbuster peaked at 9,000 locations globgoing down. (You know the reasons: Hulu, Netally in 2004, then went through bankruptcy six flix, streaming, VOD, etc.) years later. Sold and reorganized, it’ll be down to 300 by the end of this month, according to Home Media—which once listed Scarecrow as one of “The reason we have been operating as long the country’s iconic video joints. Meanwhile, as [the store] has is that I have a day job,” says roughly 36,000 Redbox movie-rental kiosks Tostevin, who makes his living running the

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have metastasized nationwide, charging $1.20 per rental. Netflix is the other main store-killer: unlimited streaming for $8 a month and disc delivery with no late fees for another $8. (Scarecrow charges $4.50 per rental.)

“The video store as it used to exist is kind of gone,” Prange says. “The days where Quentin Tarantino used to work in a video store and you had these video clerks that curated titles—that just doesn’t exist anymore.”

Almost. And if I sound sheepish about my rental

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SCARECROW VIDEO 5030 Roosevelt Way N.E., 524-8554, scarecrow.com. 11 a.m–10 p.m. Sun.–Thurs., 11 a.m.–11 p.m. Fri.–Sat.

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tastes, you should hear employees warn customers about the brutal late fees: the full rental cost for each late day. And those massive deposits for rare titles: $150, $30 . . . a $500 deposit on 1989’s Dark Planet on VHS made me handle it like a Fabergé egg.

“It’s the only way we’ve found that we can keep track of our items,” Tostevin explains.

“We’ve had late fees that are lower, and it’s hard to get people to return them, and they just walk.”

When Shannon started at Scarecrow 18 years ago, it stocked 23,000 titles. Now there are almost 119,000. A lot more has changed.

For instance, he’s had a second job as a grocery checker since May. “In 1997,” he recalls, “we could make a decision to buy the #1 box-office comedy in the history of Poland on VHS for $90. We knew we could do that because we could rent a porno 300 times and we could pay for it.”

Yet today Scarecrow’s literature room outrents the porn library—“anything from the ’70s and ’80s with a plot”—because of free online porn. Same for anime, once a hot commodity.

Tostevin says people just pirate it online now.

At home watching 1973’s Three on a Meathook on VHS, I think how Scarecrow exemplifies the concept of You Get What You Pay For. The first time I stepped into the 8,200-square-foot edifice in the late ’90s, I felt like Dean Martin in a distillery. For decades, I’d searched for a low-rent English Bond knockoff called The Second Best Secret Agent in the Whole Wide World. Scarecrow had it. In the spy section. I’d begun to take note of an Italian hack/genius named Lucio Fulci who perpetrated The Beyond. Scarecrow had a Fulci shelf in its directors section. You don’t get that from Netflix or Redbox.

“Everybody has a story like that,” Tostevin says. “We were always about having titles that no one else had.”

As for the ticking clock, Tostevin says the coming holiday season is make-or-break. “I don’t foresee where we’re in such bad shape where we’d be closed by the end of the year. But we need at least an optimistic-looking end-of-year to build on the momentum into spring. There are knockdown, drag-out staff meetings. What is the right way to do this?”

Here’s how it goes for him: “People say, ‘Oh, my God, I can’t imagine Seattle without Scarecrow!’ But if you ever saw the scene in Titanic where they’re arguing about how the ship can’t sink, the engineer is going, ‘It’s made of iron and steel. I assure you it can.’ ” E

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BY SANDR A KURTZ , N ING LIU, D E V O N S I M P S O N , A N D S W S TA F F

ONGOING Through Oct. 20 Austere Beauty: The Art of Z. Vanessa Helder The Washington State native (1904–1968) evolved from watercolor landscapes to Hopperesque urban scenes during her long career. Tacoma Art Museum, tacomaartmuseum.org Through Oct. 20 Joshua Kohl The local composer bases new work on his father’s poetry. Also on view: Mark Mitchell’s burial costumes. Frye Art Museum, frye museum.org • Through Oct. 27 Patti Warashina: Wit and Wisdom The local master of ceramics receives a 50-year career retrospective. Bellevue Arts Museum, bellevuearts.org Through Oct. 27 The Dorothy and Herbert Vogel Collection The famed New York collectors gave away most of their trove for the initiative Fifty Works for Fifty States. SAM’s gifts include works by Stephen Antonakos, Sol LeWitt, Terry Winters, Cheryl Laemmle, Robert Mangold, and others. Seattle Art Museum, seattleart museum.org

Through April 2014 A Fuller View of China, Japan and Korea Founding director Richard Fuller is honored with selections from SAAM’s permanent collection. Seattle Asian Art Museum, seattleartmuseum.org Through June 29, 2014 Hometown Boy Contemporary Chinese artist Liu Xiaodong is represented by three decades of painting.

Also on view: Inked, a collection of satirical drawings by by Wan Qingli. Seattle Asian Art Museum

SEPTEMBER • 18 A. Scott Berg The Pulitzer winner discusses his new biography of our 28th president, Wilson. Town Hall, townhallseattle.org

• Through Dec. 1 Celluloid Seattle SEE RELATED STORY, PAGE 18. Also ongoing are permanent exhibits documenting Seattle’s houseboats and maritime history. Museum of History & Industry, mohai.org

• 18 Neko Case The Americana songwriter’s latest release, The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You, is rumored to be her best. The Paramount, stgpresents.org

Through Dec. 1 In a Silent Way African-American history and identity are considered in works by Roy deCarava, David Hammons, Carrie Mae Weems, Glenn Ligon, and others. Seattle Art Museum

18 Ivar’s Seafood Cookbook The iconic Seattle restaurants’ chefs reveal their secrets. University Book Store, bookstore.washington.edu 18 David George Gordon The bug chef explains what makes edible insects the food of the future. Burke Museum of Natural History and Culture, burkemuseum.org • 18 Thomas Keneally The author of Schindler’s List brings his new WWI novel The Daughter of Mars. Elliott Bay Book Co., elliottbaybook.com

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• 18 Timothy Egan New in paperback, his Short Nights of the Shadow Catcher relates the life of Seattle photographer Edward S. Curtis. (Also: Nov. 7 at Kirkland’s Parkplace Books.) Elliott Bay Book Co. 18–Oct. 13 She’s Come Undone Book-It’s new adaptation of Wally Lamb’s novel.

Center House Theatre, book-it.org • 19 Seattle Symphony An all-Ravel program; pianist Jean-Yves Thibaudet plays his two spicy concertos. Benaroya Hall, seattlesymphony.org 19 Scott Berkun The author of The Year Without Pants discusses his insights about creativity and leadership. Town Hall BARRY WONG

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

• Through Jan. 2014 Rick Araluce: The Minutes, the Hours, the Days In his first solo museum show, the Seattle artist builds immersive sculptural environments with doors, keyholes, thresholds, and other means of guiding the eye. Bellevue Arts Museum

Through Nov. 3 Minimal Art and Its Legacy Works

by Richard Serra and others are on view. Seattle Art Museum

Through Dec. 31 Sitting for History: Exploring Self-

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Identity Through Portraiture Over 60 paintings and photographs are on view, with artists ranging from Renoir to Chuck Close. Tacoma Art Museum

SEATTLE ASIAN ART MUSEUM

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Timothy Egan

19 Robert McNamara He reads from Incomplete Strangers: Poems. University Book Store

Liu Xiaodong’s 2010 Self Portrait at SAAM.

19 Sudhir Venkatesh His new Floating City journeys through New York’s underground economy. Elliott Bay Book Co. • 19–20 The National Whether you find them delightful or boring, they’ve been called both, and two dates are scheduled for their tour in support of their sixth album, Trouble Will Find Me. Paramount • 19–22 El Año en Que Naci Lola Arias looks back at Chile’s Pinochet era via personal memorabilia. On the Boards, ontheboards.org 20 Peter Doherty The Nobel laureate discusses Their Fate Is Our Fate and Pandemics. Town Hall 20 R. Gregory Nokes The Oregonian writer will discuss his recent Breaking Chains, which explores the history of racism in Oregon and the West. Elliott Bay Book Co. 20 Charles Johnson The retired UW professor and author reads Sri Chinmoy’s The Jewels of Happiness. University Book Store 20–21 The Dream of the Golden Clown The China National Acrobatic Troupe’s jaw-dropping acrobatic performance. McCaw Hall, pnb.org • 20–Oct. 16 Northwest Focus Over a dozen lens artists are featured. Photo Center NW, pcnw.org 21 Family Fun Day: Mizu Sigimura Make grandpa and grandma kokeshi dolls with this local artist to celebrate the Japanese holiday Keiro no Hi (Respect for Elders).

Wing Luke Museum, wingluke.org 21 Caspar Babypants His latest, Baby Beatles, proves you’re never too young to discover them. Town Hall 21 Minidoka: An American Concentration Camp Teresa Tamura shares from her book about the illegal World War II relocation of 120,000 Japanese and JapaneseAmericans. Wing Luke Museum 21 Dawg Daze Comedy Show Laughs to kick off the UW academic year. Meany Hall, meany.org 21–Jan. 5 David Hartt In Stray Light, the photographer chronicles African-American history through its own media, including images and recreations of the publishing offices of Jet and Ebony magazines. (Also on view: the

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stark, black-and-white photographs of Ray K. Metzker.)

Henry Art Gallery, henryart.org 22 Ann Fisher-Wirth The editor of The Ecopoetry Anthology reads American poetry about nature and the environment. Elliott Bay Book Co. 23 Lucy Moore & Alice Shorett Two environmental mediators share their stories. Town Hall 23 Bill Mckibben The author of Oil and Honey shares his life story as an unlikely activist. Town Hall 23 Ramez Naam His sci-fi novel Crux tells of a war between humans and post-humans. University Book Store 24 Patricia Churchland The author of Touching a Nerve shares her knowledge about our brains. Town Hall 24 George Johnson Author of The Cancer Chronicles, he discusses his own struggles with the Big C. University Book Store 24 Ivan Doig He’ll read from his newest Montana-set novel, Sweet Thunder, packed with greed and corruption (Also: Town Hall, October 24.) Seattle Central Library, spl.org

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25 Hazel Rose Markus & Alana Conner The co-authors of Clash! reveal the secrets to bridge cultural conflicts.

Town Hall • 25 Twyla Tharp The iconic American choreographer discusses and rehearses her latest creation, Waiting at the Station, part of her Air Twyla week running at PNB from Sept. 27–Oct. 6. SEE RELATED STORY, PAGE 21.

McCaw Hall, pnb.org • 25 Christopher Parker The UW professor and author of Change They Can’t Believe In discusses the political connection between the Tea Party and the 19th-century Know-Nothing Party. University Book Store

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25 Dane Cook Love him or hate him, the popular comic will probably fill the hall. The Paramount

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SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

25 An Experiment in Design Production: The Enduring Birds of iittala This open-ended show features wood ducks and other creations by Finnish artist Oiva Tokkia.

(Also on view: Chihuly’s Irish Cylinders, with motifs inspired by James Joyce’s Ulysses.) Museum of Glass, museumofglass.org

25–Oct. 26 Hello Darlin’s: Mom’s Got Something to Tell You! Josephine Howell’s solo show relates the life of iconic comedian “Moms” Mabley. Langston Hughes Performing Arts Institute, langstoninstitute.org • 26 Peter Bagge The famed local cartoonist has created Woman Rebel: The Margaret Sanger Story, about the founder of Planned Parenthood. Town Hall • 26 Norman Rush The award-winning novelist will discuss his newest and highly anticipated novel Subtle Bodies. Elliott Bay Book Co. 26 L.E. Modesitt, Jr. He reads and signs his new novel The One-Eyed Man. University Book Store 26 Kristine Matthews The UW faculty member gives a talk on “Works in Space.” Henry Art Gallery • 26 Wayne Horvitz The local jazz eminence is joined

by Trio Pardalote and pianist Cristina Valdes. Cornish College of the Arts, cornish.edu • 26–29 The Fall Kick-Off + Big Bang! Velocity is turning the usual structure on its head, opening this run with a performance-art blowout on Thursday, then presenting three nights highlighting Seattle’s contemporary-dance community. As always, the mixed bills are a chance to catch up with favorite artists and meet new talent—the party should be a great introduction to a season packed with kinetic energy. SANDRA KURTZ Velocity Dance Center, velocitydancecenter.org 26–Oct. 31 Campfire Spooky stories, improvised.

Unexpected Productions Market Theater, unexpected productions.org • 26–Dec. 5 Ride the Night SAM’s Annual Film Noir Series begins with Alan Ladd in This Gun for Hire. The Thursday-night retrospective continues with titles including M, Kiss Me Deadly, and The Lady From Shanghai.

Seattle Art Museum 27 Robin Layton The photographer discusses Hoop: The American Dream, with images of the most revered basketball players of our time. Elliott Bay Book Co. 27 W. Thomas Porter He’ll discuss his history of UW football, Go Huskies!. University Book Store 27 Don Jon Joseph Gordon-Levitt has a porn addiction, which is hurting his chances with Scarlett Johansson.

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SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

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• 27–Oct. 3 Local Sightings Film Festival Over a dozen features from around the Northwest are screened at this annual showcase for regional cinema. Northwest Film Forum, nwfilmforum.org

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27–Oct. 3 Our Nixon Home movies made inside the White House reveal a new portrait of Tricky Dick. Grand Illusion, grandillusioncinema.org 27–Oct. 3 Blue Caprice The infamous DC snipers of 2002 are dramatized in this creepy new thriller. SIFF Cinema Uptown, siff.net • 27–Oct. 3 Local Sightings Film Festival The annual showcase for indies from the greater Pacific Northwest.

Northwest Film Forum, nwfilmforum.org • 27–Oct. 6 Air Twyla Twyla Tharp’s back as PNB’s first official artist in residence. She’s been in the studio since last winter, buffing up the repertory and crafting new works. With Waiting at the Station, she returns to American vernacular music (this time a score by New Orleans R&B artist Allen Toussaint), which has fueled some of her most interesting dances over a career full of amazing things.

Famously private about rehearsals, she’ll make Waiting a surprise for everyone at its premiere, where it joins a new-to-us staging of her Brief Fling and the return of Nine Sinatra Songs. SK McCaw Hall, pnb.org 27–Oct. 20 The Servant of Two Masters Carlo Goldoni’s (1707–1793) greatest hit comedy. Seattle Repertory Theatre, seattlerep.org 27–Oct. 20 Broke-ology Seattle Public Theater prssents Nathan Louis Jackson’s family drama. Bathhouse Theater, seattlepublictheater.org

parts. St. Joseph Parish, byrdensemble.com 29 Linda Ronstadt She recently disclosed her Parkinson’s disease, which the iconic singer addresses in her new memoir, Simple Dreams. Town Hall 29 Steve Earle & The Dukes The rousing singer/songwriter who named his son after Townes Van Zandt stops through on his Low Highway tour. Paramount 29 Club Shostakovich Trio Pardalote is slowly playing through Shostakovich’s 15 string quartets. They’re halfway through. SEE RELATED STORY, PAGE 16. Kenyon Hall, triopardalote.com • 30 Nicholson Baker The masterful miniaturist returns to old characters in his description-thick new novel Traveling Sprinkler. Town Hall 30 Amit Chaudhuri He shares from Calcutta: Two Years in the City. Seattle Asian Art Museum

OCTOBER 1 Eric Schlosser Command and Control looks at loose nukes. Seattle Central Library 1 Nicholas Sparks The author of The Notebook returns with The Longest Ride. Will there be a Hollywood adaptation with Ryan Gosling? Seattle film gadfly Warren Etheredge will ask him just that question Town Hall 1–4 50 Heartbreaks (and I’m Still in Love with

28 Maria Villafrance The visiting scholar gives a lecture on artistic practice. Wing Luke Museum 28 Belly Dance Off! A live-music belly-dance competition with real-time feedback from expert judges. Club Hollywood, clubhollywood.ee 28 John Hamilton The Ballard writer reads from his debut novel, Hell Called Ohio. Elliott Bay Book Co.

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28 Orchestra Seattle/Seattle Chamber Singers Wagner, Strauss, Ravel, and more—including a new work from composer Carol Sams—marks the debut concert of music director Clinton Smith. First Free Methodist Church, osscs.org 28 The Byrd Ensemble Choral music for 40 and 60 voices: not merely that many singers, but that many separate

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You-kraine) Jenna Bean Veatch and Nadia Tarnawsky’s dance/theater hybrid mixes love and history. Annex Theatre, annextheatre.org

3–Nov. 2 Izzie Klingels She’ll show new work in Playing Games and create art in-situ on the gallery walls. M.I.A Gallery, m-i-a-gallery.com

1–31 Revealed: In Search of Bruce Lee A walking tour of the ID in search of the late kung fu icon. Hing Hay Park, wingluke.org

3–Nov. 16 Deborah Butterfield She creates large sculptures of horses and other natural forms. Greg Kucera Gallery, gregkucera.com

• 1–Nov. 17 Earshot Jazz Festival The highlight of the year’s jazz calendar, celebrating its 25th anniversary.

Boldface names include Bill Frisell, Philip Glass, and John Scofield. A separate film series is also set for Northwest Film Forum (Oct. 18–24). Various venues, earshot.org.

4 Margaret Atwood She finishes a trilogy with MaddAddam. Town Hall

2 Jamie McGuire reads and signs her new novel Red Hill.

University Book Store 2–19 The Taming Shakespeare’s The Taming of the Shrew is turned into a Southern-set political farce. Arts West, artwest.org • 3 First Thursday Art Walk All the galleries in and around Pioneer Square are open late. firstthursday seattle.com

3 Das Oboe Trio Self-explanatory (we assume). They’ll premiere several works for this unusual combo. Chapel Performance Space • 3–5 Axis Dance Company The work that Judith Smith and her crew of mixed-ability movement artists present is the opposite of what critic Arlene Croce has called “victim art.” The goal is to make compelling choreography for the variety of performers in the ensemble, whatever their skills and limitations. Here, a wheelchair is as important for its aesthetic potential as for its basic function—extending possibilities for the artist in it, no matter who they are. SK Meany Hall, uwworldseries.org

• 4 Laura Veirs The quintessential Pacific Northwest singer/songwriter recently released Warp and Weft.

Tractor, tractortavern.com • 4 Gravity Everyone is excited to see Sandra Bullock lost in space with George Clooney. Alfonso Cuarón’s new 3-D film has great festival buzz. Opens wide 4 Jacqueline Carey Her new novel is Autumn Bones.

University Book Store 4–6 I’M/MIGRATION Playwrights Yussef El Guindi and Chad Goller, among others, explore issues of movement, identity, belonging, and home. Youth Theatre Northwest, youththeatre.org 4–10 Parkland Zac Efron and others get caught up in the assassination of JFK. Sundance Cinemas, sundance cinemas.com 4–13 Seattle South Asian Film Festival Among a dozenplus features and docs, the director Mira Nair is hoped to attend for her The Reluctant Fundamentalist. SIFF Film Center and other venues, tasveer.org

3–18 Black Cloud The Crucible meets improv. Jet City Improv, jetcityimprov.com

• 4–20 Spectrum Dance Theater Donald Byrd starts his second decade at the company with his same usual intensity. Spectrum opens its fall season with his take on George Balanchine’s Prodigal Son. But the real excitement might be the revival of his controversial 1991 The Minstrel Show (in a Nov. 8 workshop before a February run). This radical work placed Byrd in the critical spotlight when he examined this discredited old theatrical idiom. You’ll see why. Madrona Dance Center, spectrumdance.org

3–31 Robin Crookall The local photographer makes tableaux with taxidermy in Wear the Fox Hat. Gallery4Culture, 4culture.org

4–26 Cannibal! The Musical! Written by those South Park guys, the comedy revue is a fun Halloween season choice. Unexpected Productions

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

3 Our Roots Are Showing: Voices of Black Men Short plays and other texts are read. Northwest AfricanAmerican Museum, naamnw.org

DAVID DESILVA

Axis Dance Company

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4–26 Mirror Images The premiere of Scott Timmons’ mother/daughter drama. Downstage Theatre, playwrights-theatre.org

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Oct. 7 | Stacey Eliason, French Horn Oct. 28 | Faculty Collage Concert

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

AT EDMONDS COMMUNITY COLLEGE

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CALENDAR

BAND PERFORMANCES

Nov. 19 | Jazz Band Performance Dec. 3 | EdCC Music: Concert Band

D

dCC E

MUSIC EPARTMENT

STUDENT RECITALS

Nov. 4 | Solo Recital: Marcel Helland Nov. 20 | Jazz Showcase

BLACK BOX THEATRE AT EDMONDS COMMUNITY COLLEGE

4–Nov. 3 Sugar Daddies Alan Ayckbourn’s 2003 black comedy has its U.S. premiere. ACT Theatre, acttheatre.org 5 Seattle Repertory Jazz Orchestra To open their season, favorites from past concerts. Benaroya Hall, srjo.org 5 Music Northwest Bartok, Beethoven, Stravinsky, and more on this chamber series. Olympic Recital Hall, musicnorthwest.org 5 Choral Arts Music in praise of the Virgin. Various venues, choralarts.org 5–6 Clarinettissimo Sean Osborn’s annual minifestival, with recitals, vendors, and master classes. Seattle Pacific University, osbornmusic.com 6 Speakeasy Series: The Engendering Project Join a roundtable discussion among various artists about gender fluidity and creative arts. Velocity Dance Center 6 Gayle Forman She reads from her new novel Just One Year. University Book Store 6 Father John Misty Formerly known as J. Tillman, drummer of the Fleet Foxes, he performs new music.

The Moore • 6 Norman Rush The veteran novelist scores again with Subtle Bodies. Eagle Harbor Book Co., eagleharbor books.com • 6 Byron Schenkman and Friends The expert keyboardist, a longtime Seattle favorite, explores his favorite chamber music in this new series, launching with Beethoven.

Benaroya Recital Hall, byronschenkman.com 7 Matthew J. Kirby The Lost Kingdom is his new adventure/mystery novel. University Book Store • 7 Salman Rushdie The reviews weren’t kind for his fictionalized memoir Joseph Anton: A Memoir (new in paperback), but he’s an erudite and witty speaker on any subject, including his own eventful life. Town Hall 8 Mark Lanegan The former Screaming Trees frontman’s latest is Imitations. The Neptune

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8 Theron Humphrey The photographer captured his experiences on a cross-country trip and chronicled them in his book Maddie on Things: A Super Serious Project About Dogs and Physics. University Book Store 9 Jesmyn Ward The author of Salvage the Bones recounts the losses of five men in her life in rural Mississippi. Town Hall 9–13 The Wizard of Oz With all the old songs by Arlen and Harburg and new ones by Rice and Lloyd Webber.

The Paramount 10 Donald Levering discusses and signs his new book Algonquins Planted Salmon. University Book Store

OCTOBER Saturday Nights

NOVEMBER Saturday Nights

DECEMBER Fri & Sat Nights

Find out more about tickets and showtimes at: www.BlackBoxEdCC.org

10 Speakeasy Series: Boom Pow! Comics, Gender + Movement Discussions of comic superheroes and gender stereotypes. Velocity Dance Center • 10 & 12 Seattle Symphony After a self-financed debut

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recording that came out of nowhere to stun critics, and a recent thoroughly successful collaboration with roots singer Tift Merritt, pianist Simone Dinnerstein arrives to play Mozart’s limpid Piano Concerto no. 23. Benaroya Hall, seattlesymphony.org 10–13 Heather Kravas Her dance piece the quartet is “a cult, an essence, a machine, a snowflake, a Utopia, and a quotation mark.” On the Boards 10–13 Social Justice Film Festival Over 60 titles will be screened, mostly documentaries, plus a visit from Sister Helen Prejean, played by Sudan Sarandon in Dead Man Walking. Cinerama and other venues, socialjusticefilm festival.org • 10–13 Chamber Dance Company As elsewhere in our culture, gender has been a topic of animated conversation in the dance world. Hannah Wiley’s programming for In-Gender lays out a variety of positions on the subject.

During the early part of the last century, modernist choreographer Doris Humphrey gave us the ideal female in Air for the G String and a history lesson in Shakers. By the end of that millennium, choreographers like Zvi Gotheiner (Brazilian Duets) and Doug Varone (Possession) have a much more slippery relationship with boys and girls.

In between is Twyla Tharp, striding forward as always, as she breaks down our expectations of what men and women want in The Fugue. SK Meany Hall, meany.org • 10–20 Seattle Lesbian & Gay Film Festival Parties, music, and even stage performances attend this celebration of queer cinema, this year including documentary tributes to Divine and Moms Mabley. Multiple venues, threedollarbillcinema.org 11 Machete Kills You don’t need more than the title to sell this bloody sequel, again pairing director Robert Rodriguez with Danny Trejo, the Charles Bronson of our fallen times. Opens wide • 11 Malcolm Gladwell Seattle Arts & Lectures presents the prolific New Yorker journalist and author of the new David and Goliath: Underdogs, Misfits, and the Art of Battling Giants. Town Hall, lectures.org • 11 Captain Phillips Tom Hanks stars as the captain of a cargo ship seized by Somali pirates. It’s a true story, directed by Paul Greengrass (of all the Bourne movies), so it gets our vote. Opens wide • 11 Andre Dubus III & Nicole Hardy Dubus (House of Sand and Fog) and Hardy (Confessions of a Latter-Day Virgin) will talk about their books with former SW scribe

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

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November 16 & 17

OVER THE RHINE

WITH NOAH GUNDERSEN Illsley Ball Nordstrom Recital Hall

This Ohio-based husband and wife team — touring in support of their newest album, Meet Me at the Edge of the World — bring their wondrous new-Southern sound to Benaroya Hall.

TICKETS FROM: $31

A departure from the expected

November 22 & 23

CASA PATAS FLAMENCO FOUNDATION PRESENTS

TEMPLANZA

Illsley Ball Nordstrom Recital Hall

October 1

KEITH JARRETT, GARY PEACOCK & JACK DEJOHNETTE

30TH ANNIVERSARY CONCERT S. Mark Taper Foundation Auditorium

Jazz piano trio Keith Jarrett, Gary Peacock and Jack DeJohnette bring their locked-in, harmonically unrivaled, rhythmically bolteddown music to Benaroya Hall for a onenight-only concert event.

An Earshot Jazz Festival co-presentation

TICKETS FROM: $30

November 5

Join Casa Patas Flamenco for fiery footwork and live flamenco music.

TICKETS: $39

December 12

HEART & FRIENDS

HOME FOR THE HOLIDAYS S. Mark Taper Foundation Auditorium

Recent Rock and Roll Hall of Fame inductees Ann and Nancy Wilson are behind some of rock’s most iconic hits. Don’t miss their return to the Benaroya Hall stage as they perform with special guests at this hometown holiday concert .

TICKET FROM: $50

EMMYLOU HARRIS & RODNEY CROWELL WITH RICHARD THOMPSON S. Mark Taper Foundation Auditorium

Country music hall of famer Emmylou Harris continues to inspire with her latest album, Old Yellow Moon , a collaboration with longtime friend Rodney Crowell.

Guitarist Richard Thompson joins the duo for this pitch-perfect evening.

y Peac ock DeJo hnet te and Gar Keith Jarre t t , Jack

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

Media sponsor:

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TICKETS From: $40

November 7

MAKANA

Illsley Ball Nordstrom Recital Hall

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Virtuosic and versatile, Makana defies description. His solo performance is an exhilarating ride through the breadth of slack key, folk, rock, bluegrass, ethnic and jazz, and his distinctly original songs are infused with the spirit of Hawaii.

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CALENDAR All Is Lost

Dance-illusionists perform Botanica oct 31-nov 2

DANIEL DAZA/ROADSIDE ATTRACTIONS

Claire Dederer (of the memoir Poser). SEE RELATED ARTICLE, PAGE 11. Town Hall

shares his insights on modern social media and historical ways of sharing information. Town Hall

11 Overseas is the name of Pedro the Lion’s David Bazan’s side project with Will Johnson and Matt and Bubba Kadane. Neumos

14 Alexis Ohanian The Reddit.com co-founder and author of Without Their Permission shares his ideas about using the Internet to do great business. Town Hall

• 11 Andras Schiff This acclaimed pianist is challenging Glenn Gould’s ownership of Bach’s Goldberg Variations.

Benaroya Hall, seattlesymphony.org

14 Graeme Simsion reads and signs his novel The Rosie Project. University Book Store

11–12 Seattle Sings 27 choirs from near and far in this inaugural festival. St. Mark’s Cathedral, seattlesings.org 11–17 Escape From Tomorrow A family vacation goes eerily awry at Disney World, where the story was covertly filmed without permission, which makes us like it all the more. Sundance Cinemas 11–Nov. 2. Philip Govedare He presents new landscape paintings in Distant Places. Francine Seders Gallery, sedersgallery.com • 11–Nov. 24 Cafe Nordo Reprising their inaugural innovative dinner-plus-theater show, “The Modern American Chicken,” Washington Hall, cafenordo.com

12–13 Auburn Symphony Beethoven and Tchaikovsky with pianist Mark Salman. Auburn Performing Arts Center, auburnsymphony.org 12–Nov. 2 The Bacchae GreenStage’s “Hard Bard” series (classics with the gore turned up to 11) goes Greek with Euripdes’ tragedy. Stage One Theatre at North Seattle Community College, greenstage.org • 13 Richard Dawkins The ardent skeptic and scientist has written an autobiography, An Appetite for Wonder.

Town Hall 13 Greg Brown The folky singer/songwriter returns on the heels of his wife, Iris DeMent, who performed here in March. Triple Door, thetripledoor.net 13 Don McLean You know you know all the words. Sing along to “American Pie” with the rest of the crowd.

Snoqualmie Casino, snocasino.com 14 Tom Standage The author of Writing on the Wall

• 15 Emerson String Quartet Paul Watkins is the group’s new cellist; on this annual visit, they’re joined by UW pianist Craig Sheppard for Shostakovich. Meany Hall, uwworldseries.org

Fall HigHligHts

15–Nov. 3 Anything Goes This production of Cole Porter’s classic won a Tony for Best Musical Revival. 5th Avenue Theatre, 5thavenue.org • 16 King Khan & the Shrines The German-based psych garage band recently released Idle No More. Neumos 16 Arielle and Joann Eckstut These interior designers discuss The Secret of Color. University Book Store 16 Stephen Dunn The Pulitzer-winning poet reads new verse. Presented by Seattle Arts & Lectures. ACT Theatre

Chris Thile

AXIS Dance Company

Emerson Quartet

Mariza

oct 1

oct 3-5

16 Martin Schoeller He takes huge color portraits of subjects including Barack Obama, Angelina Jolie, and George Clooney in Close Up. Over 50 images will be on view. End date pending. EMP Museum, empmuseum.org 16–27 The Real Inspector Hound The UW School of Drama presents Tom Stoppard’s murder-mystery parody.

Jones Playhouse, depts.washington.edu/uwdrama 17 Edwidge Danticat The best-selling author of Brother returns with her new Claire of the Sea Light. Town Hall 17 Gordon Orians The UW professor emeritus of biology discusses and signs his North Pacific Temperate Rainforests. University Book Store • 17–Jan. 5 Peru: Kingdoms of the Sun and the Moon SAM exhibits sculpture, metalwork, painting, and textiles from 3,000 years extending from pre-Columbian times into the 20th century. Seattle Art Museum

oct 15

oct 25

At MeAny HAll on tHe UW CAMpUs 206-543-4880 | UWWorldseries.org

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

12 Seattle Baroque Orchestra Opening the Early Music Guild’s season with virtuoso sonatas from both sides of the Alps. Town Hall, earlymusicguild.org

14 Robert K. Elder The Chicago film critic discusses his The Best Film You’ve Never Seen, featuring left-field picks from the likes of Danny Boyle and Peter Bogdanovich.

Grand Illusion

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SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

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CALENDAR sculptural installation made of Venetian blinds by the Korean-born artist Haegue Yang (through Feb. 9). Henry Art Gallery 20 Onyx Chamber Ensemble Music for piano and strings, including a brief piece by a very young Mahler. First Church Seattle, onyxchamberplayers.com • 20 Adam Carolla The reliable funnyman will be taping one of his typically discursive and grouchy podcasts.

The Neptune 20–21 12 Minutes Max OTB’s periodic showcase of new short works. On the Boards

18 The Avett Brothers The tireless tour hounds return to Seattle after last year’s Rick Rubin-produced The Carpenter.

KeyArena 18 Brenda Cooper reads and signs The Diamond Deep.

University Book Store • 18 All Is Lost Robert Redford goes sailing, then sinks and tries to survive in this new one-man drama from J.C. Chandor (Margin Call). Opens wide 18 Affect & Audience in the Digital Age A seminar that explores the arts of digital meditation in contemporary poetry. Henry Art Gallery • 18 Seattle Symphony The [untitled] series, late-night new-music concerts (the best idea the SSO’s had in years), opens with music by John Zorn and more.

Benaroya Hall 18 Carrie Yes, it’s a remake of the 1976 Carrie, based on Stephen King’s novel, this time with Chloë Grace Moretz (Kick Ass) as the teen with supernatural powers and Julianne Moore as her horrid, resentful mother.

Opens wide • 18–19 Cornish Opera Theater The greatest French baroque playwright and composer, Molière and Lully, collaborated on the satirical Le bourgeois gentilhomme.

Cornish Playhouse at Seattle Center, cornish.edu 18–26 Seattle Women’s Chorus On their Halloween concert, music from Bach and Wicked. St. Mark’s Cathedral, flyinghouse.org

22 Garth Knox Updating the repertory for the baroque viola d’amore. Meany Hall, music.washington.edu 22 Robin Kimmerer signs and reads her new book Braiding Sweetgrass. Burke Museum 23 Jo Baker In Longbourn, she reimagines Pride and Prejudice from the downstairs point of view. University Book Store 23–27 French Cinema Now Crime, adultery, and generous dollops of nudity can be expected. SIFF Cinema Uptown 23–Nov. 24 Red Light Winter & 25 Saints Two plays running in repertory from theater troupe Azeotrope. ACT Theatre, azotheatre.org

24 Mark Helprin His sweeping new novel is In Sunlight and in Shadow. Town Hall 24–27 Gregory Vuyani Maqoma In Exit/Exist, performed by his Vuyani Dance Theatre, live music from South African vocal ensemble Complete helps tell the tale of a 19th-century Xhosa chief. On the Boards

25 Fall Open House Celebrate Henry Art Gallery’s current exhibitions with live music, drinks, and art. Henry Art Gallery 25 Mariza The Portuguese fado superstar performs.

Meany Hall, uwworldseries.org

19 Poetry Reading Work by visiting poets Matthew Zapruder, Matthew Dickman, and Dorothea Lasky.

Henry Art Gallery

25 Northwest Symphony Guess who else is playing the Young Person’s Guide to the Orchestra tonight? Highline Performing Arts Center, Burien, northwestsymphony orchestra.org

19–Dec. 15 Tambourine Submarine Recess Monkey stars in Teatro ZinZanni’s all-new family music/circus show. Teatro ZinZanni, dreams.zinzanni.org 19–Jan. 26 Jason Dodge For his show What We Have Done, the sculptor employs ordinary household material like copper pipe and pillows. Also on view: A large

Mama said, “Don’t play with fire!”

They didn’t listen.

24–Dec. 15 Holly Andres The Portland photographer creates eerie, staged domestic scenes in The Homecoming.

Photo Center NW

25 Lake Union Chamber Orchestra Favorites by Britten: his Four Sea Interludes and Young Person’s Guide to the Orchestra. Town Hall, luco.org

19–Nov. 2 Seattle Opera Donizetti’s comedy The Daughter of the Regiment is a fave vehicle for an acrobatic tenor, here Lawrence Brownlee. McCaw Hall, seattleopera.org

Sunday, Oct. 6th - 7:30pm - Tacoma Dome

Buy tickets at ticketmaster.com, (800) 745-3000, the Tacoma Dome Box Office or Ticketmaster Outlets

24 UW Symphony Beethoven’s Seventh, plus a Hindemith ballet. Meany Hall, music.washington.edu

18–Nov. 17 Bo-Nita Elizabeth Heffron explores Midwest working-class life with a touch of magical realism SEE RELATED STORY, PAGE 14. Seattle Repertory Theatre, seattlerep.org

19 Welladay! Welladay! New songs from the exquisite and off-kilter mind of composer Byron AuYong. Chapel Performance Space

Experience Cirque Musica - The Arena Spectacular with your entire family. See the world’s greatest circus performers including the world famous Wallenda high wire duo, the thrilling Espanas, David Larible and more, performing LIVE to the greatest music of all time!

25 Pacific MusicWorks English vocal music from Dowland to Britten. First Baptist Church, pacificmusic works.org 25–31 Tiger Eyes OMG! It’s the Judy Blume-approved movie adaptation of her novel! Northwest Film Forum 26 Seattle Philharmonic Music for Halloween, including Bernard Herrmann’s Concerto Macabre, written for the 1945 film melodrama Hangover Square, in which Laird Cregar, playing crazed composer George Harvey Bone, becomes obsessed with Linda Darnell . . . oh, never mind.

Cool piece, though. Benaroya Hall, seattlephil.org 26 Tudor Choir English church music from across the centuries. Blessed Sacrament Church, tudorchoir.org

ART ON FIRE

Bad boys in Tacoma are heating things up! museumofglass.org

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

19–Nov. 2 Night of the Living Dead One of the creepiest movies ever made becomes children’s theater. Edgy!

Youth Theatre Northwest, youththeatre.org.

22 Stephen Jimenez The award-winning journalist and writer signs The Book of Matt, which reveals the hidden truths about the murder of Matthew Shepard. University Book Store

Photo by Rick Dahm

ISABEL PINTO

Mariza

21 Sara Farizan reads and signs her new book If You Could Be Mine. University Book Store

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CALENDAR

26 Seattle Metropolitan Chamber Orchestra Opening its season with some ravishing Berlioz and spiky Stravinsky.

Chapel Performance Space, seattlemetropolitan chamberorchestra.com

acid. Henry Art Gallery 8 Global Dance Party Contemporary dance from many cultures from DANCE this. The Moore 8 Stefan Sagmeister A lecture by the Austrian-born designer and typographer. Seattle Central Library

• 26 & 30 The Met: Live in HD Another season of broadcasts from NYC features Shostakovich’s surreally irreverent The Nose. Various venues, metopera.org

8 Mateo Messina This Seattle-born film composer annually packs the house for his homecoming fundraiser concert for Children’s Hospital. Benaroya Hall, symphonyguild.org

27 McCaw Hall Day of Celebration Has it been 10 years already? McCaw Hall, mccawhall.com 28–Nov. 7 The Best of National Theatre Live Hamlet, Othello, and a Kenneth Branagh Macbeth will be presented. SIFF Cnema Uptown

30 Darrin McMahon The historian (Divine Fury) shares his insights on the concept of genius. Town Hall

DON PERDUE

• 29 William Todd Schultz He talks with handsome SW editor-in-chief Mark Baumgarten about Torment Saint, his new biography of rock star Elliott Smith. Town Hall

8 Thor: The Dark World The big Nordic comic-book lug (Chris Hemsworth) with the big hammer returns. Natalie Portman is among his less-muscled co-stars. Opens wide

• 30 Simon Winchester The erudite Brit, who lives in the U.S., talks about his The Men Who United the States: America’s Explorers, Inventors, Eccentrics and Mavericks, at the Creation of One Nation, Indivisible. Seattle Central Library

MOMIX

3–March 2 Vanishing Ice: Alpine and Polar Landscapes in Art 1775–2012 Over 70 intenational artists are represented with landscape paintings and photos, including Frank Hurley, who documented the ill-fated Shackleton expedition to Antarctica. Whatcom Museum, whatcommuseum.org

30–31 Seattle Symphony: Psycho A screening of Hitchcock’s thriller with the Bernard Herrmann score played live. Everybody sing along: REET! REET!! REET!!!

Benaroya Hall

4 Samba Dance Class It’s Carnival in November: Learn samba, samba-reggae, marcatu, and more. Fremont Abbey Arts Center, fremontabbey.org

30–Nov. 3 Peter and the Starcatcher A Peter Pan prequel. The Moore, balagantheatre.org

4 Iron and Wine With special guest Laura Mvula. The Paramount

31–Nov. 2 MOMIX Botanica is this dance-illusionist troupe’s paean to the wonders of nature. Meany Hall, uwworldseries.org

• 5 Billy Collins The charismatic and ever-popular poet reads his verse. Town Hall 5 Jason Vanhee He reads from Engines of the Broken World. University Book Store • 5 Emmylou Harris & Rodney Crowell The acclaimed singer and songwriter, respectively, perform with another luminary, guitarist Richard Thompson. Benaroya Hall

NOVEMBER

5 Garland Jeffreys & Lincoln Barr of Red Jacket Mine The New York–based singer/songwriter and friend of Lou Reed will perform cuts from his latest release, The King of In Between. Triple Door, thetripledoor.net

• 1 Garfunkel & Oates Music and comedy from actresses Kate Micucci and Riki Lindhome. The Neptune 1 Luis Gutierrez reads from Still Dreaming: My Journey from the Barrio to Capitol Hill. Town Hall

• 5 Craig Sheppard His ongoing series of Brahms’ piano music winds down with . . . Schumann. Meany Hall, music.washington.edu

1–2 Seattle Symphony Aside from “The Stars and Stripes Forever,” when does a piccolo player ever get the spotlight? Tonight, the SSO’s Zartouhi Dombourian-Eby plays a Vivaldi concerto. Benaroya Hall

5–6 Steve Smith and Vital Information The Pacific Jazz Institute welcomes the return of drummer Steve Smith and his band. Jazz Alley, jazzalley.com

2 Mike Doughty is a singer/songwriter/guitar player/poet/ author/playwright/photographer. The Neptune

6 Of Montreal The Georgia-based band plays with local all-girl band La Luz. Neumos, neumos.com

2 Gallery Concerts Meg Brennand, Page Smith, and Nathan Whittaker tag-team on all six Bach cello suites, plus some Boccherini. Queen Anne Christian Church, galleryconcerts.org 2–Feb. 2 Franz von Stuck Over 150 works are promised, both on loan and from the museum’s considerable collection of the German painter (1863–1928). Frye Art Museum

• 6 Enso String Quartet Verdi tossed off his tasty but neglected string quartet as a lark during rehearsals for Aida. Town Hall 6 Garfield High School Jazz Band Award-winning director Clarence Acox leads this acclaimed group. Triple Door • 6 Garrison Keillor The radio staple and creator of Lake Wobegon brings his droll delivery. Elliott Bay Book Co. 6 Llyn De Danaan She reads from her Katie Gale: A Coast Salish Woman’s Life on Oyster Bay. University Book Store 6–10 Neverwhere A stage adaptation of Neil Gaiman’s novel about the dark world beneath the city of London.

Cornish Playhouse at Seattle Center 7 The Moth StorySlam The nonprofit dedicated to the art of storytelling comes to Seattle. Bring a five-minute story to share. Fremont Abbey Arts Center, fremontabbey.org • 7 First Thursday Art Walk All the galleries in and around Pioneer Square await your visit. firstthursday seattle.com 7 André Watts Scarlatti, Ligeti, and Beethoven’s “Appassionata” from this pianist. Meany Hall, uwworld series.org 7 In the Land of Rain and Salmon Book-It takes you into the lives of early Jewish pioneers in Washington state.

Nordic Heritage Museum, nordicmuseum.org 7 Alexa Hampton This top designer shares the development process of eight amazing homes in her book Decorating in Detail. Seattle Design Center, seattledesigncenter.com • 7–9 Seattle Symphony Mahler’s symphonies were a Gerard Schwarz specialty, so Ludovic Morlot’s backed off from them a bit—but here’s the tragic Sixth, preluded by Boulez’s knotty Notations. Benaroya Hall

7–27 John Feodorov His Emergence is a multimedia consideration of the Navajo creation myth. Gallery4Culture

3 Circuit Training With Lacy Draper Part museum tour, part boot camp. Enjoy an active session that will exercise your body and mind. Henry Art Gallery

7–30 Naturama and Le Petite Singerie New works by Marco Mazzoni and Lindsey Carr. Roq La Rue Gallery, roqlarue.com

3 Día de los Muertos Celebrate the cycle of life with art-making, performances, and exhibitions. Tacoma Art Museum

• 7–Dec. 14 Sofie Knijff In Translations, the photographer juxtaposes international images of children posing as the heroes they hope to be. M.I.A. Gallery FRYE ART MUSEUM

3 & 9 Cornish Dance Theater Choreography by Salthorse in these site-specific performances. Various venues, cornish.edu

8–9 185 Buddhas Walk Into a Bar Amanda Rountree’s improv solo show. Unexpected Productions

• 7–10 Barsuk 15 Barsuk Records celebrates 15 years with Menomena, Maps & Atlases, Yellow Ostrich, and Cymbals Eat Guitars at venues around town. Various locations, barsuk.com

3 Buddy Guy The award-winning bluesman supports his latest release, Rhythm & Blues. Snoqualmie Casino

3 Short Stories Live Tales of horror and mystery by Sir Arthur Conan Doyle. Town Hall

8–9 Leroy Bell & His Only Friends Introducing his sixth CD, Bell embraces soul, R&B, blues, rock, and folk. Triple Door

7–Jan. 5 Les Misérables Village Theatre dreams a dream of making a fortune over the holidays. Village Theatre

Von Stuck’s Orpheus

• 8 Hausu (House) This 1977 Japanese fairy tale/horror movie has become a cult classic. It’s like Douglas Sirk on

8–10 Best of Northwest The annual arts-and-craft show features dozens upon dozens of local artisans. Epect lots of beads. Magnuson Park, nwartalliance.com 8–14 Harry Dean Stanton The iconic character actor is subject of a new documentary. Northwest Film Forum 9 NWDC Presents: Lynn Di Nino Workshop: Birdhouses as Sculptures Make a quirky birdhouse from household objects. Bellevue Arts Museum 9 Poets West Readings by local writers Scott Galasso, David Mathews, and Athenia Nation. Green Lake Branch Library, spl.org 9 Seattle Rock Orchestra performs Pink Floyd Dark Side of the Moon complete, and much more. The Moore 9 Hmong New Year Celebrate the Hmong arts and culture at this festive cultural celebration. Seattle Center, seattlecenter.org 9 Peter and Zoltan Katona The Seattle Classic Guitar Society presents this duo. Benaroya Recital Hall 9 Caution! Fragile. Irish Glass: Tradition in Transition This open-ended show features work by Róisín de Buitléar and her peers. Museum of Glass • 9–17 Kylian + Pite PNB shows a progressive side to its dance programming with new works from modernist choreographers Jiri Kylian and Crystal Pite. McCaw Hall, pnb.org 10 Music of Remembrance Branching into dance as Betty Olivero’s suite for the 1920 silent film The Golem is choreographed by Pat Hon. Benaroya Hall, musicof remembrance.org 10 Island of Hope Living Voices uses theater, video, and live interaction to tell the story of a family escaping oppression in Russia at the turn of the 20th century.

Nordic Heritage Museum 10 Vanessa Carlton Return to the early aughts with hits like “A Thousand Miles” and “Ordinary Day.” Triple Door • 10 Octava Chamber Orchestra Equally devoted to music of the 18th and 21st centuries, they’ll play Bach and a new clarinet concerto by SW’s Gavin Borchert. Maple Park Church, Lynnwood, octavachamberorchestra.com 10 Jesse Sykes & The Sweet Hereafter will play its pivotal debut album, Reckless Burning, in its entirety as part of Barsuk Records 15th-anniversary celebration. Tractor Tavern 11 Atlas Genius This Australian band combines flawless musicality with a yearning spirit. The Neptune 11 David Sedaris Should we believe that any of the anecdotes in Let’s Explore Diabetes With Owls are true? Never mind, he tells them well. Benaroya Hall • 12 Daniel Alarcón He reads from his novel At Night We

CIVICS

SCIENCE

ARTS & CU LTURE

COMMUNITY

TOWN HALL

CIVICS

SCIENCE

ARTS & CU LTURE

COMMUNITY

TOWN HALL

CIVICS

SCIENCE

SEASON HIGHLIGHTS

ARTS & CU LTURE

SEASON HIGHLIGHTS Rebecca Eaton of ‘Masterpiece’

Peter Doherty

Insider Secrets from ‘Downton Abbey,’ ‘Sherlock,’ & More

Birdlife & Pandemics presents

Thursday, September 26

Peter Bagge with Cienna Madrid

Town Music

Thursday, November 7

Sunday, September 29 Elliott Bay Book Company presents

curated by Joshua Roman

Tuesday, November 12

‘Simple Dreams’

Roomful of Teeth

‘An Astronaut’s Guide to Life on Earth’

‘Woman Rebel: The Margaret Sanger Story’

Debora Spar

Chris Hadfield

(9/19)

‘Wonder Women’

Karen Gomyo (2/18) + Pablo Ziegler

Monday, October 7 University Book Store presents

Joshua Roman (4/22) + Andrius Zlabys

Saturday, November 16 Early Music Guild International Series presents

‘Lucidarium: Una Festa Ebraica’ Celebrating the Life Cycle

featuring the Pablo Ziegler Tango Quartet

Salman Rushdie

Pierrot Lunaire + NEW Work

‘Joseph Anton: A Memoir’

Jesmyn Ward with Vivian Phillips ‘Men We Reaped’: A Memoir Friday, October 11 Seattle Arts & Lectures presents

Charles Lloyd

Wednesday, October 23

J. Craig Venter

SCIENCE TOWN HALL

ARTS & CULTURE

Monday, November 18 COMMUNITY

CIVICS

Wyncote Foundation NW w Tagney-Jones Family Fund Horizons Foundation w Nesholm Family Foundation The Aaron Copland Fund for Music w Town Music Aficionados

An Evening with Malcolm Gladwell

‘Tip and the Gipper’ Thursday, November 21

40 Chances to Make a Difference

‘This is the Story of a Happy Marriage’

Monday, November 4

Sunday, November 24 Seattle Public Library presents

Howard G. Buffett with Joe Whinney

ARTS & CU LTURE

COMMUNITY

TOWN HALL

Ann Patchett with Nancy Pearl

Clay Jenkinson

‘Aimless Love’ SCIENCE

Chris Matthews

Monday, November 4

Billy Collins

The Dawn of Digital Life CIVICS

Sunday, November 17 Earshot Jazz presents

(6/24)

by Shpilman, Lustig, Jie and Roman sung by Mary Mackenzie and Ensemble

Wednesday, October 9

TOWN HALL

‘Eminent Hipsters’

Enso String Quartet (11/6)

Monday, October 7

COMMUNITY

Donald Fagen of Steely Dan

A New-Music Chamber Series

Linda Ronstadt

ARTS & CU LTURE

SCIENCE

Tuesday, November 5

Friday, September 20

SCIENCE

TOWN HALL CIVICS ARTS & CU LTURE COMMUNITY

W W W. T O W N H A L L S E AT T L E . O R G

WN HALL

CIVICS

SCIENCE

ARTS & CU LTURE

COMMUNITY

TOWN HALL

CIVICS

SCIENCE

ARTS & CU LTURE

page»

CALENDAR

NWFF

Nostalghia

Walk in Circles. Elliott Bay Book Co.

A-1 PIANO

SALES RENTALS MOVING

13 Deni Béchard In Empty Hands, Open Arms, he recounts the efforts of the Bonobo Conservation Initiative to save the species in their natural habitat of the Congo.

Burke Museum 13 Diane Setterfield She reads from her Bellman & Black: A Ghost Story. University Book Store

13–24 The Fifth of July Lanford Wilson’s dramedy explores the legacy of the Vietnam War. Meany Studio Theater, depts.washington.edu/uwdrama

25

$

• 14 Joe Sacco The Great War is his illustrated new account of World War I’s horrible Battle of the Somme.

Town Hall

a month

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

12–17 Priscilla, Queen of the Desert The film about three flamboyant friends on a road trip through the Outback is now a musical. The Paramount

13–16 The Atomic Bombshells: Lost in Space! Seattle’s premiere burlesque troupe’s latest show. Triple Door

Our rental rates start as low as

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12 Toro y Moi Performing with Classixx. Showbox at the Market, showboxpresents.com

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Spinets • Consoles • Studios • Uprights • Grand Pianos

• 14–17 Cédric Andrieux Jérôme Bel seems to like thinking about dance as much as dancing itself. His works often draw on literary theory and postmodern aesthetics as much as on sheer kinetic impulse. Like a rap artist, he borrows movements from other choreographers, selecting and assembling them into mashups. The results are governed by the logic of the ideas as well as the motion itself.

For Cédric Andrieux, danced by Cédric Andrieux, Bel has created a kind of art memoir, combining spoken biography with excerpts from Andrieux’s own repertoire (including work with Merce Cunningham and Trisha Brown). As he revisits his own history, we see a slice of what life is like for a dancer at the beginning of the new century. Bel has put a frame around Andrieux himself, making the artist into the artwork. SK On the Boards 14–21 Cinema Italian Style SIFF presents a fresh crop of new titles from the boot of Europe. SIFF Cinema Uptown 15 Switchfoot The alternative rock band is touring in advance of 2014’s Fading West. The Moore 15 The Wolf of Wall Street Martin Scorsese and Leonardo DiCaprio are back together again, this time plumbing a true-crime tale of financial fraud in the ’90s (like it ever ended). Opens wide 15 Gramatik This electronica artist performs with heRobust and Exmag. Showbox at the Market, showbox presents.com 15 Northwest Sinfonietta Britten’s bittersweet Serenade for tenor, horn, and orchestra marks the British composer’s 100th. Benaroya Hall, nwsinfonietta.com

• 15 & 17 Simple Measures Bach and more from intrepid cellist Matt Haimovitz. Various venues, simplemeasures.org 15–20 Nostalghia We can never get enough of Andrei Tarkovsky, and neither can you. Northwest Film Forum 15–Dec. 15 The Hound of the Baskervilles David Pichette and R. Hamilton Wright adapted this classic Sherlock Holmes tale. Seattle Repertory theatre 16 The Daneshvar Ensemble Traditional music from Iran.

Seattle Art Museum • 16 Margaret Cho Taking on a touchy subject in her new stand-up show Mother, Mother. The Moore • 16 Kronos Quartet The world-famous new-music ensemble returns to the city of its birth to celebrate 40 (!!!) years, and collaborates with the Degenerate Art Ensemble. The Neptune, stgpresents.org 16 R. Andrew Lee This pianist plays Dennis Johnson’s five-hour November (1959), which the Chapel’s Steve Peters describes as “a nearly-lost masterpiece of early minimalism.” Chapel Performance Space 16–Feb. 16 Robert Davidson: Abstract Impulse The prolific Native American artist is represented by over 40 works created since 2005. Seattle Art Museum 17 2Cellos Croatian cellists Luka Sulic and Stjepan Hauser “break boundaries” by playing rock—and visit Seattle one day after the Kronos Quartet celebrates 40 years of doing just that. The Moore 17 Seattle Youth Symphony There’s a little Romeo and Juliet–inspired music on each of their three concerts this season; first up, Berlioz’s take. Benaroya Hall, syso.org 17 Thalia Symphony Michael Miropolsky conducts Berlioz, Saint-Saens, and Shostakovich. Town Hall, thaliasymphony.org 17 McCabe-Larionoff Duo Pianist Robin and violinist Maria, respectively, play Beethoven sonatas, respectfully.

Brechemin Auditorium, music. washington.edu 17 Michael Kaeshammer This singer/songwriter/pianist blends jazz, soul, pop, and R&B. Triple Door 19 Madhur Jaffrey Curry Nation is her latest cookbook.

Presented by Seattle Arts & Lectures. Town Hall 19 So You Think You Can Dance A tour of headliners from the reality/competition show. The Paramount 19 Kevin Sampsell A release party for his new novel This Is Between Us. Richard Hugo House, hugohouse.org 19 Local Artists on Imagery & Art Brangien Davis moderates this discussion. Town Hall 19 Rokia Traore The Malian singer/songwriter/guitarist’s latest album is Beautiful Africa, produced by John Parish (PJ Harvey, Eels, Sparklehorse). Triple Door

SAINT MARK’S CATHEDRAL OCT 18, 19, 25 & 26, 2013

page»

JERÔME BONNET

Modigliani Quartet

SAINT MARK’S CATHEDRAL OCT 18, 19, 25 & 26, 2013

19 Modigliani Quartet Their program includes a string quartet by Juan Arriaga, who died 10 days before he turned 20. Meany Hall, uwworldseries.org • 20 Bill Callahan The former frontman of Smog supports his fifth solo outing, Dream River. Neumos 20 Steve Aoki The DJ/producer/electronic musician welcomes special guests Waka Flocka Flame and Borgore.

The Paramount 20 James Blake This 24-year old broke through with his new album Overgrown. Showbox SoDo, showbox presents.com 20–Dec. 31 Festival of Ornaments Various local craftspeople are featured. Columbia City Gallery, columbia citygallery.com • 21 Scrape Music by Jim Knapp from this new-music string orchestra. Cornish College of the Arts

With Special Opening Weekend Guest

BENAROYA HALL NOV 30 – DEC 22, 2013

LEVI KREIS

Tickets: 206.388.1400

SeattleWomensChorus.org | SeattleMensChorus.org

21 Dorothea Lasky Poetry Is Not a Project is among her verse collections. Presented by Seattle Arts & Lectures.

ACT Theatre

T R O H ow S N I T MAaRvariety sh

• 21–24 Seattle Symphony As one wag called it, Verdi’s lapel-grabbing Requiem feels like “an opera in church vestments.” Benaroya Hall 21–Dec. 21 Miles Cleveland Goodwin He shows new figurative paintings. Greg Kucera Gallery • 22 Inverted Space UW’s new-music ensemble plays Boulez, Varese, and Holliger. Jones Playhouse, music. washington.edu

Featuring: Ed Grimley

22 Nebraska Alexander Payne helps usher us into Oscar season with this road-trip drama starring Bruce Dern and Will Forte as an estranged father and son. Opens wide • 22 Seattle Modern Orchestra Julia Tai and Jeremy Jolley’s uncompromising group premieres a piece by Tom Baker. Chapel Performance Space, seattlemodern orchestra.org

Jimin y Glick

And Many More

22–24 The Pervert’s Guide to Ideology Everyone loves to hear from cranky Slovenian philosopher Slavoj Žižek. SIFF Cinema Uptown • 22–24 & Dec. 6–8 The Esoterics Benjamin Britten’s complete choral works in two weekends: secular now, sacred in December. Various venues, theesoterics.org 23 Polica Performing their original beats classified as electro-r&b goth-pop, Polica blends passionate vocals with intense rhythms. Showbox at the Market

OCTOBER 3 I 8 PM THE PARAMOUNT THEATRE GROUPS OF 10 OR MORE CALL (206) 315-8054 FOR SINGLE TICKETS CALL (877) 784-4849

STGPRESENTS.ORG

EST. 1928 9TH AVE & PINE ST

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

22 The Dusty 45s The swinging Seattle rockabilly troupe returns to a favorite venue. Triple Door

41

page»

CALENDAR

CHRIS BENNION

Jeff Steitzer as Scrooge in A Christmas Carol.

23–March 9 Elwha: A River Reborn Now that the dams are mostly gone from the once salmon-rich river on the Olympic Peninsula, this exhibit chronicles its steady revival. The show is based on the Seattle Times reporting of Linda Mapes and photography of Steve Ringman.

Burke Museum

1–29 A(n Improvised) Christmas Carol Improv comedians make an amusing hash of Charles Dickens.

Unexpected Productions 5 Collection in Focus: Prints and Photographs of Meiji Japan In conjunction with Camera Nipponica: Photographs from Japan 1880–1930, co-curator Catherine Roche discusses the connection between prints and photographs during the Meiji era. Henry Art Gallery

24 Philharmonia Northwest San Francisco bassist/ composer David Arend wrote his Three Sheets to the Wind, premiered here, for himself and Seattle saxophonist Michael Brockman. St. Stephen’s Episcopal Church, philharmonianw.org

• 5 A John Waters Christmas The archly funny director of Hairspray and Pink Flamingos will have his naughty way with Santa. With Kimya Dawson. The Neptune

27 The Buckaroos A “Thanksgiving Eve Special” from this Chippendales sendup. Triple Door

• 5 First Thursday Art Walk Pioneer Square galleries are open late for your perusal. firstthursdayseattle.com

29–30 The Paperboys’ 7th-Annual Thanksgiving Weekend Meltdown Watch this unique band perform a combination of Folk, Celtic and Bluegrass music with Pop and Rock. Triple Door

42

Directed by John Langs

The meaning of life is somewhere in the middle.

5–9 The Penelopiad Margaret Atwood responds to The Odyssey. Cornish College 9th Avenue Studios, cornish.edu

• 29–Dec. 29 A Christmas Carol The Dickens holiday perennial has been packing in full houses since 1976. And every year brings a talented new waif to the role of Tiny Tim. ACT Theatre

5–22 Ham for the Holidays Peggy Platt and Lisa Koch bring back the Spudds, the Sequim Gay Men’s Chorus, and more in their annual musical sketch show. ACT Theatre, acttheatre.org

29–Dec. 29 Little Women Jason Howland’s musical version of the classic story. Arts West, artswest.org 29–Dec. 31 Oliver The popular Broadway adaptation of Dickens’ Oliver Twist features a mob of singing child actors. 5th Avenue Theatre

5–24 Laura Castellanos She shows big handmade dolls in Borrowed Tribe. Gallery4Culture

30–Dec. 22 Seattle Men’s Chorus For many, the holidays would be bleak and sere without this annual sparklefest.

Various venues, flyinghouse.org • 30–Dec. 29 Nutcracker Seattle Center will swarm with legions of little girls in their holiday dresses for this seasonal favorite. And the morning after the show, all will demand dance lessons. McCaw Hall, pnb.org 30–Jan. 5 Seattle Center Winterfest Six weeks of festive, fun, indoor skating, and FREE entertainment, with a timeless Winter Train & Village, warm roasted nuts and other fine edibles, and sparkling lights to put you in the Christmas spirit. Seattle Center

M

Now-Sep 29

DECEMBER On Sale Now: (206) 292-7676 | acttheatre.org

1 Irish Ceili Music & Dance Gathering Live music from local Irish musicians and a family-style potluck. Doric Lodge, fremont.com

ANGELA STERLING

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

By Will Eno

5 David Bomberg This blues singer has played with everyone and toured everywhere. Triple Door

Lindsi Dec in the Nutcracker.

SEE IT ALL THIS FALL Visit Seattle Art Museum’s three locations to see spectacular international exhibitions, exciting additions to SAM’s collection and engaging temporary installations.

Hometown Boy: Liu Xiaodong / Now on view A Fuller View of China, Japan and Korea / Now on view

SEATTLE ArT muSEum / dOwnTOwn

OLympIc ScuLpTurE pArk

Peru: Kingdoms of the Sun and the Moon / Oct 17, 2013–Jan 5, 2014

The Western Oracle: We Will Tear the Roof Off the Mother / Heather Hart / On view through Oct 13

Robert Davidson: Abstract Impulse / Nov 16, 2013–Feb 16, 2014 Anthony of Padua / Kehinde Wiley / Recent acquisition / Now on view

FInd OuT mOrE AT SEATTLEArTmuSEum.Org

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

SEATTLE ASIAn ArT muSEum / VOLunTEEr pArk

Images, clockwise: Self-Portrait (detail), 2010, Liu Xiaodong, © Xiaodong Studio, 2010, Photo courtesy of the artist; Forehead ornament with feline head and octopus tentacles (detail), Museo de la Nación, Lima, Photo: Daniel Giannoni; The Western Oracle: We Will Tear the Roof Off the Mother, 2013, Heather Hart, © Heather Hart, Photo: Robert Wade; Anthony of Padua (detail), 2013, Kehinde Wiley, Seattle Art Museum, General Acquisition Fund, 2013.8, © Kehinde Wiley, Photo: courtesy of the artist and Roberts & Tilton, Culver City, California; Fast Bird (detail), 2011, Robert Davidson, © Robert Davidson, Photo: Kenji Nagai; Haniwa warrior figure, 6th-7th century, Japanese, Seattle Art Museum, Eugene Fuller Memorial Collection, 62.44; Union of the Imperial Inca Descendants with the Houses of Loyola and Borgia (detail), 1718, Anonymous, Museo Pedro de Osma, Lima.

43

2013–2014 SEASON

Ludovic M

orlot

Fall Highlights SE P T E M B E R 20

N OV E MB E R 2 1, 2 3 & 2 4

RAVEL UNTUXED

VERDI REQUIEM

This all-Ravel concert’s earlier start time and shorter concert format with no intermission is the perfect way to start your weekend.

Be swept away by the powerful, unmatched emotion of Verdi’s Requiem—one of the most dramatic and compelling works yet written.

Sponsored by the Nesholm Family Foundation.

O C TO B E R 3, 5 & 6

BEETHOVEN’S TRIPLE CONCERTO

Alina Pogo stkina

Three rising stars—one magnificent concerto! Don’t miss Beethoven’s Triple Concerto featuring violinist Alina Pogostkina, cellist Andreas Brantelid and pianist Christian Ihle Hadland.

D E CE MB E R 10 & 11

PINK MARTINI

WITH THE SEATTLE SYMPHONY Featuring traditional holiday favorites all imbued with Pink Martini’s signature sound!

Sponsored by Russell Investments.

Dausgaard sponsored by Paul Leach and Susan Winokur.

O C TO B E R 1 8

CAT O’NINE TAILS

Sunday, September 22, 11am–5pm

Presented in partnership with Earshot Jazz Festival.

44

Seattle Sympho ny

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

Pink Ma

rtini

After a critically acclaimed debut, our late-night [untitled] series is back and better than ever. Explore new and contemporary works in a program that features Seattle Symphony Musicians and the Steve Lehman Trio.

O C TO B E R 30 & 31

HITCHCOCK’S PSYCHO WITH THE SEATTLE SYMPHONY See Alfred Hitchcock’s suspenseful Psycho on the big screen as the Symphony plays the soundtrack.

DAY of MUSIC

FREE!

at Benaroya Hall

NOVE M B E R 7 & 9

MAHLER’S SIXTH International Guest Artist Sponsor:

Ludovic Morlot leads the Orchestra in one of the towering works of the orchestral repertoire: Mahler’s epic Sixth Symphony.

Saturday sponsored by Delta Air Lines.

For tickets:

206.215.4747

S E AT T L E SY M P H O N Y. O R G

FEATURING BACK-TO-BACK PERFORMANCES BY THE SEATTLE SYMPHONY! Ludovic Morlot & Stilian Kirov, conductors

MUSIC • FAMILY ACTIVITIES • FOOD • FUN Media sponsor: The Space Needle is a registered trademark and is used with permission from Space Needle LLC.

page»

CALENDAR

5–Jan. 4 John Brophy He paints pseudo-historical portraiture. Roq La Rue Gallery 6–7 New Moves Concert Cornish dance students present their choreography. Broadway Performance Hall, cornish.edu 6–7 Paul Reiser Yes, he’s still doing stand-up, and he’s still funny. The Parlor, parlorlive.com 6 & 8 UW Opera Theater Scenes from operas by Massenet, Mozart, Wagner, and more. Jones Playhouse, music.washington.edu 6–8 Seattle Sampling 2013 36 of Seattle’s award-winning artists will be featured throughout nine locations in the Seattle area. Various venues, seattlesampling.com 6–22 Scrooge! Leslie Bricusse’s! musical adaptation! of—guess what novella! Magnuson Park Community Center Building, seattlemusicaltheatre.org 7 The Dismemberment Plan With special guests Telekinesis. The Neptune 7 The Black Crowes Battered and abused, yet remarkably durable, the Robinson brothers just keep plugging away. The Paramount 7 Winterfest: Ice Sculpting Award-winning artist Jason Iwakami carves seasonal sculptures. Seattle Center 7–8 PNA Winter Festival and Crafts Fair 115 artists and craft vendors, live entertainment, and a bake sale.

Phinney Neighborhood Center, phinneycenter.org

13–14 Seattle Symphony It’s about f***ing time—the SSO hasn’t played “The Four Seasons” since March! Violinist Emma McGrath solos and conducts. Benaroya Hall • 14 Neal Kosaly-Meyer Another installment of his Gradus: for Fux, Tesla, and Milo the Wrestler, a long-term performance project in which the composer is exploring the piano’s possibilities one key at a time. Chapel Performance Space • 14 & 18 The Met: Live in HD Conductor James Levine, not seen in the Met pit for health reasons since spring 2011, returns with a new production of Verdi’s Falstaff.

Various venues, metopera.org 15 PTSA Reflections Exhibit Seattle visual-art students present “Believe, Dream, Inspire.” Seattle Center 18 The Monuments Men George Clooney sets out to save the treasures of European art from the Nazis during the waning days of World War II. Did we happen to mention that Clooney hates Nazis? He hates them. Opens wide 20 Anchorman 2 Stay classy, Atlanta? Ron Burgundy and company grapple with the strange new invention of cable TV. And the 1980s. Opens wide • 20 Inside Llewyn Davis The Coen brothers’ latest, about the pre-Dylan folk scene in early ’60s New York, has wowed everyone on the festival circuit. This could be another Oscar shot for the pair. Opens wide 20–22 Cirque Dreams Holidaze Seasonal circus from a cast of 30. The Paramount • 20–31 It’s a Wonderful Life The dates may change, but this is the GI’s 42nd-annual screening of Frank Capra’s 1946 holiday classic, starring James Stewart. Grand Illusion Cinema, grandillusioncinema.org

• 8 Jeff Tweedy Leader of Wilco and co-founder of Uncle Tupelo, he continues to pour his heart into the sheer effort of being Jeff Tweedy. The Moore

21 Cafe Racer’s Crafts & Curiosities Show Local craft and swap-meet people bring you eclectic items in a cafe setting. Cafe Racer, seattleartists.com

• 8 Bach-Gamel Gamelan Pacifica and members of Cornish’s early-music faculty collaborate. Cornish College of the Arts

• 25 American Hustle David O. Russell follows Silver Linings Playbook with a news-inspired story (about corrupt politicians and bribery) set in the polyester-fabulous late ’70s. Better still, his cast includes Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence, and Robert De Niro. The trailer kicks ass. Get in line early.

Opens wide

9–10 Next Fest NW & Next Dance Cinema Since 2006, Velocity has presented this local film festival featuring the best local and international dance on screen. Velocity Dance Center 10 Rhett Miller The Old 97’s frontman’s latest is The Dreamer. Triple Door • 10–12 Macklemore & Ryan Lewis The homecoming stop on their world tour. Expect total gridlock in Lower Queen Anne. KeyArena, showboxpresents.com 12 Jackie Evancho The little girl with the big soprano.

(She and Downton Abbey are keeping PBS alive.)

The Paramount 13 The Hobbit: The Desolation of Smaug Part II of Peter Jackson’s epic stretching of Tolkien’s single book, which will be completed a year from now, after hundreds of millions of dollars are amassed. Opens wide 12–13 The Thrill of the Hunt: The Unicorn Tapestries They once adorned the walls of affluent aristocrats.

Frye Art Museum, fryemuseum.org

25 The Secret Life of Walter Mitty Ben Stiller is betting big, as both director and star, in this expensive take on the James Thurber story. Danny Kaye went there before in 1947 as the schmuck with an overactive imagination. The Thurber story was published in 1939. What new CGI twist does Stiller hope to add? Opens wide • 27 12 Years a Slave Though the release date may bump to January, the latest film from Steve McQueen (Hunger, Shame) stars Chiwetel Ejiofor as a free New Yorker forced into servitude before the Civil War. Michael Fassbender and Brad Pitt co-star. There is big festival and Oscar buzz behind this one, which is based on the memoirs of Solomon Northup. Opens wide 27–28 Built to Spill Doug Martsch and crew will perform their instrumental brand of indie rock. Neumos 28–29 Seattle Symphony The traditional year-end Beethoven’s Ninth. Benaroya Hall

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

7 & 14 Seattle Pro Musica A Ceremony of Carols and other choral works by Benjamin Britten. Various venues, seattlepromusica.org

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food&drink Hungry at Hedgebrook

FoodNews

The Whidbey Island retreat feeds the writer’s stomach and soul— and with their new cookbook, yours too.

BY NICOLE SPRINKLE

I

This weekend Fremont celebrates Oktoberfest with over 100 microbrews and craft beers in the “biggest beer garden in the Northwest.” Highlights include a “Buxom Beer Garden” (where tastes come in the stein size rather than the 5-ounce), a costume contest, live music, a “Dogtoberfest,” and “Texas Chainsaw Pumpkin Carving.” Tickets start at $20. See fremontocktoberfest.com.

Communal suppers fresh from the garden.

Join author John Holl as he demos from his new The American Craft Beer Cookbook at the Book Larder on Monday at 6:30 p.m. and at Pike Pub & Brewery on Tuesday from 4–6 p.m. The book features more than 150 recipes collected from breweries and brewpubs nationally, with Seattle’s Elysian blackbean sliders and Woodinville’s Redhook Brewery’s chicken-fried steak tips with ESP gravy among them).

COURTESY HEDGEBROOK

“They’re so generous with the food, that it makes people at the table feel more generous with their conversations.”

For the chefs, providing a social center, a hub of release, is almost as important a role as the actual cooking. Denise Barr, the house chef for the past five years, and chef Julie Rosten were artists themselves ( Julie did the illustrations in the cookbook) and close friends before coming to Hedgebrook. They look like they could be sisters, with their long gray hair swept up into elaborate buns, their glasses framing full, white faces, their quiet ease as they move around each

Storyville Coffee is bringing its Bainbridge Island roasts to Pike Place Market and offering free private tastings of its coffee and baked goods throughout September (it officially opens in October) at 94 Pike Place, next to Matt’s at the Market. Book one of the four daily slots at 624-0242 or invited@storyville.com.

Temperature Check

»From TiFFany ran,

Cook aT The Walrus and The CarpenTer

Vietnamese noodle salad bowlscutline

other in the kitchen. As the cook, “you’re the person to trust, the mom, the grandma, the aunt,” says Barr. “Some of the writers who are older than me call me Mom.” They join the table in large part to relax the women, since so many of them are used to being the ones up serving and cleaning.

Barr grew up influenced by cooking with her Nana and her aunt (“as they laughed out loud trying to unmold a Jell-O salad in the warm water of the sink”), and brings that sense of familial love and comfort to the table. Rosten compliments her by adding her passion for ethnic foods; she married into a ChineseAmerican family and talks about the times she’s gone out of her way to create a dish for a writer from afar, like the Jollof rice she made to accompany her root-vegetable curry when a

» CONTINUED ON PAGE 48

Badass ethnic food. I’m seeing more trained chefs turn their attention and passion to ethnic cuisine, recreating those dishes with local organic ingredients while preserving their authenticity—for example, Wiley and PK at Little Uncle; Taylor Cheney at La Bête; Kraken Congee; and Kedai Makan.

Pie. It seems like pie-slingers haven’t gotten as edgy with its variations as with cupcakes or donuts. Perhaps that’s for the better. Desserts should be more about mastering the basics rather than finding cool shit to put on it.

Fernet as the “industry” drink. Must we do this “industry” shit? From what I’ve seen, if there’s one drink chefs and bartenders drink more than any other, it’s a cold beer, probably a Rainier. E

food@seattleweekly.com

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

filled with carrot chipotle soup (to be reheated on your single hot plate the next day); a baggie with salad greens picked from the garden and a little cup of some housemade vinaigrette, maybe honey-mint or Asian ginger.

Should you get hungry between meals or need a break, the farmhouse has a snack shelf full of big jars of dried fruits from the garden (white peaches, figs, and apricots when I was there), candied ginger, vegan granola, nuts and other goodies, and a never-empty cookie jar. “The jar is very important,” says Dederer, “the locus of positive feelings. You can check out the cookies and chat with the chefs—that’s what you do during the day when you’re not working.”

MICHAEL STADLER

t’s a short drive from the ferry terminal on Whidbey Island to my turn onto Useless Bay Avenue. Another minute or two and I pull into a driveway up to a small farmhouse with views of the water. A fresh-faced woman wearing a wide-brimmed hat and holding a big metal bowl asks me if I’m one of the writers. She smiles, tells me to park next to a small barn where lavender and garlic hang to dry, and trots off to pick the last of the season’s blackberries from the garden.

I’ve arrived at Hedgebrook, the 48-acre forested writer’s retreat for women that has housed the likes of Gloria Steinem, Carolyn Forché, Karen Joy Fowler, Dorothy Allison, Monique Truong, and thousands of other emerging and renowned poets, novelists, playwrights, and memoirists.

It’s celebrating its 25th anniversary this year, and in conjunction has released the Hedgebrook Cookbook (She Writes Press)—a celebration of the food served over the years, which has proved to be as storied as the women and the retreat’s wondrous grounds. It’s the food that I’ve come to experience, particularly the communal supper in the farmhouse where six writers-in-residence and the cooks break bread together each night at 5:30. I’ve already cheated and spoken with bestselling Bainbridge Island author Claire Dederer, so I think I have some sense of what to expect.

She tells me about her first time at Hedgebrook, when she was writing her memoir Poser.

“I didn’t want to have communal dinner. I just wanted my own time. I cranked out a lot that first day, and I resented having to go down there.

But I sat down at the table and I saw Sherri Smith, and I could see all of my anxiety and craziness in her eyes, and we just started laughing.

And we had some great meal that Denise made.

“They’re so generous with the food, that it makes people at the table feel more generous with their conversations.”

Karen Joy Fowler, best-selling author of We Are All Beside Ourselves, echoes that. “If you’ve been writing all day, you’ve often let down your guard in certain ways. You’re ready to be who you are.”

This generosity and openness is the guiding philosophy behind Hedgebrook. As Gloria Steinem describes it in the cookbook: “It’s as if women took our 5,000 years or so of nurturing experience, and turned it on each other.” It’s what moms like Dederer and so many other writers who’ve written about Hedgebrook emphasize: It’s a haven where you’re freed of the responsibilities of child care, cleaning, and cooking so that you can focus on your writing. Each night, writers go to the farmhouse refrigerator and retrieve the next day’s lunch, specially prepared for them with care. It’s invariably something wholesome and delicious, like thick slices of bread; a chunk of a good Cheddar or Cambozola; a Mason jar

BY NICOLE SPRINKLE

47

food&drink» Hedgebrook » FROM PAGE 47

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Nigerian writer was hungry for her native food, or a 10-hour pho stock she made with the help of a Vietnamese writer.

I ask them how they approach a meal every night where six women may have different preferences, not to mention allergies. While they strive to feed everyone well, Barr says, they don’t go crazy making several meals. They make one meal, but provide mini-substitutions when necessary. The choice is often guided by the garden.

Julie walks the garden in the morning and talks to Cathy, the gardener who first greeted me. They check the fridge to see what they have, and they refer frequently to the “food diary,” where notes about all the Lavender and writers’ eating habits garlic drying in have been collected one of the barns. through the years.

Also, before coming to Hedgebrook, you’re mailed a form that asks not just about your food allergies or intolerances, but about your comfort foods.

When Dederer came, she wrote that after serving so many meals to young children who notoriously like their foods separated, she wanted all her food to touch. She got lots of pastas and stews.

The night of my meal, they’re serving their Vietnamese noodle salad bowls with shrimp. To account for a fish allergy, a plate of braised tofu is brought out along with the shrimp. The bowl is gigantic, the rice noodles topped with shredded carrots, scallions, cucumber, chopped basil, peanuts, and bean sprouts. The shrimp is marinated in a curry-powder, fish-sauce, lemongrass, gingergarlic goodness. I’m sitting with an older, venerable poet, an internationally bestselling nonfiction writer, a screenplay writer, another poet—and of course Denise and Julie. The tall poet has been here many times (and at the first retreat in 1988), and keeps the conversation flowing. She tells us about an orgy of mating dragonflies she witnessed that day. “They were getting it on—on my lunch!” she exclaims.

I steer the conversation to food, and she blurts out “the Forbidden Rice Pudding.” The mention of the pudding instantly enlivens the faces of a couple other writers. The story goes that one night when the Forbidden Rice Pudding was served, all the women had fantastical dreams.

One writer in particular, very shy, announced the next night that she’d dreamt she’d had sex with Osama Bin Laden and that he was a very gentle, expert lover. “Make love, not war” was how the writers interpreted that dream. (The pudding, sadly, didn’t make the cookbook, which skews toward those recipes most often requested by writers, like lavender shortbread or “Full Moonssaka,” not those inspiring wondrous dreams). We talk about other writers; mutual acquaintances; the great news that Ruth Ozeki’s novel has just

been shortlisted for the Man Booker award—a book she’d been ready to burn in the bonfire before salvaging it here at Hedgebrook. Dessert is a sweet and tart galette made with the Italian plums from their trees (they also have apples and pears), lavender-honey ice cream (Steinem’s favorite), and a raspberry sorbet (also from their raspberry bushes).

After dinner, I gather my lunch, fill a jar with coffee and granola, stop by the garden to snip some dahlias, and head back through the woods, with its towering cedars, firs, and huge ferns, to my cabin, named Owl. I feel like Little Red Riding Hood, and, as a city dweller, am a tad anxious. So much silence and darkness.

I pass the pile of alder wood, but decide I won’t need to make a fire tonight since the day was so warm.

Back in my cabin I can see the light of my “sister” cabin, and feel reassured.

In my sleeping loft, I pore over three of the 12 journals documenting the hundreds of women who’ve stayed in this very cabin. They are fascinating—long passages (handwritten in the ’80s, but typed, printed, and stapled into books in the post-’90s) about their experiences at Hedgebrook, their work, their fears and insecurities as a writer, their guilt, and their elation at escaping their families. And in nearly every entry is some mention of the food.

“It was the best chocolate cake I have ever tasted and I have eaten many in my life!”

“Julie our chef . . . created with food what great writers do with words.”

“I won’t forget these women. The chefs are nurturing creators themselves, and I just feel so grateful.”

“To the chefs, you are all quite simply GODDESSES.” Over 25 years, the chefs, of course, have come and gone. But the consistency of lovingly crafted meals has endured—just as founder Nancy Nordhoff envisioned from the beginning. Though she’d originally imagined something simpler (“oatmeal cooking on the stove, bread in the oven, soup”) she’s hardly unhappy that the meals have become more elaborate.

Now 80, she walks me around the property, stopping to give details about a particular tree (she seems to know something about them all), checks whether huckleberries are ripening on one, points out white snowberries on another.

Her passion is clearly for the land—and it’s the land, really, that feeds the writers who come here, from both the edible and the spiritual bounty it brings. I leave with a baggie of dried fruit, a cookie for my daughter, and a handful of miniature “hardy” kiwis that I’m told will ripen in a few days. Little bites of Hedgebrook to take back to Seattle. E

nsprinkle@seattleweekly.com

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food&drink»

The True Story of the Wandering Goose Heather Earnhardt talks about the new book that inspired her Capitol Hill eatery.

F

irst came the story, then came the Capitol Hill Southern-food restaurant. The Wandering Goose (Sasquatch Books) is a tale inspired by real-life love and loss. Written and printed as a keepsake children’s book, it’s one of those rare titles that manages to speak to both kids and adults. Earnhardt wrote the text in an inspired flurry a couple of years before opening her restaurant of the same name in 2012. Maybe you’ve read excerpts from it printed on The Wandering Goose’s tabletops between bites of fried chicken and Sea Island peas.

It’s equally surprising and refreshing that Earnhardt, the former Volunteer Park Cafe co-owner known for baking what are arguably the city’s best biscuits, would publish a “true” fairy tale before a cookbook. In the narrative, Bug meets Goose and the pair fall into a fast friendship, then love. Eventually Goose senses a need to wander, and everything changes. The text is simple and compelling enough for young readers, but peel back the layers and you’ll be gripped by a thick sense of nostalgia. The story of falling in and out and back into love is your story, or at least it very well could be: partnering with someone, mourning the loss after their departure, then gaining a greater resolve to begin again.

The North Carolina–raised Earnhardt met her real-live Goose the year after tragically losing her 3-month-old daughter Evelyn to SIDS. “My marriage was collapsing and I was extremely lonely and empty,” she relates. “Goose helped me to find beauty again.” After spending a season writing Goose, Earnhardt met her fiancé during the planning of the restaurant—he was her contractor. The pair reside in Columbia City and are raising five kids, three from Earnhardt’s previous marriage.

The pages are dreamily illustrated by Seattlebased graphic designer Frida Clements. Like the text, the visuals hover between understated and lush. Descriptions and drawings of edibles fill the book, with Bug and Goose talking for “endless hours” in a garden full of “thumb-ripe watermelons,” “fresh spearmint,” and “crunchy French carrots.”

Here, Earnhardt talks more about her book, balancing work and home life, and how food links those worlds.

SW: Did you plan to name your restaurant The Wandering Goose before or after writing the story?

Earnhardt: After. My friend Annie and I were thinking of names, and she had read the story and she kept coming back to that name. Finally

BY SARA BILLUPS

she said, “Heather, you just have to call it The Wandering Goose. It’s your story and it fits. It makes the most sense.”

You’ve written that you opened the restaurant “out of everything beautiful.” Does the notion of failure become bigger with The Wandering Goose. since it’s attached to such a personal story and now a book?

The restaurant is very personal to me. It’s my home, my life, my children’s life, so yes, the fear is greater. But I’m driven to succeed not for the notoriety or my name. It’s much more personal than that. (I have to pay my investor back first and foremost.) What matters most to me is what kind of person I am to my children, my employees, my vendors, and my customers.

People matter more to me above anything else.

Have you been able to find space for your family and yourself while clocking long hours as a businessperson and chef?

My schedule includes early morning hours, so I’m almost always home to make dinner for my kids. I designed the business based on my family.

A lot of people wanted me to open every night for dinner, as opposed to just Friday night.

But I have soccer games and basketball practices and piles and piles of laundry and dishes and cleaning and on and on, so I need to be home for them. It’s important to me that my children see a mother that can work hard, but still see me on

Who should read the book?

Anyone that has ever been in love or experienced a loss.

Which is everyone. the sidelines at their games.

Is baking still comforting to you, or does it feel too much like work?

Even after all of these years baking, I continue to enjoy it. No matter what is going on in my life, if I can’t manage to get anything at all done, I can always make a big ol’ layer cake or a batch of buttermilk biscuits and feel grounded again.

Has your Wandering Goose wandered into the restaurant? Has he read the book?

Yes, the Goose has come in. We are still friends. He has read parts of it.

Who should read the book?

Anyone that has ever been in love or experienced a loss. Which is everyone. E

food@seattleweekly.com

food&drink»The Bar Code

The Home Bar, Part 4: Personal Touches

A

orange and herbal flavor that makes it a key component of the Negroni (equal parts gin, Campari, and sweet vermouth). It also pairs really well with rye whiskey; the Boulevardier is just a Negroni where you substitute rye for the gin.

If you prefer vermouths, Punt e Mes is a great hybrid of an amaro and a sweet vermouth, and will give your Manhattan a slightly different sensibility than a classic sweet vermouth.

Fernet Branca will kick you in the face if you let it, but try it with rye whiskey and Cointreau to get an updated take on the Toronto. There are a wide range of other amaros on the market, and plenty of other unique and obscure European spirits, so feel free to experiment. Traditional bitters are also a great and inexpensive way to diversify your bar: Local company Scrappy’s Bitters has an amazing line of flavors, from coffee to cranberry to lavender.

But if you’re more of a hands-on type, why not try your own infusions? Simply start with your preferred base spirit (a relatively cheap brand willl do) and add whatever fruits, herbs, spices, or other flavoring agents (chocolate is a favorite of mine) you want. There are of course a multitude of possibilities, but one word of advice: Test your infusions regularly. They

Make an Old Fashioned with brandy instead of whiskey, or use a different type of bitters. Use basil instead of mint in that mojito, or sneak St. Germain into the French 75. can go from subtle to overwhelming in a very short time. Generally, fresh fruits and herbs infuse within a few days, while dried herbs and other flavoring agents can take a week or two. Once the infusion is over, I recommend straining the spirit to remove any remaining larger chunks which might alter or ruin the flavor if left alone.

Lastly, how to improvise? I suggest starting with our seven basic cocktails and just changing one ingredient. Make an Old Fashioned with brandy instead of whiskey, or use a different type of bitters. Use basil instead of mint in that mojito, or sneak St. Germain into the French 75. As you get more comfortable with cocktails, you’ll find that tweaking the basic recipes can yield some delicious alternatives—and make you look like a master mixologist to your guests! E For Parts 1–3 of the “Home Bar” series, see seattleweekly.com.

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fter a few weeks of outlining the necessities of a home bar, we’ve reached the best part: how to add accent marks that will set yours apart.

You’ve got your basic spirits, but you want to add a bit more flair to the shelves? Let’s start by filling in a few gaps that we left in Part 1.

Our home bar is somewhat deficient in aged spirits, so I’d throw in either an aged tequila (añejo) or a Scotch. They’ll be delicious on their own, and will bring a smoky, complex flavor to a cocktail. Using añejo as the base for a Manhattan or an Old Fashioned will show you the depth of flavor tequilas can have, while adding a half-ounce of Scotch to your margarita can dramatically (and deliciously) change its profile.

Unless you’re inclined to drink either spirit on its own, I’d opt for a relatively affordable añejo or Scotch; the options are far too many to fully tackle here, but I’d try to avoid anything too peaty or smoky. A blended Scotch like Johnnie Walker Red works well, or an affordable single malt like Glenlivet. As for añejos, the Hornitos version is generally affordable and quite tasty.

Casa Noble, though pricier, is a delicious, rich, and flavorful spirit, and one well worth trying.

Next: modifiers for drinks. They generally fall into two categories: sweet and fruity or bitter and herbal, and your personal preference should come into play here. (Those aren’t absolutes, and some bitter spirits can also be sort of sweet, but hey, I’m just a bartender!)

In the sweet realm, you’ve got maraschino liqueur, which is predominantly cherry-flavored.

Luxardo is the easiest to find, but whichever brand you choose will provide a nice way to add sweetness and body to a wide range of cocktails, and it pairs well with both rye whiskey and gin.

Consider a Red Hook, a variant of the Manhattan: 2 ounces of rye whiskey, a half-ounce of maraschino liqueur, and a half-ounce of sweet vermouth, preferably Punt e Mes, which I’ll get to shortly.

Another great sweet option is St. Germain.

Predominantly flavored by elderflowers, it has a bright, lively florality and a slight grapefruit note. Pair it with gin, vodka, or a white rum.

It’s also great with sparkling wine if you want a light sipper.

Leaning toward the fruitier side, there are a ton of options. If you’ve already sprung for Cointreau (per my suggestion in Part 1), I’d say you can skip the other orangey liqueurs, but I’d consider picking up Chambord, a raspberryflavored liqueur. There are a bevy of delicious stone-fruit liqueurs on the market: I’d personally lean toward apricot or plum, flavors that are hard to add to a drink otherwise. They work well with gins, brandies, and spiced rums, but can also mix it up with lighter-bodied whiskeys.

With bitter spirits, there’s ever-expanding variety. Campari is the classic, with a bitter

BY ZACH GEBALLE

A LITTLE WARMTH GOES A LONG WAY

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arts&culture

You Don’t Know Jack

Producer Jack Endino has been making great records for 25 years, but he’s so much more than the godfather of grunge.

WEDNESDAY, SEPT. 18

Frank Marshall

BY DAVE LAKE

D

COURTESY OF FIN RECORDS

espite having already recorded Nirvana, Soundgarden, and Mudhoney, it wasn’t until Jack Endino wandered into a Hamburg bar to meet ’60s psychedelia purveyors Blue Cheer about doing a record for them that he realized grunge had reached its tipping point.

As he ordered a beer and sat down in a booth to wait for the band, a very familiar song blared from the jukebox, its chromatic punk riff immediately registering as “Two Way Street” by Blood Circus. The song had been recorded by Endino.

“Three-quarters of what was in this jukebox I had recorded,” he recalls now, perched behind the vintage Trident console at the Ballard studio he manages. “They had Swallow. They had the Tad 7-inch. They had Mudhoney. It was one of the most memorable things that ever happened to me, because it opened my eyes to the impact that we were having outside of Seattle.”

It was 1990, and though Endino’s career as a record producer had barely begun, he’d already made an indelible mark on music history.

You don’t have to write about the storied Seattle producer in the past tense, however. Endino is far from done. Recent projects have included recordings for Black Tusk and High on Fire, as well as the first new Sonics recordings in 40 years.

Also, the demos Endino recorded for Nirvana’s Lange. “I had the geek gene from way back,” In Utero will finally see the light of day with next he confesses. “I knew that I liked the way some week’s release of the album’s 20th-anniversary records sounded more than the way other records edition, a mammoth reissue that includes a remassounded. And the name of the producer that was tered version of the record plus more than 40 on the back of the record seemed to have a lot to unreleased demos, rehearsals, and a 1993 concert do with the sound of the record.” from Seattle’s Pier 48.

At the same time Endino was learning to play Endino knew early on that he was interested drums and guitar, he was experimenting with in music. At age 6, he began buying radios at recording. He used two cassette players to bounce local garage sales in his hometown of Southbury, the signal of his guitar back and forth, a primiConn., and taking them apart. As an adolescent, tive version of overdubbing. When he got his first he conducted similar analyses on the records he real recording gear a few years later—a Tascam listened to, studying the different sounds you could get an electric guitar to make, the way reverb reel-to-reel four-track and a six-channel mixing board that he bought from American Music—the influenced the sound of a snare drum, the way budding engineer focused his attention on guitar harmonies were laid atop lead vocals. pedals, layering them on instruments to see how Endino moved to the Pacific Northwest when they worked. “I would try and record like a studio he was 15. And while other high-school kids using these guitar pedals,” he says. “The floodgates learned the names of band members, he paid keen were open at that point.” attention to the producers listed on the back of 1 6/18/13 He12:40 honedPMhis craft over the next few years, and his albums:BOD_WKLY_Whiskey_6-18-13.pdf Glyn Johns, Richard Podolor, Mutt

ThisWeek’s Agenda

Second Ave., 467-4927, m-i-a-gallery.com. Free.

11 a.m.–6 p.m. BRIAN MILLER

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FRANK MARSHALL

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SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

in his 20s began to record bands—first his own, and soon thereafter Soundgarden, Green River, and Mudhoney, a holy trinity of soon-to-be grunge superstars.

Through those early recordings, word of Endino’s recording prowess spread through Seattle. Once he finished with a band, they’d tell their friends about Endino’s high likability and low prices.

Almost overnight, the young producer was very busy.

“A lot of these guys were really young at the time and didn’t have a lot of industry or studio experience,” says Jon Wiederhorn, co-author of the recent oral history of metal, Louder Than Hell. “They hook up with Jack, who’s a fellow musician, a guy they’ve hung out with and drank with, and at a time when there was a lot of slick commercial music going on in metal with Metallica and all the stuff coming off the Sunset Strip, he injected this raw energy. I think it was a camaraderie as much as it was a choice of having this expert technician.”

Endino’s recordings became synonymous with the sound of Seattle’s underground music scene: urgent, unpretentious, raging. The aural aesthetic he’d been developing all those years as a listener and then an engineer began to solidify. “Jack has an underground sensibility and a raw dynamic that fit well with these bands from the get-go,” Wiederhorn adds. “The garage-y punk roots of the Sonics have always been a part of the city’s music scene, and Jack was just great at capturing it.”

His approach was to try to record bands as they actually sounded in their rehearsal rooms and onstage. He made early recordings for just about every important Seattle band of the era, including Nirvana, recording the band’s debut Bleach in a handful of evenings in 1988 for a measly $600.

Though these burgeoning Seattle bands each had their own sound, they shared a no-frills approach.

The trick was to use technology carefully, making records that sounded big and modern without losing the emotion of what was happening. Endino wanted a listener to feel like you were right there in the room, bass rattling your chest, guitars

The great thing about music you don’t like is how other people can have a completely different response to it. Today in America, heavy metal seems a hopelessly outdated genre reserved for angry, pimply teens and bald guys with gray ponytails. It’s music for white malcontents. But in Botswana, as revealed through the lens of South African photographer Frank Marshall, there’s an avid and unlikely following for Pantera, Metallica, and Slayer—along with touring metal bands from Johannesburg. That’s how Marshall, a metal-head himself, discovered the scene in Gaborone (Botswana’s capital) while following bands on the concert circuit. The fans he portrays in Renegades wear familiar band T-shirts and leather attire, but the cowboy hats and huge belt buckles also speak to outlaw traditions and the gunslingers of the American West. They’ve borrowed and adapted these imported codes, forming a tight-knit circle of pride. These renegades are as much about fashion as music, and you see traces of Mad Max, Marlon Brando in The Wild One, and possibly even Dennis Hopper in Easy Rider. Their dress modes may seem passé here, but the old metal tropes are revitalized in Botswana, with traces of Afrofuturism, too. Metal is usually considered a conservative musical form, but these fans point in a different direction. (Through Oct. 2.) M.I.A Gallery, 1203

A Marshall subject known as Morgue Boss.

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arts&culture» You Don’t Know Jack » FROM PAGE 53 realized that the most important piece of equipment was me. All this technology, it’s just a tool.

It’s your servant, but you can do it anywhere if your vision is clear and your skill is good.”

And that’s Jack Endino. If you need to find him, he’s probably at his Ballard studio, working on a record that will sound just as good in 2033 as it does today. E

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54

CIVICS

SCIENCE

ARTS & CULTURE

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Endino with Sam MacDonald on bass and Johnny G on drums.

assaulting your ears. “You take the music seriously, but you don’t take yourself too seriously,” Endino says. “That was the key to all the grunge bands.”

While Charles Peterson photographed the era’s bands and helped create Sub Pop’s early visuals, Endino was his audio counterpart, shaping the way the label sounded. “During that period, there was a sound that was Jack’s sound,” says John Goodmanson, a fellow Seattle producer whose credits include records by Bikini Kill, Nada Surf, and the Blood Brothers. “Where L.A. hardcore was super-dry and underprocessed, it was like Jack was trying to get [bands] to sound as good as Led Zeppelin or an AC/DC record.”

Before long Endino had a high profile. The bands he was recording were getting famous.

They signed to big labels and had videos on MTV. Everybody, it seemed, wanted some of his mojo. Managers and major labels called, lawyers sent demos, but Endino was interested in almost none of it. “If I had moved to L.A. in 1992 when grunge exploded, I probably could have charged a lot more money and been established as one of those big shots, and I’d probably be making music that I hate. I don’t care about whatever the latest trend is in music. I want something that I record to still sound good 20 years from now.”

And they do. Bands are still calling—and not

just because he produced Nirvana. “To call him a grunge producer is a misnomer,” Wiederhorn says.

“He’s produced a great variety of bands. He just happened to be there with Nirvana and did a great job working with minimal resources.” Endino has made more than 400 records on four different continents, and even has a couple of gold records from Brazil (to go with the Nirvana plaques), courtesy of the band Titãs.

And he’s playing music too, something he’s done all these years parallel to his recording career.

He made six albums with Skinyard and two with Kandi Coded, and last month released his fourth solo album, Set Myself on Fire, for Ballard label Fin Records. Like that of the bands he loves to record, Endino’s music is loaded with hard-hitting riffs and big rock hooks, a potent combination of brains and brawn. He’s an underrated musician, overshadowed by his contributions as an engineer, but that’s partially because, like his production work, his songs are unassuming. They aren’t slick or overwrought, they’re efficient and economical—trimmed to perfection thanks to thousands of hours overseeing other bands’ songs.

Endino’s greatest legacy, however, may be his continued popularity, due in no small part to his unceasing work ethic and devotion to his craft, which have given him the luxury of working only with bands he wants to record. He is still reasonably priced, and makes just as many records for local bands as for big labels. He eventually came to realize that spending more time or money on a project didn’t make it more artistically viable. “I

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Endino’s first mixer, built by the young producer.

COURTESY OF JACK ENDINO

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

TOWN HALL

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Jack Catalog

THE PRODUCER’S THOUGHTS ON HIS MOST NOTABLE RELEASES.

Soundgarden, Screaming Life (1987) The first record that I recorded other than my own band. They were very meticulous in the studio, and they had very good ears.

Mudhoney, Superfuzz Bigmuff (1988) They came in and recorded virtually live. It captured a moment in time.

Nirvana, Bleach (1989) It took a series of evenings, I think five or six, three or four hours at a time.

Blue Cheer, Highlights and Lowlives (1990) The situation was extremely Spinal Tap in a lot of ways. The band was not the band I thought they would be, and the record was not the record I wanted to make.

Supersuckers, The Smoke of Hell (1992) Eddie [Spaghetti] wasn’t very confident about his singing, so he wouldn’t let me turn the vocals up very loud. If you notice, the vocals are kind of buried.

Titãs, Titanomaquia (1993) I’ve made five albums for them, and they are one of the three or four biggest bands in Brazilian rock history. I became pretty famous there as a record producer because I made these really big records for this band.

Seven Year Bitch, Viva Zapata (1994) There’s a song on it called “M.I.A,” about Mia Zapata’s murder; that is one of the most powerful songs that I’ve ever recorded for any band.

Bruce Dickinson, Skunkworks (1996) We hit it off on the phone. We’re the same age and we grew up listening to the same records. He was very humble and had a good sense of humor. He was a bit like a Monty Python character.

The Lonely Forest, Regicide (2006) They won a battle of the bands at the EMP and one of the prizes was some free recording time. I tried to get Sub Pop interested in the band, but nothing happened.

High on Fire, Death Is This Communion (2007) I knew about High on Fire, and it was one of the few times that I specifically went out of my way to make it known that I wanted to record a band. Somehow we made it happen, and it turned out to be their biggest record up to that point.

The Sonics, 8 (2010) They had a big fight in the studio at one point, and I actually wondered if they were going to break up.

And someone said, “No, no, they just do that sometimes.”

arts&culture» Agenda

Seattle Fringe Festival

Revived last year after nearly a decade’s dormancy (like cicadas, perhaps?), the Fringe Fest is back with five days of short-form mayhem on four Capitol Hill stages. All are within walking distance of one another, so you could potentially see several shows a day, making the $125 pass quite a bargain.

With performers chosen by lottery, the lineup is delightfully random. Topics include a couple meeting every few decades at the grocery store; families dealing with the diagnosis (or misdiagnosis) of autism among their kids; and that old perennial, online dating. On which subject: If you go to enough shows, you may make the acquaintance of some comely fellow theater-lovers. Your first date could be the next evening’s performance. (Through Sun.) Annex Theatre, Eclectic Theater, Northwest Film Forum, and Richard Hugo House. $10. See seattlefringefestival.org for schedule.

BRIAN MILLER

THURSDAY, SEPT. 19

Jonathan Lethem

FRED BENESON

Fourth Ave., 386-4636, spl.org. Free. 7 p.m.

(Also Ravenna Third Place luncheon, $35, 1 p.m.) MARK BAUMGARTEN

Lola Arias

After 1973’s U.S.-supported military coup in Chile came the brutal dictatorship of Augusto Pinochet, a 17-year reign of terror. Though Argentinian, the artist Lola Arias commemorates that era with her El Año en Que Nací (The Year I Was Born). Those lost Pinochet years correspond to the birth years of her stage performers in a piece that also includes videos, old letters, cast-off clothing, and rock music. A hybrid of historical documentary and fiction,

Boards, 100 W. Roy St., 217-9888, ontheboards. org. $25. 8 p.m. KELTON SEARS FRIDAY, SEPT. 20

Fritz Lang Classics Restored

Fritz Lang is arguably the giant among silentera auteurs. Metropolis and M are his landmark works, films every film lover has heard of, if not yet seen. Here’s your chance to catch both of them. Metropolis (1927) is both visually impressive—from the densely imagined cityscape to the massive sets towering over the swarming extras—and simplistic as a sociopolitical portrait.

The recent digital restoration, with 25 minutes of rediscovered footage, offers enriching dimensions lost for years. The 1931 M is arguably the first masterpiece of the sound era, with Lang using sound—and silence—as another expressionist tool in his arsenal. This new 2K DCP restoration features footage missing from previous versions.

Much rarer, at least on the big screen, is the twopart 1924 Die Nibelungen (screening Saturday and Sunday), a magnificent silent spectacle based on the same German myths that inspired Wagner’s Ring cycle. This blood-and-thunder odyssey of warriors, dragons, brotherhood, and betrayal is a tragedy as devastating as anything Shakespeare created. Lang renders it in a mythic landscape of ancient forests, fairy-tale waterfalls, lakes of fire, and caves and crevices that look like they were hewn out of earth and rock—yet built entirely in the studios of Ufa. It is truly awesome, and this HD presentation comes from the gorgeous 2012 restoration. (Through Sun.) SIFF Cinema

ON SALE NOW!

OCTOBER 9-13 • THE PARAMOUNT THEATRE 877-784-4849 • STGPresents.org Priority seating & discounts for groups 10+ call: 888.214.6856 Tickets Available Through Tickets.com and Select Ticketmaster Locations

Additional fees may apply. All sales final, no refunds. Prices, shows, dates, schedules, and artists are subject to change.

Uptown, 511 Queen Anne Ave. N., 324-9996, siff. net. $6–$11. 5:30 & 8:30 p.m. SEAN AXMAKER

MONDAY, SEPT. 23

Bill McKibben

As we were reminded for the umpteenth time last weekend with The Seattle Times’ excellent series on ocean acidification, climate change is a crisis we ignore at our peril. And Bill McKibben is one of the country’s best thinkers when it comes to framing the debate over carbon. He’s also talking about his own life in his new memoir, Oil and Honey: The Education of an Unlikely Activist (Times Books, $26), a dense account of his time in the trenches of the climate wars, where he’s served as general (aka co-founder) of the climate-action group 350.org. The failures described in the book aren’t McKibben’s fault: As we Americans continue to allow carbon to define our energy policy, accounts of unsuccessful efforts to pass meaningful legislation are inevitably anticlimactic (and oh, how many accounts there are). The fact that McKibben spends 20 pages describing an internal debate over whether 350. org should commission an ice sculpture to melt on the steps of the U.S. Capitol during a heat wave may test your patience. But it’s also an indication of how he and his fellow activists are in for a long, often tedious battle on climate change.

Town Hall, 1119 Eighth Ave., 652-4255, townhall seattle.org. $5. 7:30 p.m. DANIEL PERSON E

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

Dissident Gardens (Doubleday, $27.95) is an apt title for Jonathan Lethem’s latest novel.

The book spans three generations and 70 years of radicalism, from the communist ’30s to the Occupy movement, each character blooming, maturing, and then—as is the cycle—decaying to give life to the next generation of dissidents.

Following World War II, Rose and Albert Zimmer are brought together by their shared communist affiliation. But the party sends Albert to East Germany to work as a spy, leaving Rose and their daughter Miriam to survive in Queens, where the two eventually move to the planned community of Sunnyside Gardens.

Unlike much of Lethem’s oeuvre, this novel doesn’t play with the form via unexpected genre twists. It’s a long, intimate, and straightly told family portrait, a credit to an author who began his career writing sci-fi and detective novels.

Himself the son of an activist mother, Lethem has an intimate understanding of the toll that radical politics can take on a family. When Miriam considers her uncompromising mother, Lethem writes: “Rose would never die precisely because she needed to live forever, a flesh monument, commemorating socialism’s failure as an intimate wound.” Seattle Central Library, 1000

El Año assembles Chilean non-actors whose parents were killed, tortured, or disappeared under Pinochet’s rule. Arias has worked with this template before in My Life After, in which young Argentinians investigate that country’s own past dictatorship. Again her goal is for the younger generation to reconstruct the past and understand their present. (Through Sun.) On the

PHOTO OF DANIELLE WADE BY CYLLA VON TIEDEMANN

Agenda » FROM PAGE 53

55

the geekly report» The Blossoming of Nerd Burlesque

BY TERRA CLARKE OLSEN

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

S

56

exy and geeky are words not often paired. After my September 3 Geekly Report giving an overview of the different schools of nerds, a few readers called me out for missing this subsect of geek or that. However, none faulted me for omitting the “sexy geek.” But that might change with a new act in town: nerdy burlesque.

Steven Stone and Kelly Clark are two Seattle nerds working hard to create a blossoming nerdy-burlesque scene. The pair met while working for GeekGirlCon, a local nerd convention, and hit it off right away. (I also met the duo at GeekGirlCon, as I’ve been on staff for almost two years.) They created their first burlesque show, “JOYstick!”, last July as a fundraiser for the convention, and received rave reviews.

How couldn’t it: It featured the crowd’s favorite video-game characters stripping to their skivvies. Some characters were easily burlesque-ified, like Ivy Valentine from SoulCalibur and Shiva from Final Fantasy, who are already dressed in . . . well, let’s just say there is not much left for the imagination.

Other characters required more creativity to make suitable stripteases. One performer channeled Amaterasu from Okami (a sun goddess depicted as a white wolf ) by wearing ears and a beautiful Japanese robe, which she then stripped off to reveal a fiery bikini. After the success of this first show, it became clear to Stone and Clark that they wanted to pursue this further, so they spawned Smooches and Science, a burlesque troupe devoted to undressing gaming culture.

Prior to their own production, Stone had participated in Jo Jo Stiletto’s “Whedonesque Burlesque,” acting as a prop (Mal from Fire-

fly) to Miss Elaine Yes’ Saffron character. He was instantly hooked when he saw the audiences’ reactions. Clark was a burlesque newbie drawn to the performers’ creativity and talent.

The aim of “JOYstick!”, as Stone puts it, is to “spread the joy of video games to the general populace.” The two of them are complete gamers—Clark has even debated asking attendees to bring their Nintendos DS so she can StreetPass them because she is having “PAX StreetPass withdrawals and I think this audience would understand.” (For the uninitiated, the Nintendo 3DS and 2DS have a “StreetPass” feature that allows the user to share information with other devices automatically. Imagine a room of nerds StreetPassing while watching Princess Peach striptease. So geeky!

But so sexy . . . because burlesque!)

As a lady gamer, I think it’s empowering to see another woman dressed up as an obscure character from geeky fandoms in a sexy manner. That these performers are nerds willing to bare all, not only literally but also as fans, is really cool. They are deciding to take on these personas, and are having fun with it.

If you’re not yet convinced that the terms geeky and sexy belong together, then here’s how you can be the judge: “JOYstick! Level 2” is playing at the Columbia City Theater September 20–21, and will feature burlesque teams battling it out onstage. You won’t have to be a geek to enjoy it; as Stone notes, it will be “an amazing show that is fun even if you aren’t a gamer.” Afterward, maybe geeks and non-geeks alike will walk away talking about how “JOYstick!” was both amazingly geeky and sexy, and hopefully we will soon be one step closer to a geekier and sexier world for all! (For more information, check facebook. com/SmoochesAndScience.) E

geeklyreport@seattleweekly.com

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arts&culture» Performance The adorably Aussie Kira (Skerritt) and the endearingly dumb Sonny (Stokinger).

Opening Nights

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

Stage OPENINGS & EVENTS

BAREFOOT IN THE PARK He’s straight-laced, she’s

Bengal Tiger at the Baghdad Zoo

kooky; can this marriage be saved? Since this is Neil Simon, my guess is yes. TPS Theatre 4, Seattle Center, Center House, 4th flr., 800-838-3006, localjewell.com. $12. Opens Sept. 20. 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Oct. 5.

THE DREAM OF THE GOLDEN CLOWN The China National Acrobatic Troupe performs this show, written and directed by PNB alum Hengda Li. McCaw Hall, Seattle Center, 800-745-3000, mccawhall.com. $30– $110. 7:30 p.m. Fri., Sept. 20, 2 & 7:30 p.m. Sat., Sept. 21.

FAMILY AFFAIR Jennifer Jasper’s “sick, hilarious, and ultimately relatable” cabaret on the theme of family.

JewelBox/Rendezvous, 2322 Second Ave., jennifer jasperperforms.com. $10. 7:30 p.m. Wed., Sept. 18.

JOYSTICK! LEVEL 2 SEE THE GEEKLY REPORT, PAGE 56.

MACHA MONKEY SEASON KICK-OFF PARTY! A preview of two of this season’s premieres, plus the usual food, drink, and auction. Seattle Repertory Theatre, Seattle Center, machamonkey.org. $20–$25.

7 p.m. Sat., Sept. 21.

THE MATCHMAKER The Thornton Wilder play that inspired Hello, Dolly! Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $15–$40. Previews Sept. 18–19, opens Sept. 20. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Oct. 19.

SEATTLE FRINGE FEST SEE AGENDA, PAGE 55.

WASHINGTON ENSEMBLE THEATRE, 608 19TH AVE. E., 325-5105, WASHINGTONENSEMBLE.ORG. $15–$20. 7:30 P.M. THURS.–MON. ENDS OCT. 7.

THE SECRET DIARIES OF ANITA GOODMANN

MARK KITAOKA

Existential angst is served up like all-you-can-eat flapjacks in WET’s production of Rajiv Joseph’s 2009 drama. There are riveting moments and a half-dozen fine actors performing at the top of their game, but what takes Joseph’s play 20 minutes to make clear, it also takes another two hours to conclude.

As Joseph sees him, God—or Allah, or whatever you choose to call him—is at best an arbitrary and capricious deity. More likely still is that he either doesn’t exist or must be a sadist who gets off watching his creations suffer like the flies boys torture for sport.

Mike Dooly is the chatty, anthropomorphic tiger (a role Robin Williams recently played on Broadway), a creature given to both savage amorality and guilt-wracked self-reflection. During the U.S. invasion of Iraq, he’s locked in his cage while his rivals the lions are accidentally set free in an explosion. Almost immediately the tiger’s hunger—which makes him do “stupid things”— gets the better of him, and he’s mortally wounded by one of the American guards.

That death sets off a chain reaction, as one character after another gets sucked into the black abyss of war. Among the Americans, Tom ( Jonathan Crimeni) is maimed, and his patrol partner Kev (Ryan Higgins) loses his mind. The Iraqis fare no better. Uday Hussein (Ali el-Gasseir) appears as a ghost to torment his former gardener Musa (Erwin Galan), now forced to work as an interpreter for the infidels occupying his homeland. In due course, scores of Iraqis are tortured and traumatized in the maelstrom depicted onstage. Soon the play is populated with enough dead to open a debate with the

PXanadu VILLAGE THEATRE, 303 FRONT ST. N. (ISSAQUAH), 392-2202, VILLAGETHEATRE.ORG. $30–$65. RUNS WED.–SUN. ENDS OCT. 20; THEN MOVES TO EVERETT OCT. 25–NOV. 17.

MATT HOLMES

Dooly as the talking tiger.

If it’s true that the music you listen to when you’re 20 is the music you’ll listen to the rest of your life, then I’ve been stricken with the Curse of 1983. Which means that the Xanadu soundtrack, with symph-pop songs by ELO’s Jeff Lynne and some fun swing pastiche by Olivia Newton-John’s court composer John Farrar, is irresistible catnip—both in its origi-

nal 1980 film version and in the spoofy stage camp-fest made out of it in 2007. (Go ahead, laugh, but someday someone is going to do this to Can’t Stop the Music.)

Fun as the music is, what makes Village Theatre’s fine production really spring to life are the two perfect leads. Dane Stokinger plays Sonny Malone, Venice Beach’s resident chalk artist/bandanna’d lunkhead/roller-disco visionary. Like, for instance, Brendan Fraser, Stokinger is more adorable the dimmer he gets. Kira, the muse who descends to Earth to inspire him, is played by Jessica Skerritt, aglow with charisma—one of those actresses who make you dream of roles you’d love to see her in: Cunegonde in Candide; Desirée Armfeldt in A Little Night Music, in about 20 years . . . sigh. (I won’t insult her with the obvious observation that she’s a better actress than Newton-John; so am I; so are you.) As if that weren’t enough, she’s effortlessly hilarious throughout, especially her preposterous Australian accent—well, let’s let her demonstrate it herself, with help from the Coleridge poem the title is taken from: In Xanadu did Kubla Khan a stitely plezha dime decree . . .

Just as comedically skilled are two of Kira’s fellow demigoddesses, Lisa Estridge as Melpomene, Muse of Sass, and Christine Riippi as Calliope, Muse of Nerdiness. The show’s pacing seems to be under the influence of a slight mellow stoner haze—a bit of an anachronism, but not to worry; if the performance were fueled by the archetypal drug of the ’80s rather than the ’70s, it’d come in 45 minutes shorter.

GAVIN BORCHERT E

stage@seattleweekly.com

CURRENT RUNS

• BENGAL TIGER AT THE BAGHDAD ZOO SEE REVIEW, THIS PAGE.

BREAK-UP SONGS Your tales of romantic trauma

become improv theater. Unexpected Productions Market Theater, 1428 Post Alley, 800-838-3006, unexpectedproductions.org. $12–$15. 8:30 p.m. Fri.– Sat. Ends Sept. 21.

DIRTY ROTTEN SCOUNDRELS Two con men in France vie to see who’s the con-iest. Seattle Musical Theatre, 7400 Sand Point Way N.E. # 101N, 800-838-3006, seattlemusicaltheatre.org. $30–$40.

7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus 7:30 p.m. Thurs., Oct. 3. Ends Oct. 6.

LES MISÉRABLES Balagan’s production replaces Broadway epicness with “intensely intimate and immersive staging.” Erickson Theatre Off Broadway, 1524 Harvard Ave., balagantheatre.org. $5–$30.

8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Sept. 28.

MEN OF ACTION Jet City’s improv takeoff of adventure movies and their intrepid heroes. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $12–$15. 8 p.m. Thurs.–Fri. Ends Sept. 20.

MIDDLETOWN Starting with its title, threads of Thornton Wilder’s Our Town weave through Middletown wry, eerie tapestry of place. Like Wilder’s stage manager, the “Public Speaker” (R. Hamilton Wright) welcomes us, but not with situational or background information about the town. In another nod to Wilder, Jennifer Zeyl’s set austerely outlines two adjacent houses on risers—though unlike Wilder’s neighbors, their inhabitants don’t know each other yet. New to town and married to someone who travels a lot, Mary (Alexandra Tavares) quickly meets jack-of-various-unsatisfyingtrades John (Eric Riedmann). As awkward as that meeting is (he’s riddled with anxiety), chaste sparks fly as these two random humans, lonely in their own ways, find themselves liking each other. But in Will Eno’s agile, meandering 2010 play (directed by John

•

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

living on the nature of war and whether there’s a point to this seemingly random carnage.

Plaudits to director Michael Place, whose casting ensures that the talkative tiger doesn’t steal every scene. Higgins and Crimeni make great tragicomic foils, while el-Gasseir and Galan grapple with the situational ethics of greed, corruption, and Islamic theology. With Tommer Peterson’s fine minimalist set and lighting designer Jessica Trundy’s sure hand at setting the mood, it’d seem that WET has a real winner here. Yet it’s Joseph who ultimately fails them and the audience. While his ideas are creative, particularly the crosstalk across the divide between the living and the dead, he belabors every point. Bengal Tiger seems not so much to resolve as grind to a halt. Everyone has a final say, and then each gets a chance to refute the other’s observation. It’s beyond tedious. By the end, I was wishing the tiger was real and breathing down Joseph’s neck—to get him to focus this beast of a play down to something more manageable. KEVIN PHINNEY

Timothy Thomas shares the backstory of his drag alter ego, long a familiar face on Seattle’s altcabaret scene. Re-bar, 1114 Howell St.,800-838-3006, brownpapertickets.com. $15–$20. 8:30 p.m. Fri., Sept.

20–Sun., Sept. 22.

SHE’S COME UNDONE Book-It adapts Wally Lamb’s tale of put-upon 40-something Dolores Price. Center House Theatre, Seattle Center, 216-0833. $24–$38.

Previews start Sept. 18, opens Sept. 21. Runs Wed.– Sun.; see book-it.org for exact schedule. Ends Oct. 13.

SKETCHFEST Two weekends of comedy from groups from across the country. $15. Opens Sept. 19. Runs Thurs.–Sat.; see sketchfest.org for schedule and venues. Ends Sept. 28.

THE 39 STEPS A cast of four plays over 150 characters in this murder-mystery sendup. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, rentoncivictheater.org. $15–$22. Opens Sept. 20. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 5.

57

arts&culture» Performance/Visual Arts B Y K E LT O N S E A R S

Openings & Events FACULTY AND STAFF ART SHOW Sculpture, ceram-

TEATRO ZINZANNI: HAIL CAESAR: FORBIDDEN OASIS Frank Ferrante returns as mad chef Caesar,

with Dreya Weber as his sultry accomplice Cleo.

Teatro ZinZanni, 222 Mercer St., 802-0015. $108 and up. Runs Wed.–Sun.; see dreams.zinzanni.org for exact schedule. Ends Jan. 26.

WORDS, SOUNDS, SILENCE Unexpected Productions’ new improv show: “This edgy show illuminates three things present in a single moment.

We often only hear the words, but it is the sounds that accompany the words that give us a chance at understanding the meaning behind what was said.

It is in the silence that we truly see the impact of the message conveyed between the lines of verbal language.” Market Theater, 1428 Post Alley, 800838-3006, unexpectedproductions.org. $7. 8:30 p.m.

Thurs. Ends Sept. 26.

XANADU SEE REVIEW, PAGE 57.

•

Dance

TALE OF TEN GREEN DASSdance partners with

Survival International to present a new work by Daniel Wilkins inspired by the uncontacted tribes of the Amazon, threatened by logging., Washington Hall, 153 14th Ave., 800-838-3006, dassdance.org. $15–$20. 8 p.m. Fri., Sept. 20–Sat., Sept. 21.

LOLA ARIAS SEE AGENDA, PAGE 55.

58 •

Classical, Etc. • JOSHUA KOHL New pieces by the Degenerate

Art Ensemble founder to celebrate the opening of his monthlong sound installation. Frye Art Museum, 704 Terry Ave., fryemuseum.org. Free. 7 p.m. Thurs., Sept. 19.

ROOMFUL OF TEETH This innovative vocal group opens Town Hall’s Town Music series. (Curator/cellist Joshua Roman previews the entire season beforehand at 6 p.m.) Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. 7:30 p.m. Thurs., Sept. 19.

SEATTLE SYMPHONY A reprise of Bolero, the highlight of Ludovic Morlot’s SSO debut concert two years ago, climaxes this all-Ravel concert. (Friday’s concert is part of the one-hour “Untuxed” series.)

Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $17 and up. 7:30 p.m. Thurs., Sept. 19, 7 p.m. Fri., Sept. 20, 8 p.m. Sat., Sept. 21.

THE ESOTERICS Choral music on the theme of eternity, including works by winners of the choir’s composition competition. At Queen Anne Christian Church, 1316 Third Ave. W., 7 p.m. Fri., Sept. 20 (an open rehearsal with the composers); St. Joseph’s Catholic Church, 732 18th Ave. E., 8 p.m. Sat., Sept.

21; and Holy Rosary Catholic Church, 4142 42nd Ave. S.W., 2 p.m.Sun., Sept. 22. $10–$20. 935-7779, theesoterics.org.

VASHON OPERA Strauss’ waltz-drenched Die Fledermaus. Vashon High School Theatre, 20120 Vashon Highway S.W., Vashon, vashonopera.org. $32. 8 p.m. Fri., Sept. 20, 2:30 p.m. Sun., Sept. 22.

JACK STRAW OPEN HOUSE All kinds of music, a New Media Gallery installation by Steve Peters, and more at Seattle’s premier center for sound art. Jack Straw Studios, 4261 Roosevelt Way N.E., 328-7694, jackstraw.org. Free. 2–6 p.m. Sat., Sept. 21.

BROKEN BOW ENSEMBLE From this pathbreaking 26-piece chamber orchestra, the premiere of John Teske’s mer. At Rainier Valley Cultural Arts Center, 3515 S. Alaska St., 8 p.m. Sat., Sept. 21, and Chapel Performance Space, 4649 Sunnyside Ave. N., 8 p.m.

Thurs., Sept. 26. $5–$15. johnteskemusic.com.

SEATTLE SYMPHONY: DAY OF MUSIC All kinds of music in every corner of Benaroya Hall—plus food trucks!—to celebrate its 15th anniversary. The SSO itself will premiere a Native Lands Community Composition, a collaboration with composer Janice Giteck and artists from several Northwest tribes.

Benaroya Hall, 200 University St., seattlesymphony. org. Free. 11 a.m.–5 p.m. Sun., Sept. 22.

OCTAVA CHAMBER ORCHESTRA Opening their season with new works by Giuliano Belotti and Jeffrey Brody. Maple Park Church, 17620 60th Ave. W., Lynnwood, octavachamberorchestra.com. $5–$15. 6 p.m. Sun., Sept. 22.

PEGGY DEES AND FRIENDS From this clarinetist and others, chamber music by David Maslanka., cornish.edu. Cornish College/PONCHO Concert Hall, 710 E. Roy St., 726-5066, cornish.edu. $5–$20. 7 p.m.

Sun., Sept. 22.

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

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Fence of Light I first saw Carsten Höller’s Neon Circle a few years back at Western Bridge, the now-closed SoDo gallery where collectors William and Ruth True showcased their and others’ art. Now it’s back, the Trues’ gift to the Henry and part of the Ghost of Architecture show curated by Luis Croquer. Before, the Circle was surrounded by a throng with drinks and appetizers in hand. With its glowing, Dan Flavin-esque neon tubes, the piece had a festive air, like something you might encounter at a disco. (In my mind’s ear, there was music at that opening.) Down in the bowels of the Henry, flanked by some two dozen other pieces, the circular enclosure now becomes more austere and forbidding; it gains seriousness in isolation, though you can still step inside the thing. Without the warmth and buzz of a crowd, this Circle becomes a colder work, emanating a blue, almost clinical light. If there’s a link to architecture, it’s the aspect of an unbuilt circular wall—for

Come watch at the museum’s Grand Staircase (on University Street) as the two muralists create an outdoor work for Seattle Park(ing) Day. Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum. org, Fri., Sept. 20, 10 a.m.-3 p.m.

MEGHAN MITCHELL Inspired by zines and comics, Hello is a collection of Mitchell’s graphite and ink drawings, which explore her inner monologues.

Opening reception 6-9 p.m. Thurs., Sept. 19. Fulcrum Gallery, 1308 Martin Luther King Jr. Way (Tacoma), 253-250-0520, fulcrumtacoma.com, Opens Sept. 20, Wed., Fri., 12-6 p.m. Through Nov. 13.

RAY K. METZKER A specialist in black-and-white photography, he’s represented by four decades of work. Also on view: David Hartt’s Stray Light, in which the photographer documents the Chicago offices of the publisher for Jet and Ebony magazines. Both shows open Sat., Sept. 21. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org, $6-$10, Wed., Sat., Sun., 11 a.m.-5 p.m.; Thu., Fri., 11 a.m.-9 p.m.

Through Jan. 5.

MARK MITCHELL Burial presents clothing Mitchell crafted specifically for the dead to wear during burial ceremonies, designed to biodegrade. Live show, 7:30 p.m. Fri., Sept. 20. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org, Free, Opens Sept. 21, Tue.-Sun., 11 a.m.-5 p.m. Through Oct. 20.

NORTHWEST FOCUS This 20th-anniversary show touches features Susie Lee, Edward S. Curtis, Burt Glinn, Jim Marshall, Eirik Johnson, Mary Randlett, Michael Kenna, Robert Lyons, Jock Sturges, Carrie Mae Weems, and others. Over 40 prints will be on view and available for purchase at PCNW’s annual gala on October 18. The exhibit opens Fri., Sept. 20. Photo Center NW, 900 12th Ave., 720-7222, pcnw.org. Mon.Sun., 11 a.m.-10 p.m. Through Oct. 16.

SEATTLE PARK(ING) DAY Temporary mini-parks will sprout all over the city. See seattle.gov/transportation/ seattleparkingday to find out where. Fri., Sept. 20, 9 a.m.-3 p.m.

WORLD/CITY This model exhibit features 2-D renderings, digital imagery, and visual art connecting local design to global contexts. Opening reception 6-8:30 p.m. Thurs., Sept. 19. Seattle Architecture Foundation, 1333 Fifth Ave., 667-9184, seattlearchitecture.org, Opens Sept. 19, Tue.-Sun., 11 a.m.-2 p.m. Through Oct. 13.

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what purpose can only be guessed; maybe a public urinal?—with the studs in place but no Sheetrock affixed. There’s also a spiral quality to the piece, which measures about 17 feet in diameter; the absence of corners recalls Temple Grandin’s design for calming cattle chutes. Nothing is hidden around the corner in this structure.

Perhaps referencing the wave-versus-particle paradox of light, the Swedish artist gives it a shimmering transparency, a suggested solidity that isn’t there. Henry Art Gallery, UW campus, 543-2280, henryart.org. $6–$10. 11 a.m.–9 p.m.

Thurs.–Fri., 11 a.m.–4 p.m. Wed., Sat., & Sun. Ends Sept. 29.

BRIAN MILLER

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

Langs), the majority of scenes are free-standing encounters between various denizens, a collection of moments that more closely approximates the rhythm of real-life experience than a more tightly escalating structure would. In a fantastic metascene supposedly set during intermission (don’t get up just yet, a real intermission will follow), five fake audience members banter like a Chekhovian chorus. Perhaps as a way of showing that all humans are made of similar psychological matter (where most other plays try to suggest otherwise), all the characters in Middletown share certain traits. Each surge of self-assertion gets checked by a jolt of selfeffacement, before settling in some central place of acceptance. MARGARET FRIEDMAN ACT Theatre, 700 Union St., 292-7676. $41 and up. Runs Tues.–Sun., see acttheatre.org for exact schedule. Ends Sept. 29.

ROSEMARY RiOT [productions] debuts with Seth Tarkus’ punk-flavored drama about a girl trying to escape Bremerton. Inscape, 815 Seattle Blvd. S., 800-838-3006. $10. Runs Thurs.–Sun.; see brown papertickets.com for exact schedule. Ends Sept. 21.

SECONDHAND LIONS The premiere of a musical based on the Michael Caine/Robert Duvall fantasy/ adventure film. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900. $29 and up. Previews through Sept. 25, opens Sept. 26. Runs Tues.–Sun.; see 5thavenue.org for schedule. Ends Oct. 6.

SOFT CLICK OF A SWITCH MAP Theatre’s second production is Carter W. Lewis’ play about two ordinary guys who start building bombs. West of Lenin, 203 N. 36th St., 800-838-3006, map-theatre.com, brownpapertickets.com. Pay what you can. 8 p.m.

Thurs.–Sat. plus Mon., Sept. 23. Ends Sept. 28.

LARAE LOBDELL

Self-assertion and selfeffacement: the cast of Middletown.

ics, drawing, paintings and more are offered at SCCC. The exhibit opens Weds., Sept. 18. South Seattle Community College, 6000 16th Ave. S.W., 764-5308, southseattle.edu, Mon.-Thurs. Through Oct. 24.

ARTS CRUSH KICKOFF Today’s event, which begins a month-long festival featuring local theaters, will include interactive art exhibits (among them a live mural paintings from the ChromaMatics), music and more. Seattle Center Fisher Plaza, artscrush.org, Sun., Sept. 22, 11 a.m.-2 p.m.

JACK STRAW OPEN HOUSE Performances from Alchymeia, Tom Varner & Friends, ChoroLoco, and Paul Anastasio & Elena DeLisle will stand alongside a galley installation by Steve Peters and Tina Hoggatt’s Story Chairs. Jack Straw Studios, 4261 Roosevelt Way N.E., 328-7694, jackstraw.org, Sat., Sept. 21, 2-6 p.m.

ART JONES You Won’t See Me is a multimedia installation featuring sound elements, projections, and over 300 Polaroid photos from the artist’s Instant Karma series. Opening reception 5-9 p.m. Thurs., Sept. 19.

Seattle Design Center, 5701 Sixth Ave. S., , coca.org, Opens Sept. 19, Mon.-Fri., 9 a.m.-5 p.m. Through Nov. 15.

JOSHUA KOHL The co-director of Degenerate Art Ensemble will premiere new sonic work inspired by visits with his father. The yet-untitled piece will premiere as a performance and remain ongoing as a sound installation. Debut performance 7 p.m. Thurs., Sept. 19. Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org, Free, Opens Sept. 21, Tue.-Sun., 11 a.m.-5 p.m. Through Oct. 20.

LA INFLUENCIA The group show explores the contribution of contemporary Oaxacan culture to the Northwest. Artists include Enrique Flores, Flugencio Lazo, and Shinzaburo Takeda. Opening reception 6-8 p.m. Weds., Sept. 25. Seattle Central Community College, Broadway and Pine St., 344-4379, seattlecentral.org, Opens Sept. 23, Mon.-Fri., 9:30 a.m.-3:30 p.m.

Through Oct. 25.

• XAVIER LOPEZ JR. & RYAN “HENRY” WARD

Fall Into Craft Beer

By Geoff Kaiser

E

ven though summer isn’t officially over until September 22, our Northwest fall beer season is in full swing. “Seasonal creep” had pumpkin beers and other fall seasonals hitting retailers’ shelves as early as July this year, despite the fact that the last thing that most sane people want on a beautiful, warm, sunny day is a pumpkin beer. But given market demand and the constant fight to have new releases noticed, breweries aren’t going to stop breaking out their fall beers early anytime soon.

That said, now that fall is actually almost here, we should embrace the beers that only make an appearance this time of year.

Pumpkin Beers

Many people think pumpkin beers are gimmicky, but when done well, the results are quite enjoyable. Elysian Brewing is the undisputed king of pumpkin beers, and their upcoming Great Pumpkin Beer Festival is the

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perfect place to try more of them than should rightly be in one location at the same time. In this ninth annual festival, more than 60 different pumpkin beers will be pouring at any given time.

Elysian was planning to brew at least a dozen beers for the festival themselves, with guest beers from breweries across the country filling the rest WINNER of 5 of the lineup. You are sure to find one of my personal favorites at the festival, Elysian’s Dark Gold & Silver o’ the Moon Pumpkin Stout. The festival runs October 4–6 at the Elysian production brewery for: in Georgetown.

Fresh Hops

One of my favorite things about the end of summer is that fresh-hop beers are on their way.

Around 75% of the country’s hops are harvested in 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

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SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

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C.O.G. RUNS FRI., SEPT. 20–SUN., SEPT. 22 AT SIFF FILM CENTER. RATED R. 87 MINUTES.

The personal essays of David Sedaris are notoriously unverifiable. I think we’ve established that by now. His fame rests upon clever, vindictive rewritings of past humiliations and grievances. Yet those self-lacerating moments are true in spirit; it’s just how he looks back on them, polishes them for us chuckling readers of The New Yorker and his recent Let’s Explore Diabetes With Owls that toes him over the line into fiction. C.O.G., adapted by director Kyle Patrick Alvarez from a story in Naked, casts the young, vulnerable David ( Jonathan Groff ) as an innocent yet mendacious young man who travels west to work on an Oregon apple farm “to get my hands dirty.” In fact, pay-phone calls home indicate, he’s escaping the judgment of his mother for being . . . well, that will have to wait. (We all know Sedaris is gay, but C.O.G. treats that like the big reveal it’s not.)

Alvarez is better with the texture than the uneven, episodic tone of his story. Certainly he doesn’t go easy on his unreliable, unlikable hero.

David—who calls himself Samuel, because it sounds fancier—is petulant and petty, a snob who insists he studied Japanese at Yale. He’s also a sissy prone to gay panic when a kindly coworker (Corey Stoll, forever Hemingway in Midnight in Paris) comes on to him. Put differently, he’s not yet a self-accepting gay man. Yet Alvarez wounds his hero with interesting thorns (Dean Stockwell, Denis O’Hare, etc.) and builds up scar tissue that toughens his hide.

Whether attempting to feed meat to cows or being forced to drag a propane tank for miles along a country road, David/Samuel has a gift for doing and saying the wrong thing. And for each faux pas he is punished, and then some, by the locals—who are not the yokels he first

takes them to be. “Stop being so prideful,” says O’Hare’s itinerant street preacher Jon, who takes David/Samuel under his wing (though a charity case himself ). If our hero seems a little old to be learning basic life skills on the road, he also acquires the humility to see his own faults. And accept them—because we’re all sinners in this world, whether you believe in God’s judgment or not. (Warning: This film uses clap-track audio segues that will drive you insane.) BRIAN MILLER

Good Ol’ Freda RUNS FRI., SEPT. 20–THURS., SEPT. 26 AT SUNDANCE CINEMAS. RATED PG. 86 MINUTES.

To the person who mailed a pillowcase to the Beatles Fan Club in 1964 with the request that Ringo Starr sleep on the bedding and autograph it: Perhaps at some point in the past 50 years you have doubted that the signed pillowcase you received back ever really had spent a night beneath a moptop’s shaggy head. It seems unlikely. Surely the Beatles had better things to do; and probably someone was using a rubber stamp for the signatures by then. Well, dig that pillowcase out of its box, because Ringo really slept on it. He had no choice: Freda Kelly brought it to his mum’s house and told him to.

Who is Freda Kelly? Merely the Beatles’ secretary for 11 years during the glory days—actually, she was working for the band before Ringo joined. Her utterly darling story is told in Ryan White’s Good Ol’ Freda, another documentary shard in the saga of the best band ever. Freda’s never cashed in on her proximity to the band; and after all this time, she has some charming stories to tell. As a Liverpool teenager, she attended more than 100 Fab Four gigs at the Cavern Club, which led sharp-eyed Beatles manager Brian Epstein to hire her. (He must have seen that the starstruck 17-year-old also carried a no-nonsense manner that would serve everybody well during the mania to come.) And so Freda went about running the office, riding herd over thousands of pieces of fan mail and making sure the lads sat down with stacks of autograph books to sign. With a fierce Liverpudlian clannishness, she kept secrets and bonded with the Fab

BENOÎT PEVERELLI/SONY PICTURES CLASSICS

Opening ThisWeek

Farahani’s heroine finds scant freedom outside her home.

families: Ringo’s mother became a maternal figure for the motherless Freda; Paul’s dad taught her how to drink. More personal intimacies involving the boys will remain unspoken, as Freda remains protective of her former charges, even after 40 years of settling into a normal life.

Is this a revelatory documentary? Not at all.

The firsthand recollections of what the prestardom Beatles were like at the Cavern are great, and Freda makes for an amiable character study in this likable, modest enterprise. The movie also features a handful of Beatles songs on its soundtrack, which a tiny indie like this could not possibly afford to license. It would seem that somebody up there still likes Freda.

ROBERT HORTON

Ip Man: The Final Fight RUNS FRI., SEPT. 20–THURS., SEPT. 26 AT GRAND ILLUSION. RATED PG-13. 102 MINUTES.

PThe Patience Stone OPENS FRI., SEPT. 20 AT SUNDANCE CINEMAS. RATED R. 102 MINUTES.

WELL GO USA ENT.

There is war, and there is war. The more intimate variety plays out against the global kind in The Patience Stone, a film with an unspecified location but a painfully recognizable set of conflicts.

On the smaller front, we find a wife and (unnamed) mother trying to keep it together in the midst of chaos. The family home is in a battle zone where Taliban-like fighters regularly rake through the neighborhood. What’s particularly alarming is that the woman’s husband—an older man she was forced to marry 10 years earlier—has been comatose for two weeks, having sustained an injury in the conflict. He might wake up; he might not. As she feeds him through a tube, she begins talking to him—an outpouring that becomes the movie’s dominant drama, dwarfing even the combat going on outside.

It becomes clear that the wife has never been encouraged or allowed to speak her mind in this marriage, so there is a great deal of catching up to do. Many of her revelations would have serious consequences in this traditional religious culture—if they were heard by men. But in the meantime, survival issues surround this onesided conversation. The woman scrambles to feed her children and survive the threat of assault

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

Wong’s got the fierce eyes of a kung-fu master.

The flurry of films chronicling the exploits of legendary martial-arts master Ip Man (1893– 1972) suggests that the subtitle here is misleading. The Final Fight? Not likely, not if this icon of coolness and nostalgia continues to sell tickets.

It’s been a full three weeks since Wong Kar-wai’s The Grandmaster was released, so to recap for the uninitiated: Ip Man changed the world of kung fu with his Wing Chun style, living long enough to send forth an army of followers and teachers, among them Bruce Lee. The Final Fight begins halfway through the story (director Herman Yau already surveyed his younger years in 2010’s The Legend Is Born: Ip Man), as the man (now played

by Anthony Wong) arrives in Hong Kong in 1949 after the communist takeover of mainland China. He sets up a humble school in a rooftop studio, shrugs off rivals, and establishes a curious relationship with a loyal singer (Zhou Chuchu) whose loyalty to him seems to have sprung out of a 1950s Douglas Sirk picture. Which is not a bad thing.

The movie haphazardly tosses out a series of chewy scenes: Ip Man schooling his hazily sketched students, settling the occasional fight with a thug, and—in the film’s irresistible centerpiece—engaging another grandmaster (jovial Eric Tsang) in a showdown that becomes a mutual-admiration session. The Grandmaster’s

loftier aspirations are nowhere to be seen here, but Yau’s storytelling beats turn out to be perfectly enjoyable on their own terms. The climactic stretch of kung fu is set up with the broadly drawn motivations you want in this kind of exercise.

In the lead role, Wong doesn’t have the fighting chops of someone like Donnie Yen, who played Ip Man in two action-oriented biopics, but that turns out to be all right. If anything, Wong’s propensity for just standing there stonefaced while fending off his opponents’ blows only adds to the mysterioso effect of Wing Chun.

And the saturnine Wong is a real actor, a veteran of the Infernal Affairs trilogy and Jonnie To’s glorious Exiled. Fast hands are important in a martial-arts picture, but so are expressive eyes.

Wong’s got them. ROBERT HORTON

» CONTINUED ON PAGE 64 63

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from soldiers. She also steps out for money and worldly wisdom from a scandalous aunt who works as a madam.

It isn’t quite a one-woman show, but Iranian actress Golshifteh Farahani’s performance is a tour de force nonetheless. Sweet-featured and heavy-browed (she’s already gotten Hollywood’s attention, in 2008’s Body of Lies), Farahani is stunning in every sense, and her gutsy performance carries The Patience Stone through its overstated moments—though to be fair to the movie, nuance has never played particularly well to fundamentalists. (As though to underscore the point, Farahani’s prior work with moviemaking infidels got her banned from returning to Iran; she now lives in Paris.) Kabul native Atiq Rahimi directs, having adapted his own novel with the help of the incredibly well-traveled screenwriter Jean-Claude Carrière, an expert in the business of making tricky material find a compelling flow.

Early in the film our heroine prepares to leave the house. “I have to go out,” she tells her unconscious husband. “Is that all right?” It takes another beat for her to wonder why she is still asking permission—but old dogma dies hard.

ROBERT HORTON ART APPROVED AE APPROVED Populaire CLIENT APPROVED RUNS FRI., SEPT. 20–THURS., SEPT. 26 AT VARSITY. RATED R. 111 MINUTES.

They tried a decade ago to spoof the old Rock Hudson/Doris Day no-sex comedies in Down With Love, set in the early ’60s, with Ewan McGregor and Renée Zellweger trading a knowing leer for Hudson and Day’s subtle wink.

The movie half-worked; then Mad Men came along, taking ownership of our postwar nostalgia with sex, alcoholism, and neurosis added to the impeccable sets and costumes.

The French Populaire, set in the late ’50s, arrives unsteadily between those poles of cottoncandy innocence and bourbon-soaked experience. Director Régis Roinsard loves the period details, perhaps too much to lampoon them. In a provincial village, Rose (Déborah François), a humble shop owner’s daughter, hopes to land a modern new secretarial job with an insurance broker in the nearest town. Rose thinks herself very nicely attired when she arrives to interview, finding a room full of women who’ve studied

the fashion magazines far more closely than she.

Some even wear fake eyeglasses to compound smart with chic, but Rose is as guileless as a daisy.

Until she starts typing to impress her prospective boss Louis (Romain Duris), when it turns out Rose is a demon at the keys.

What ensues in their predictable Pygmalion romance, as Louis trains Rose to become the speed-typing champ of France, certainly looks great. The nightclubs and suburban kitchens have a slightly unreal sheen, like postcards printed too bright. Duris, of Heartbreaker and The Beat That My Heart Skipped, wears his slim-cut suits with a tiger’s predatory grace. François flounces around in her country frocks until Rose’s success graduates her to cover-girl glamour, accessorized with pink typewriter. The cars, furniture, and even the food appear as if from family photo albums taken during the de Gaulle era.

So why isn’t Populaire more fun? Unforgivably, for a movie about speed, it’s way too long and slow for a romantic comedy. The training montages and typing contests drag on redundantly; and Louis’ realization that, yes, Rose is the girl for him is obvious midway through the story.

Again, it feels as though Roinsard can’t let go of the old family album; he wants us to study every page and photo. Populaire’s chief pleasures lie in its grace notes: smug Louis’ comic look of vexation; his American pal Bob’s broad Ohio-French accent; Rose staring daggers at her adversaries while swatting the carriage return with a boxer’s right hook. In this conventional love story with a conventional ending, there’s something unexpressed and almost angry within Rose—that the world isn’t treating her fairly. She learns to type by copying the classics of the French canon, all of them written by men. BRIAN MILLER

A Single Shot OPENS FRI., SEPT. 20 AT PACIFIC PLACE. RATED R. 116 MINUTES.

Sam Rockwell finally got the love he deserves in The Way, Way Back, dominating that slight summer coming-of-age flick with his charming rascalry. He’s played plenty of hicks and nuts (see The Green Mile, Seven Psychopaths), but he seldom gets to play the sympathetic lead. This adaptation of a sparse crime novel gives him that chance. John Moon is broke and unemployed in rural West Virginia; his wife has left him (taking their small son); then he makes a horrible

mistake while poaching deer to stock his freezer—shooting an unknown young woman hiding in the forest. In a panic, he returns the body to her makeshift camp, there discovering a box full of cash. (Here let’s state that Matthew F. Jones’ 1996 book came out before A Simple Plan, which shares its windfall-in-the-woods plot.)

Moon hopes to use the cash for a lawyer (William H. Macy) to stave off the divorce threatened by his wife (Kelly Reilly of Flight).

Then, having seen his own parents’ farm lost to foreclosure, maybe he can buy a better patch of land. But since Moon is poor and nearfriendless, and because his wife is likely better off without him, and with the stolen money’s wrongful owners on his trail, nothing will go according to Moon’s plan. Nor does it help that he’s surrounded by drunks (cue Jeffrey Wright) and violent idiots (hello, Joe Anderson). With no evidence of the law in sight, Macy’s lawyer tells Moon, “There are so many overlapping interests in a small town.” His secret isn’t secret. Threats and violence gather around Moon like flies—so maybe he should make a deal with those interested parties? But Moon is stubborn. “I want my family back,” he insists.

Among the writers who admire Jones is David Woodrell, whose Winter’s Bone shares a certain backwoods, meth-inflected code of justice with this story. Moon keeps trying to repair his great wrong, but there’s no decency behind any door he knocks on for help. Rockwell tamps down his usual buoyancy, sagging palpably with each letdown and betrayal. “I’m tired, real tired,” says Moon, but it also seems the world around him is suffering from moral exhaustion, too. The damp, gray mists fill the forest, where Moon even begins to see ghosts.

A Single Shot never quite gets beyond genre, and the Appalachian mumbling can be hard to follow. Good actors appear for short scenes, then frustratingly disappear. Still, Rockwell holds the piece together with the concentration of a man who knows he’s losing but never quite grasps why he’s losing. BRIAN MILLER

Thanks for Sharing OPENS FRI., SEPT. 20 AT GUILD 45TH. RATED R. 112 MINUTES.

ANNE JOYCE/ROADSIDE ATTRACTIONS

No sex, please, we’re in rehab. Ruffalo and Paltrow.

film@seattleweekly.com

SHOWTIMES

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SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

Gwyneth Paltrow as a defensive, “healthy” anorexic, Mark Ruffalo as a smoothie with a

penchant for hookers—they seem like a perfect couple. She does triathlons, he does three-ways.

Both get their cardio, so what’s the problem?

Given that Thanks for Sharing is set in the prosperous, secular blocks of New York, the budding romance between Phoebe and Adam would seem comparatively normal and, simultaneously, dysfunctional. As long as their careers and mortgages are solid, who’s to criticize? Also on the same track is pudgy young doctor Neil ( Josh Gad), who had no time to develop social skills while cramming for his bar mitzvah and MCATs, so he just rubs up against random women for subway frottage. And if that fails him, there’s always the Internet back home.

Directed by Stuart Blumberg, who co-wrote The Kids Are Alright, this is a film that ought to make you more uncomfortable than it dares.

Sad, lonely men masturbating in front of computers—there’s a modern, universal sight, a symptom of our age. But Blumberg’s main intent is therapy and recovery. Which, with Paltrow’s premium brand presence, is an easier sell. Adam and Neil are in the same 12-step group for sex addicts, led by the serene, long-married Mike (Tim Robbins), who has an aphorism for every crisis. Mike is mentoring Adam, who in turn coaches newbie Neil (sent by court order, if not his own sense of guilt). Rounding out the multiplex demo is Dede, played by the pop star Pink (billed as Alecia Moore) with considerable sincerity if less craft.

Blumberg shies away from the nastiness and degradation of sex pathologies, save for one brief scene. He’s looking for the third-act path out of the pit, not to remain there for long. By splitting his story among three couples (Mike has a wife, played by Joely Richardson), Blumberg might be hoping for one of those Richard Curtis ensemble comedies, only the jokes aren’t there. (Neil complains, “I haven’t jerked off in week—I feel like a giant blue ball!”)

Ruffalo makes an appealing couple with Paltrow—and it’s hard to believe she, 14 years past her Shakespeare in Love Oscar, has been mostly reduced to Iron Man cameos. She still has that glowing, quizzical presence, a kind of skepticism about her gifts and good fortune. Someone needs to write better parts for her, someone better than Blumberg. BRIAN MILLER E

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arts&culture»Music

Seven Nights

Making the Case for Neko

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

Ten things you should know about Neko Case before she plays the Paramount.

Wednesday, Sept. 18 THE NEW MASTERSOUNDS This well-oiled English

BY DAVE LAKE

retro-funk quartet brings its infectious grooves and sprawling jams to Seattle. Its funk credentials have led to performances with Corinne Bailey Rae, Maceo Parker, Art Neville, and Grace Potter, and the band has been sampled by DJ Shadow, among others. With Rippin’ Chicken and DJ Funkscribe. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $10.

MICHAEL F. BERRY BEN RECTOR If you’re a fan of Pretty Little Liars or Modern Family, chances are you’ve heard Ben Rector’s voice. The Nashvillian writes pop-rock songs that are perfect for those prime-time tearjerker moments. His latest, The Walking In Between, came out last month. With Tyrone Wells. The Neptune, 1303 N.E. 45th St., 784-4849. stgpresents.com. 8 p.m. $17.50 adv./$20 DOS. All ages. AZARIA PODPLESKY

Thursday, Sept. 19

EMILY SHUR

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

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man,” she sings. “That’s what you raised me to be/I’m not an identity crisis/This was planned.”

Later, on “Nearly Midnight, Honolulu,” Case provides an a cappella account of a 5-year-old being berated by her mother. “Why don’t you ever shut up?” Case sings, voicing the words of Mom to Daughter. “Get the fuck away from me.” “Man” finds Case raging, while on “Nearly Midnight, Honolulu,” she’s sympathetic—apt perimeters for a record that falls somewhere in between.

She’s fun to follow on Twitter (@NekoCase).

Sample tweet: “I wonder if the people who use autotune will be sad when they are old and there is no actual record of their voice to play for grand kids?”

Case’s last album, 2009’s Middle Cyclone, earned two Grammy nominations.

As if being a critically acclaimed solo artist weren’t enough, Case is also a member of indie-rock supergroup the New Pornographers.

She thinks the word “cunt” is underrated. “It’s such a good word,” she told Pitchfork recently.

“It just feels so good to say. It feels jolly.”

In addition to original material, Case does great covers. Her new album features an interpretation of Nico’s “Afraid,” but she’s also tackled tunes by Tom Waits, Neil Young, Harry Nilsson, and Hank Williams. Backed by her excellent band, you’ll likely hear a few at the Paramount tonight. And if you hear the “c” word, that just means she likes you. With

Friday, Sept. 20

6

KATE BOY Three-fourths of this shadowy

quartet hails from Sweden, and Australian vocalist Kate Akhurst moved there in part because of her admiration for Swedish pop. It’s no surprise, then, that singles like “Northern Lights” are pristine Scandinavian electro-

7 8 9

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Pickwick. The Paramount, 911 Pine St., 682-1414, stgpresents.com. $28.25–$33.25. 7:30 p.m.

Wed., Sept. 18. E music@seattleweekly.com

The New Mastersounds play the Nectar Lounge on Wednesday.

DAN MEDHURST

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The 42-year-old singer/songwriter’s sixth LP, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You, is receiving near-universal rave reviews. One detractor: The AV Club gave it a C, claiming it has “the same kind of innocuous sound as radio-friendly groups like The Civil Wars and Of Monsters and Men.” The artist has deep ties to the Pacific Northwest. She grew up in Tacoma and eventually moved to Seattle, where she worked at Hattie’s Hat in Ballard and lived in Pioneer Square’s Washington Shoe Building—until they kicked her out to convert it to condos. “This city doesn’t support artists,” she told The Seattle Times before relocating to Chicago in 2000. “All it cares about is money.”

The Worse Things Get . . . is her most personal (and verbosely titled) album. It was fueled by a long depression following the death of her grandmother, whom she loved dearly, and the death of her alcoholic parents, whom she didn’t.

“There’s no grand excellence to it,” she told The Guardian about depression. “It was just almost the gulaggy boringness of it that’ll kill you.

You’re just in this murk. And you’re with other humans, but you lose all your human skills, and it’s just like you’re in this plastic bag and you can’t quite connect with people.”

The Worse Things Get . . . has an impressive list of collaborators, including M. Ward and members of My Morning Jacket, Los Lobos, and Visqueen.

Two of its best songs are also the most different from each another. “Man” is an uptempo indictment of gender stereotypes. “I’m a

Calling PORCELAIN RAFT “post-chillwave” seems cruel, so instead I’ll say that Mauro Remiddi makes woozy, narcotic electro-shoegaze in the vein of early M83 or Washed Out. Hazy singles “Think of the Ocean” and “The Way Out” indicate that the forthcoming Permanent Signal will offer much of the same.

Barboza, 925 E. Pike St., 709-9951, thebarboza.com.

8 p.m. $12 adv. ANDREW GOSPE DOUBLE DUCHESS is one of those bands that makes you have fun—you don’t really have a choice. The queer rap duo from San Francisco makes songs that could soundtrack a fabulous summertime hopscotch tournament out on a blacktop schoolyard (see “Bucket Betch”). Also featuring Seattle’s Glitterbang, tonight’s show will make you want to grab all the bejeweled aerobics wear out of your closet. You’re going to sweat, because these bands work you out. With Magic Mouth. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $8 adv./$10 DOS. 21 and over.

KELTON SEARS JARV DEE splits his time among Nacho Picasso’s street-oriented Moor Gang crew, cloud-rap collective Kingdom Crumbs, and his own Southern rap–tinged music. He’s a talented, multifaceted rapper, and if recent opening slots for Snoop Dogg and Juicy J are any indication, he will be on to bigger things soon.

With Metal Chocolates, Lazer Kitty. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com.

9 p.m. $8. AG

pop, but with a dark edge. With the Tempers. Barboza.

7 p.m. $12 adv. AG

JULIA MASSEY AND THE FIVE-FINGER DISCOUNT

Massey and her virtuoso band bring smart lyrics and bohemian, futuristic pop grooves to celebrate the release of its new single, “The Story of the Earth, So Far.” With Pocket Panda and the Summer Januaries.

High Dive, 513 N. 36th St., 632-0212, highdiveseattle. com. 9:30 p.m. $8. MFB THE LUMINEERS It’s been a whirlwind year for the Denver-based, Seattle-discovered folk quintet since the release of breakout single “Ho Hey.” After countless sold-out shows stateside and across the pond, the band released a deluxe edition of its self-titled debut, complete with five bonus tracks, last month.

With Dr. Dog and Nathaniel Rateliff. Through Saturday.

Marymoor Park, 6046 W. Lake Sammamish Pkwy., 205-3661, marymoorconcerts.com. 6:30 p.m. SOLD OUT. All ages. AP RAY WYLIE HUBBARD Though he’s released more than a dozen albums of his own, the 66-year-old Hubbard’s work may be best known through other artists, like Jerry Jeff Walker, who turned “Up Against the Wall, Redneck Mother” into an outlaw country anthem.

Treehouse Café, 4569 Lynwood Center Rd. N.E., Bainbridge Island, 842-2814, treehousebainbridge.com.

8 p.m. $25–$35. DAVE LAKE ISLANDS This Montreal-based indie-rock quartet is in a way like a phoenix, rising from the ashes of two defunct bands, the Unicorns and Th’ Corn Gangg, in 2005. In a rollercoaster ride of a history that includes several lineup changes, the band has released five studio albums, most recently Ski Mask on Sept. 17. Its lead single, “Wave Forms,” is similar to Family of the Year’s “St. Croix,” with lots of beachy sounds (complete with a sunny marimba line throughout the chorus) that make you sway before your body even realizes what’s happening. There’s a darker vibe to “Becoming the Gunship,” though, especially as Nicholas Thorburn sings “I had a heart/But it was torn apart/Now I’m the gunship.” It’s a varied release from a band who, through multiple ups and downs, refuses to give up.

With Bear Mountain and Hibou. The Vera Project, 305 Warren Ave. N., 956-8372, theveraproject.org. 7:30 p.m. $13 adv. All ages. AP CARLY RAE JEPSEN A wise woman once said “Hey, I just met you, and this is crazy. So here’s my number, call me maybe?” OK, fine, she wasn’t that wise. What’s so crazy about giving your phone number to someone you want to see again? Yet since dropping that annoyingly catchy tune, 27-year-old Jepsen released her major-label debut, Kiss, and is on her way to proving she’s more than just a one-hit wonder. In fact, the album is bubblegum-pop gold in an I’m-a-girl-withtons-of-feelings-and-I-want-to-drink-wine-and-getready-to-go-out-while-dancing-to-“Tonight, I’m Getting Over You” kind of way. Haven’t heard it? Listen. It will get you all sorts of prepped for Jepsen’s show at the Puyallup, er, Washington State Fair.

You know you wanna go!

With Hot Chelle Rae. Washington State Fairgrounds, 110 Ninth Ave. S.W., Puyallup, 253-845-1771. thefair.com. 7:30 p.m. $20. KEEGAN PROSSER

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

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cHild genius

This

fri

MOSHE KASHER suNDay sept 22 triple Door

On Sale

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216 union st seattle, Wa 7:30pm sHoW all ages tickets at ticketmaster locations cHarge By pHone 1-800-745-3000

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& the loNDoN souls tuesDay DeceMber 10 MarioN oliver MccaW hall 321 Mercer St , Seattle, Wa · 8:00pM ShoW · all ageS ticketS at all ticketMaSter locationS charge By phone 1-800-745-3000

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featuring

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SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

Holiday Concert With

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& sixxis

friDay oct 11 crocoDile cafe 2200 2nd avenue · seattle, Wa · 9:00pm sHoW · 21 and over tickets at all ticketmaster locations cHarge By pHone 1-800-745-3000

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friDay october 18 Key areNa 305 Harrison st · seattle, Wa · 7:30pm sHoW · all ages tickets at ticketmaster locations cHarge By pHone 1-800-745-3000

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arts&culture»Music Saturday, Sept. 21 SHENANDOAH DAVIS After this show, it may be awhile

before Seattle hears from Davis; the songstress—and new wife of Sean Nelson—will hit the road with Anthonie Tonnon (also on tonight’s bill), playing the U.S. this fall and Tonnon’s native New Zealand in the winter.

With Tomten and Jordan O’Jordan. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $8. 21 and over. AP GIRL IN A COMA Discovered by Joan Jett and named for a Smiths song, this Texas trio was tapped by Moz himself to open some shows. Tonight’s all-female bill is rounded out by Krissy Krissy and Hunter Valentine, who wrap this tour and then head out with Cyndi Lauper.

“Girls Just Want to Have Fun,” indeed. El Corazon, 109 Eastlake Ave. E., 262-0482, elcorazonseattle.com.

8:30 p.m. $13 adv./$15 DOS. DAVE LAKE MISTAH F.A.B. If Miley’s VMA performance had you Googling words like “twerk” and “ratchet,” you can get your questions answered in person here. One of hyphy’s founding fathers, F.A.B. is touring to promote his new mixtape, Hella Ratchet, which is less a solo

The National

Thursday, Sept. 19– Friday, Sept. 20

T

Grizzly Bear, and countless other KEXP-friendly bands. As if to prove Hyden’s point, Slate published an article earlier this year glibly titled “Why I Hate The National,” which discusses the band’s music in similarly ad hominem terms: It’s not about liking The National; it’s about what liking The National says about you.

The point of all this is that The National’s music is too often ignored in favor of reductive statements about its audience, which is a disservice to one of the few remaining indie bands that are actually interesting. Their songs are brooding and introspective, sure, but visceral in a way that “boring music” isn’t supposed to be.

May’s Trouble Will Find Me, for instance, finds the band toning down its orchestral tendencies, experimenting with odd time signatures, and writing faster, rougher songs reminiscent of those on 2005’s Alligator, its best album. The band knows its signifiers—Bryan Devendorf’s athletic drumming, guitarists Aaron and Bryce Dessner’s pristine (though admittedly not distinctive) production, and Matt Behringer’s commanding baritone and slyly insightful lyricism—but constantly refines them, subtly prodding its sound in new directions. The conversation surrounding The National is boring, but The National certainly isn’t. With Frightened Rabbit. The Paramount, 911 Pine St., 467-5520. stgpresents.org. 6:30 p.m. Thurs., 7 p.m. Fri. $36.75. All ages. ANDREW GOSPE

dinner & show

mainstage WED/SEPTEMBER 18 • 7:30PM

matt wertz w/ elenowen THU/SEPTEMBER 19 • 7PM

dougie maclean FRI/SEPTEMBER 20 & SAT/SEPTEMBER 21 • 8PM

an evening with aaron neville SUN/SEPTEMBER 22 • 7:30PM - SQUARE PEG PRESENTS

moshe kasher

MON/SEPTEMBER 23 • 7PM & 9:30PM 91.3 KBCS WELCOMES

an evening with allen toussaint WED/SEPTEMBER 25 • 7PM & 9:30PM

billy cobham’s “spectrum 40” featuring dean brown, gary husband and ric fierabracci THU/SEPTEMBER 26 • 7:30PM

sonny landreth

w/ cindy cashdollar CELEBRATING TEN YEARS THROUGHOUT THE MONTH OF SEPTEMBER! next • 9/27 robert cray • 9/28 optical 3 - night vessel w/ zola jesus, jg thirlwell, margaret chardiet aka pharmakon • 9/29 optical 4 - black noise w/ oren ambarchi, the sight below, raime • 10/2 john scofield’s uberjam • 10/3 - 5 la danse! le burlesque! l’edition francaise! • 10/6 vinicius cantuaria • 10/7 bob schneider w/ gabriel kelley

The National: Not boring.

happy hour every day • 9/18 weatherside whiskey band • 9/19 midtown groove • 9/20 the billy joe show • 9/21 theoretics • 9/22 the new triumph • 9/23 monday night jazz w/ synthesis • 9/24 singer-songwriter showcase featuring: patrick w mchenry, kevin long and patrick o’neill (like lions) • 9/25 the seattle jazz composers ensemble DEIRDRE O’CALLAGHAN

TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1 HOUR PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

he National is boring. Its songs are midtempo, morose, and abstruse. Moreover, you’re boring if you appreciate The National’s music. The National fans are cardigan-wearing, NPR-listening, latte-sipping squares whose music taste is as conventional as their cushy middlemanagement office jobs.

Of course, this is just a stereotype, though not a wholly unfair one. Intricate and often somber, The National’s music does smack of a certain whitecollar privilege. The band’s six albums are littered with references to a specifically upper-middleclass sort of ennui, ostensibly inspired by the members’ experiences working desk jobs before they could support themselves through music.

As a result, The National is frequently lumped together with other paragons of “boring music,” a construct defined in a 2011 essay by music critic Steven Hyden as “slow to mid-tempo, mellow, melodic, pretty in a melancholy way, catchy, poppy, and rooted in traditional forms.” It’s a modern analogue of adult-contemporary music, but for a liberal, white, hip audience. Artists in this vein include impeccably tasteful acts like Bon Iver, Fleet Foxes, Andrew Bird, the Decemberists,

outing and more a showcase of Bay Area club artists.

With Feezable the Germ, JKey, and Cliff the Sav. Nectar Lounge. 8 p.m. $10. MFB INDIA.ARIE The world was introduced to India.Arie back in 2001 with the song “Video” from her debut album, Acoustic Soul. The song was, and still is, a feel-good anthem for anyone who’s ever felt uncomfortable with, or was judged because of, their appearance, with such life-affirming lyrics as “And I know my creator didn’t make no mistakes on me/My feet, my thighs, my lips, my eyes, I’m loving what I see.” The song went on to garner four Grammy nominations and cement the artist as one of the new voices of soul. Since then, the Denver-born, Atlanta-based singer has released four more albums—most recently SongVersation in June.

Its lead single, “Cocoa Butter,” finds India.Arie’s voice in tiptop form, as smooth and soothing as the title suggests, as she sings heartfelt lyrics about healing and love. It’s wonderful to hear that after a four-year break, she hasn’t lost her touch. The Neptune, 1303 N.E. 45th St., 784-4849. stgpresents.com. 9 p.m. $35. All ages. AP BASTILLE The London-based alt-rock quartet released its debut album, Bad Blood, in March, but it wasn’t until the release of “Pompeii,” the album’s fourth single, that

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

JAZZ ALLEY IS A SUPPER CLUB

tractor Times listed are show times.

Doors open 30-60 minutes before

Thur, Sept 19 • 8:30pm ~ $18adv/$20dos folk singer/songwriter from San Francisco

SEAN HAyES

THE BLANK TApES

Fri, Sept 20 • 9:30pm ~ $10adv/$15dos americana & rock

STAR ANNA

ELIANE ELIAS THUR, SEPT 19TH - SUN, SEPT 22

ALBum RELEASE pARTy

Sultry Brazilian pianist/vocalist/arranger combines the sensuous, sun-splashed melodicism of Brazil with the harmonic sophistication of New York City

GRETA GRAVES

PHRONESIS TUES, SEPT 24

SASSpARILLA

sun, Sept 22 • 8pm ~ $10 acoustic singer-songwriter

British/Scandinavian Jazz Trio “One of the most exciting bands on the planet today.” - Jazzwise

MEKLIT HADERO WED, SEPT 25 91.3 KBCS Presents - “Meklit Hadero... combines N.Y. jazz with West Coast folk and African flourishes, all bound together by Hadero’s beguiling voice, which is part sunshine and part cloudy day.” - Filter Magazine

DAVID GRISMAN QUINTET THUR, SEPT 26 - SUN, SEPT 29 Influential mandolinist and father of “Dawg” music, a unique blend of folk, swing, bluegrass, Latin, jazz and gypsy.

AKI MIYAFUJI KOBE’S VOCAL QUEEN MON, SEPT 30 14th Sister City Jazz Day

all ages | free parking full schedule at jazzalley.com

DENISON WITmER Amy STROup ROBERT DEEBLE

up & Coming • 9/18 CLEARLy BELOVED, CLOuD pERSON, OTHER DESERT CITIES • 9/21 SOLD OuT! ~ monqui presents BASTILLE, NIGHTmARE & THE CAT • 9/23 mONDAy SQuARE DANCE with THE TALLBOyS • 9/24 RENEGADE STRINGBAND, mARIKO RuHLE, HAND IN THE ATTIC • 9/26 SANTEE album release show, BIGFOOT WALLACE, TALL SmOKE • 9/27 BuCK 65

5213 BALLARD AVE. NW www.tractortavern.com

El Corazon www.elcorazonseattle.com

a&c»Music the international buzz started rolling in. With Nightmare & the Cat. Tractor Tavern, 5213 Ballard Ave., 789-3599, tractortavern.com. 9 p.m. SOLD OUT. 21 and over. AP Portland’s THE SATIN CHAPS channel the earliest days of rock in the Northwest, taking cues from the Wailers and the Ventures in their predominantly instrumental grooves. Mix in a bit of Booker T and the MGs and Herb Alpert, and the result is fun and highly danceable.

Doesn’t hurt that Eric Hedford (of the Dandy Warhols) is working the bass, either. With Lushy. Vito’s, 927 Ninth Ave., 397-4053, vitosseattle.com. 9 p.m. MFB

Sunday, Sept. 22

YOURYOUNGBODY This youthful duo isn’t doing any-

thing particularly novel by making darkwave synth tunes; it just makes them very well. On April’s Kurokabi, Killian Brom’s production is eerie and enveloping with an advanced sense of space and silence, and Emily Cripe’s vocals are more chanteuse-y than those of others of this ilk, like Crystal Castles’ Alice Glass. With Kelli Frances Corrado, Golden Gardens, DJ Ea$y Iri$.

Barboza. 8 p.m. $6 adv. AG JONNY CRAIG Not to be confused with the similarly named diet maven, this Canadian-American singer has seen his share of troubles. After multiple trips to rehab and getting kicked out of two bands (Emarosa and Dance Gavin Dance), Craig is sober and set to showcase his soulful voice on a new EP later this month.

With William Beckett, Kyle Lucas, Hearts & Hands, and Bleach Blonde. El Corazon. 8 p.m. $13 adv./$15 DOS. All ages. AP WARSHIPS The L.A.-based quintet’s debut EP, Shadows, is a collection of indie-pop songs in the same vein as those of Young the Giant but with an atmospheric vibe. At five songs, it’s barely long enough to hold listeners over until the band’s debut full-length, tentatively scheduled for 2014. With Secretary, A Leaf, and Modern Phantoms. Sunset Tavern. 8 p.m. $6. 21 and over. AP AN EVENING WITH KID ROCK I heard once that Hanes sponsors Kid Rock and sends him a box of plain white undershirts every week. Rumor has it he wears a fresh T each day, then throws it away. Is that because he’s just “a cowboy, baby,” or because his sweat, a combination of Axe Body Spray and Red Bull, renders them soiled forever? Maybe he’ll throw one to you.

Washington State Fair. 7:30 p.m. $45–$95 (includes fair admission). All ages. KS

Monday, Sept. 23

SAVAGES Whenever I listen to “Husbands,” I get chills.

The way Savages’ lead singer Jehnny Beth powerwhispers the chorus always gets me. “God, I wanna get rid of it/My house, my bed, my husbands/Husbands, husbands, husbands!” Its sincerity is what makes Savages’ post-punk fury so refreshing. These ladies know something dire is at stake in the world, and their icy, powerful music effectively communicates that.

With Duke Garwood. Neumos, 925 E. Pike St., 709-9467, neumos.com. t8 p.m. $15. 21 and over. KS

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

WEDNESDAY, SEPTEMBER 18

THE REVEREND DEADEYE

with Ghostwriter and Dan Infecto Lounge Show. Doors at 8 / Show at 9PM 21+. $6 ADV / $8 DOS

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

THURSDAY, SEPTEMBER 19

70

Mike Thrasher Presents:

ESCAPE THE FATE with Miss May I, Gemini Syndrome,

Showtime Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $15 ADV / $18 DOS

NEUROTIC NOVEMBER

(immediately after the conclusion of the Escape The Fate show in the main showroom) with Words Like Daggers (Pre show at 7:15pm) 21+. FREE

FRIDAY, SEPTEMBER 20

HONOR AMONG THIEVES

with Highlight Bomb, Still The Sky’s Limit, Saving Sunsets, and The Requisite Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

FRIDAY, SEPTEMBER 20

CALABRESE

with Angie And The Car Wrecks, Dead Bats Society, and Raw Dogs Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SATURDAY, SEPTEMBER 21 Take Warning Presents:

GIRL IN A COMA with Krissy Krissy, The Redwood Plan,

and Furniture Girls Doors at 8 / Show at 8:30PM ALL AGES/BAR W/ID. $13 ADV / $15 DOS Studio 7 & Monster Concerts Present:

THE VIBRATORS with New Iron Front, No Buffer, Frog Flag

Lounge Show. Doors at 7 / Show at 7:30PM 21+. $11 ADV / $14 DOS

SUNDAY, SEPTEMBER 22 El Corazon & Mike Thrasher Presents:

JONNY CRAIG with William Beckett, Kyle Lucas, Hearts & Hands, and Bleach Blonde Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $13 ADV / $15 DOS

JUST ANNOUNCED 11/13 TONIGHT ALIVE 11/15 ANTHONY GREEN 12/10 LOUNGE THE FLATLINERS 1/19 LOUNGE JAKE ORVIS AND THE BROKEN BAND

UP & COMING

9/24 THE TRIPLE SIXES 9/25 GUTTERMOUTH / AGENT ORANGE 9/25 LOUNGE KONGOS 9/26 TEENAGE BOTTLEROCKET / THE QUEERS 9/27 POWERMAN 5000 9/28 PANCAKES & BOOZE ART SHOW 9/29 LOUNGE THE CANCER BATS 9/30 THE VENETIA FAIR 10/1 TWIZTID 10/3 LISA DANK 10/4 BETWEEN THE BURIED AND ME 10/5 HELLOWEEN 10/7 CHRISTIAN DEATH 10/8 YOU ME AT SIX 10/9 ICON FOR HIRE 10/10 FUCKED UP / TERROR 10/10 LOUNGE HUGH CORNWELL 10/11 THE MAINE / ANBERLIN 10/12 ZEKE / THE ANTISEEN

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

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

Tuesday, Sept. 24

ESOTERIC formed in the British industrial hub of

Birmingham in 1992, and though guitarists Gordon Bicknell and Greg Chandler are the only founding members left, this sextet’s brand of “funeral doom” metal continues to confound. The title of its most recent album, 2011’s Paragon of Dissonance, offers a decent idea of what to expect. With Saturnalia Temple, Velnias, Anhedonist. Highline, 210 Broadway Ave, E., 328-7837, highlineseattle.com. 9 p.m. AG BLESONE “Stop Biting” is a weekly DJ night at the Lo-Fi, and it’s probably the most reliable destination in Seattle to get your instrumental hip-hop fix. blesONE, best known as the DJ for local party-rap crew Don’t Talk to the Cops, headlines this week’s edition. With K. Sabroso, Introcut. Lo-Fi Performance Gallery, 429 Eastlake Ave. E., thelofi.net. 9 p.m. $5. AG THE MC TYPE’s final rap album, Bad Tattoos III (due early October), includes the prophetically titled “Moving on” and “Embrace the Change.” Type claims that this will be his last rap show before he turns to stand-up comedy as the primary vehicle for his meta-critique. With Jonny October, Corina Corina, and Kathleen Jenkins. Sunset Tavern. 9 p.m. $6. 21 and over. MFB

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

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Burgerama Caravan of Stars Tour

NRP

Friday, Sept. 20

F

Larry Weir / Masika Swain 137 N. Larchmont Blvd S-#500 Los Angeles, CA 90004 email: lweir@larryweir.com

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SEATT LE W EEKLY • SEPTEMBER 18 — 24, 2013

ueled by a love of the Beatles, the Monkees, and garage rock, Sean Bohrman and Lee Rickard launched Burger Records in 2007, initially as a platform to release albums from their band Thee Makeout Party. After receiving a tape of a friend’s band, the pair realized that not only were cassettes inexpensive to manufacture, but that very few labels even made them anymore. A few phone calls to a few bands later, Burger Records eventually morphed into the nation’s premiere label for limitededition cassette releases.

The label has issued more than 500 releases—most of them cassettes, and most available for $6—from a disparate list of artists including Beck, Ryan Adams, and Suicidal Tendencies. Though Burger Records also issues CDs and vinyl, it is best known for releasing other labels’ albums on cassette, like OFF!’s 2010 debut, first released on Vice Records, or Beachwood Sparks’ recent Tarnished Gold, which Sub Pop released on CD, vinyl, and as a digital download—but not on tape.

“It’s like a business card, like a handheld little collectible item,” the pair told online music service AllMusic recently about the appeal of the retro format. “It’s something you can hold in your hand instead of a download in your computer.”

Cassette-pressing ideals fly directly in the face of the modern recording industry, but Bohrman and Rickard found a niche outside it and embraced it, and now the industry is coming to them—for example, a recently inked deal with respected independent distributor Red Eye music will help get their releases into more stores.

And Burger Records is branching out even further. In addition to their record store, a YouTube channel that features original content, and a $75 coffee-table book, Bohrman and Rickard are launching the Burgerama tour after testing the idea via a series of successful label showcases. The tour stops at Neumos tonight and includes a slew of bands that have released music through the label: the Growlers, Cosmonauts, Gap Dream, together PANGEA, and more. It’s an all-youcan-eat smorgasbord of meaty, garage-y rock ’n’ roll bliss–and there should be plenty of cassettes on hand. With La Luz, the Memories, Collared Green. Neumos, 925 E. Pike St., 709-9951. neumos.com.

6 p.m. $15. DAVE LAKE

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NEWSLETTER

SEATTLE WEEKLY • SEPTEM BER 18 — 24, 2013

EK LY

72

MU S IC

H APPY H OU R

The inside scoop on upcoming shows and the latest reviews.

EV ENT S

Caspar Babypants, Baby Beatles! (out now, Aurora Elephant, babypantsmusic.com/music): I don’t need to tell you Chris Ballew is Caspar Babypants. Best known as the frontman of the Presidents of the United States of America, Ballew released his seventh children’s album under the Babypants moniker this week. Kids may have no idea that PUSA once ruled the ’90s—those born when “Lump” was released are now of legal voting age, after all—but Seattle’s little ones are certainly familiar with the engaging and quirky ditties Babypants has been pumping out over the past four years. His latest is just what it sounds like: a 20-track collection of Beatles favorites given the classic Ballew treatment. The skeptic in me wondered why the world—or children—needed more Beatles covers, but the fact is my kids fucking love it. (Sat., Sept. 21, Town Hall) MATT DRISCOLL Campfire OK, When You Have Arrived (out now, Fugitive Records, campfireok.com): You can tell a lot about a band by listening to its second album.

Is it a copy-paste version of its debut? Or does the band experiment and show a bit of growth?

While Campfire OK’s sophomore release is not a huge departure from Strange Like We Are, its 2011 debut full-length, When You Have Arrived is definitely in the second category, with a handful of standout tracks and enough added spunk to give their folk-pop sound a real kick. “Wishing You the Best,” the album’s lead single, is our first big introduction to Andrew Eckes on banjo, who adds a gritty vibe to the song. “New Tradition” is especially touching thanks to quintet leader Mychal Cohen’s lyrics about growing older, stepping aside, and letting your young become your old. And the whole group shows its musicality on a lovely instrumental section in “Pretty and Kind.”

Since Strange, the lineup has shifted slightly, with South Africa–born Zarni DeWet providing backup vocals and Harvey Danger’s Aaron Huffman taking up bass. Huffman is especially great on the title track, adding a jazzy feel, while drummer Brandon Milner gives the rest of the group a little nudge when needed. DeWet, who really shines on “Wooden Queen” and “Smoke Out Your Eyes,” adds a light contrast to Cohen’s deeper lead throughout the album. When You Have Arrived may not be completely new sonic territory for Campfire OK, but it is proof of the band’s ability to successfully incorporate a brighter sound into its repertoire. AZARIA PODPLESKY

P R O M O T I O NS

A R T S A ND ENT ER TA I NM ENT

Star Anna, Go to Hell (9/24, Spark and Shine Records, sparkandshine.com/bands/star-anna): Star Anna’s been through some shit recently, and her voice projects it on her fourth studio album.

Whether that’s why she left most of her old band, the Laughing Dogs, off of it is still a mystery, but the new release finds her working with mostly new collaborators. Old friend Ty Bailie (keys/producer) appears, however, and he and guitarist Jeff Fielder move seamlessly among styles, from barroom blues (“Power of My Love”) and straight-ahead country (“Mean Kind of Love”) to the gritty punk tone of “Smoke Signals.” For her part, Star puts aside her guitar and focuses on her singing, revealing richly expressive vocals that sound equally at home in all the styles she explores on the album’s 10 tracks. The rousing, bluesy “For Anyone” is expertly paced and provides a perfect album opener. “Let Me Be,” co-written with Seattle native Shane Tutmarc, makes a fine centerpiece, too, with lyrics that capture the personal strife Star experienced during the album’s gestation.

Overall, Go to Hell is darker than her previous albums, though. The title track’s sparse, ethereal opening is emphasized with the addition of a distant vibraphone. Star’s version softens Nina Simone’s original, but the song’s middle section sees her anger rise just to the surface, only to recede by the end. (Fri., Sept. 20, Tractor Tavern) MICHAEL BERRY

LAKE, The World Is Real (out now, K Records, laketheband.com): On “Reconcile,” the final song on LAKE’s latest, The World Is Real, Eli Moore and a chorus of voices close out the album by asking a question. “How to you reconcile what you believe with what you do?” they coo. The song, like the entire album, is not much of a departure from the baroque indie pop for which LAKE is known.

But if you listen closely, you’ll here something new: LAKE sounds kind of angry. Over the past eight years the Olympia quintet led by Moore and Ashley Erikkson has been a consistently radiant group with unapologetic hooks, feather-light vocals and instrumental references to the feel-good soft rock acts of the late-‘70s and early-‘80s. But for its sixth full-length album, the band has gone dark, if slightly so, applying its craft to a collection of songs more ponderous than poppy. Not that the music here doesn’t move. The band is still working with the pallet of bright Rhodes parts, crisp drum beats, walking bass lines and flourishes of horns and backup singers found on 2011’s stupendous Giving & Receiving. Opener “Do You Recall?” is as rich as anything on that album, but is more tangential with a dark furrowed guitar solo here and a meandering piano line there. Next track “Bury the House” is even darker, a driving psychedelic song that comes off like a “White Rabbit” for the foreclosure generation. “The closer we are to earth, the closer we are to birth and the more our house will be worth,” Erikkson sings. More psychedelia pops up throughout the rest of the album, but mostly the band stays rooted in mid-tempo jams undergirding its aggitated lyricism. LAKE does detour into lighter territory with a couple soulful love songs. But they sound out of place, as if the band were a little selfconscious of its seriousness. It need not be. (Wed., Sept. 18, 2020 Cycle) MARK BAUMGARTEN

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toke signals»By Steve Elliott

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he CPC (Center for Palliative Care) in the south Seattle neighborhood of Georgetown has a different vibe from that of many medical-marijuana access points. Owners Jeremy Kaufman and Ben Reagan aren’t newcomers to the world of MMJ, as are so many of their competitors. These guys were in it back in 2011 when I started reviewing dispensaries, and they still have a clarity of purpose that is inspiring: They want to help patients find the cannabis products that will bring them relief.

When Kaufman broke his neck years ago, harsh pharmaceutical painkillers started taking a toll on his mental and physical health. When he switched from opioids to marijuana, cannabis helped him overcome not only the pain of his three fused vertebrae from a broken neck, but also the side effects of the pills prescribed for his pain.

One of the best moves Jeremy and Ben have made is bringing aboard star budtender Lydia Ensley.

Lydia may be short in stature (she describes herself as “a 4´9˝ fireball”), but she stands tall when it comes to cannabis knowledge, proving herself an able guide through the flowers, concentrates, tinctures, topicals, and medibles—most of them produced in-house—which the CPC carries.

Its varied menu of about 30 strains of flowers include plenty of indicas, sativas, and hybrids, with donations ranging from $7 a gram up to the top-shelf varieties at $14. Upon Lydia’s recommendations, I selected a $12 sativa, the dependable Jack Herer, and a $14 indica, Mango.

The Jack was one of the best expressions I’ve ever seen of this stalwart sativa; kudos to the grower. The fuzzy, trichome-encrusted calyxes were sticky with fruity, potent promise, and the

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PRINT AND DIGITAL ADVERTISING SALES MANAGER

ADVERTISING & MARKETING COORDINATOR

Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. is seeking a dynamic and motivated Print and Digital Sales Manager. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first problem solver who thrives in an exciting, hectic, fastpaced sales environment and can balance a variety of responsibilities. He or she will have a proven track record of sales and revenue growth, the ability to think ahead of the curve, and also possess the motivational techniques required to develop a successful staff and exceed revenue targets in print and online. Applicants should have 1-2 years of management experience as well as media and online sales/marketing experience. Position also requires use of personal vehicle, possession of valid WA State Driver’s License and proof of active vehicle insurance.

We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter along with salary requirements to

Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. is seeking an Advertising and Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, event sponsorships and glossy publications. Responsibilities include but are not limited to management of digital inventory in DFP, social media, contesting, events, house marketing, newsletters and coordinating with staff as it relates to these duties. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve.

We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match). If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to

Miscellaneous

SEEKING TO ADOPT Loving couple seeks to ADOPT an infant. We can offer your baby a lifetime of love, opportunity, and financial security. We will provide a happy home, sharing our interests in the outdoors, travel, music, and sports. Let us help support you with your adoption plan. Contact us at 206-920-1376, 877-290-0543 or AndrewCorley@ outlook.com or our attorney at 206-728-5858, ask for Joan file #0376.

Real Estate for Sale King County *** BANK OWNED HOUSES *** Free List With Pictures www.SeattleBankOwned.net

Apartments for Rent King County University District 1, 2 and 3 bedroom apts available for pre-leasing.

206-441-4922 9am–2pm

WA Misc. Rentals Rooms for Rent Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342

U-DISTRICT $425-$500 All Utilities Included!

Call Peir for more info (206) 551-7472

WA Misc. Rentals Want to Share TUKWILA $550 month. Your own private living room, bedroom, bath.

Private Entrance. Sink, fridge and counter area plus free TV. View, off street parking. Own parking place. Large quality home. Employed, steady income. References and deposit required. No Smoking, No Pets. 1 Adult Only. 206241-1700 Evenings

AFRICAN DOUBLE RIFLES: 416 Rigby rimmed; 577 Nitro Express. Well regulated.

416 Rigby, $10,000; 577 Nitro Express, $15,000. WILL TRADE FOR LARGE BOAT. Andy, 208-789-6936.

Garage/Moving Sales King County SEATAC

WELDING / TOOLS Sale! Moving out of state, must sell! Layout table, sander, hole punch, clamps, nuts, bolts, screws, welder, gas tanks and so very much more!! Serious inquiries only. Please call 206-444-0852. billandlaurie@comcast.net Auto Events/ Auctions Stan’s Mountain View Towing Inc Abandoned Vehicle Auction 9000 Delridge Way SW, Seattle WA Wednesday, 09/25/13 Gates Open 9AM, Auction 12 PM 206-767-4848

Automobiles Classics & Collectibles 45th Annual Monroe Swap Meet, October 12th & 13th, Evergreen State Fair Grounds, Monroe Wa. Vendors $40/per stall per weekend. Car Corral, $40 per stall per weekend. Free Admission. Saturday 8am-5pm.

Sunday 8am-3pm. Autos, Motorcycles, Tractors, Stationery Engines, Parts, Antiques & Collectibles. www.aarcbellingham.com

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

Financial Aid avail for those who qualify 1.800.321.0298

Employment General HELP WANTED!!

Make up to $1000 A Week Mailing Brochures From Home! Genuine Opportunity!

No Exp. Required.

Start Immediately! www.themailinghub.com

hreast@soundpublishing.com

No phone calls please.

Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace.

Check out our website to find out more about us! www.soundpublishing.com

hreast@soundpublishing.com

No phone calls please.

Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace.

Check out our website to find out more about us! www.soundpublishing.com New Construction Cleaners & Experienced Window Cleaners Flexible Hours SE Hablo Espanol Call between 9am-8pm 425-672-2548

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

Call Employment Computer/Technology Caradigm USA, LLC, a healthcare info tech & svcs company seeks Software Engineers (Job Code: SWESEP13WA) in Bellevue, WA: Dsgn & dev SW technologies, features, & prototypes. Mail resumes referencing job code to Caradigm USA, LLC, Attn: B. Thomas, 500 108th Ave., NE Bellevue, WA 98004. Mult openings.

EOE. Wanderspot LLC (DBA Urbanspoon) has an opening for Automation Engineer (QA Engineer) in Seattle, WA. Work on highly scalable syst. w/latest in open-source tech. Requires MS in CS, Engrg, or rel. tech. field and 2 yrs of work experience in job offered or computer-related occupation. Send resume to Katie McCarty, IAC Search & Media Inc., 555 12th Street, Suite 500, Oakland, CA 94607 and reference Job 1061.98.

Professional Services Music Lessons GUITAR LESSONS Exp’d, Patient Teacher. BFA/MM Brian Oates (206) 434-1942

Home Services Drafting/Design

HOME DESIGN and CAD DRAFTING 360-386-9332 Home Services Excavations

Employment Social Services

MEDICATE WIT DAKINE

VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience.

Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601

Employment Transportation/Drivers DRIVERS A NEW OPPORTUNITY! Are you money-motivated, outgoing & have a positive attitude? Do you have a P/U truck and want to travel the US? Take home *$2000 to $4000/week* No investment, we train. Must have valid drivers license & insurance.

CALL NOW! Call 877.235.8490

Employment Professional Philips Oral Healthcare has the following job opportunity available in Bothell, WA: Senior Manager, Development Quality (AH77-WA) – Ensure that development project targets on product quality are achieved and that defined Product Quality processes are implemented. Submit resume by mail to: Philips People Services, International Mobility, 200 Minuteman Rd, MS 5302, Andover, MA 01810. Must reference job title and job code AH77-WA.

Excavation Work Specializing in Small & Medium Jobs Demolition Trenching & Grating Brush/Stump Removal Hauling Services Top Soil/Bark/Rock

206-510-3539 Licensed, Bonded & Insured

Best Meds In Town!

Open From 10am to 7pm Everyday!

360-265-0236

4231 OLYMPIC DR. BREMERTON, WA 98312

Home Services Landscape Services

Any kind of

YARDWORK *Bark *Weed *Trim *Prune *New Sod *Thatching

*Paving Patios *Rockery/Retaining Walls *General Cleanup

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Call Steve

206-244-6043 425-214-3391

REASON #66

BIGGER MONEY: MORE MILES = MORE MONEY

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A Class Action Lawsuit Has Been Filed Alleging That Many Current and Former

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EMPLOYEES ARE ENTITLED TO BACK PAY Under the Federal Fair Labor Standards Act.

You may be owed wages for the time that you worked.

TIME MAY BE SHORT.

Call today: 1-855-436-1832 Email: amazonclaims@johnsonbecker.com

Rebecca Roe, Esq. Adam Berger, Esq. Schroeter Goldmark & Bender 810 Third Avenue, Suite 500 Seattle, WA 98104 (206) 622-8000

Johnson Becker 33 S. 6th St., Suite 4530 Minneapolis, MN 55402 (612) 436-1800

$3,500 SIGN-ON BONUS MAY APPLY FOR EXPERIENCED DRIVERS

Schneider National is Hiring Truck Drivers for Dedicated Work s %XPERIENCED DRIVERS AND RECENT DRIVING SCHOOL GRADS SHOULD APPLY TUITION REIMBURSEMENT AVAILABLE s (/-% 7%%+,9 s 3)'. /. "/.53 &/2 2%#%.4 '2!$3 s %ARN UP TO YEAR BASED ON EXP s #ONSISTENT MILES

Apply online: schneiderjobs.com/newjobs More Info: 800-44-PRIDE

EOE M/F/D/V

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ACTIVIST JOBS

My one reason for donating plasma?

Work with Grassroots Campaigns, Inc. to: â&#x20AC;˘ Protect our Civil Liberties â&#x20AC;˘ Fight for Reproductive Rights â&#x20AC;˘ Fight for LGBT Rights â&#x20AC;˘ Defend a Womanâ&#x20AC;&#x2122;s Right to Choose Earn $4800-$8000 for Fall Full-time/ Part-time/ Career.

Call Aaron at 206-329-4416

To show I care about my community Learn more about donating plasma at

Grifolsplasma.com

7726 15th N.W., Seattle, WA In addition to meeting the donation center criteria, you must provide a valid photo I.D., proof of your current address and your Social Security or immigration card to donate. Must be 18 years of age or older to donate.

*ADOPTION* Affectionate Adventurous Artistic Financially Secure Family awaits 1st baby. Expenses paid.

Beth *1-800-990-7667* Are you suicidal, but resisting harming yourself?

We want to hear from you! The Behavioral Research and Therapy Clinics at the UW is looking for participants for a study on suicidal thoughts, feelings and behaviors.

For more information, call 206-543-2505.

HAPPYHAULER.com Debris Removal â&#x20AC;˘ 206-784-0313 â&#x20AC;˘ Credit Cards Accepted!

MOST CASH PAID 4 GOLD JEWELRY 20%-50% MORE 24/7 CASH 425.891.1385

OPEN ON SATURDAYS (1) Original Patient Watermark aka â&#x20AC;&#x153;green cardâ&#x20AC;?

(1) Original Designated Provider Watermark 24 HOUR VERIFICATION WEBSITE 360-275-2004 Located AVOID STRONG OPIATES in Belfair AND BARBITUATES Alternative Therapies, for pain, all qualifying conditions a healthier means of achieving your goals.

Meds Mari

The Only Safe Access in Mason County!

Massage Therapy $60 Auto & L&I with Prescription, not limited to MMJ Patients By appointment only.

Belfair

Your Hours: Mon-Sat 9a-8p Sun 9a-6p 23710 E. State Rt 3 360-275-1181

Shelton

Your Hours: Mon-Thurs & Sat 10a-7p Fri 10a-8p Sun 11a-5p 3811 St Rt 3 (Bayshore) 360-426-0420

VA seeks adults with schizophrenia and adults without schizophrenia for a research study investigating how genetics may affect the development of schizophrenia. â&#x20AC;˘ Participants should be age 18-65 with no current drug or alcohol problems. â&#x20AC;˘ Participants will be paid $15/hour for their time and provided lunch.

Please call: 206-277-1163

WWW.KIRKLANDGOLDBUYER.COM

aUR@N[Q`<[YV[R P\Z

Singing Lessons

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

presents

WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

Saturday, September 28 Downtown Hood River Noonâ&#x20AC;&#x201C;9pm

10338 Aurora Ave N, Seattle ¡ www.foursquare.com

DANCING BARE HAPPY HOUR MONDAY p ½ OFF DOOR 11PM-4PM 2,4,1 TUESDAY p 2 FOR THE PRICE OF 1 @ THE DOOR BOEING RECOGNITION WEDNESDAY p½ OFF DOOR* MICROSOFT RECOGNITION THURSDAY p ½ OFF DOOR* MILITARY FRIDAY p½ OFF DOOR* American Liberty Adult Store

Select from a variety of DVDs, Mags, and Toys. Buy, Sell, Trade!!!!

Ask Clerk for details about how you can save $$$ on your next purchase.

Find us on Facebook @ jerrywoodhead ¡ Follow us on Twitter @dancingbarestrp OPEN MON-SAT: 11AM - 2:30AM & SUN 2PM - 2:30AM

istock:ValentynVolkov

Âť HOT BABES & COLD DRINKS ÂŤ

$10 admission 21 and older* includes tasting mug and 4 drink tokens Please, No Dogs Allowed

hoodriver.org/events-festivals

*Kids welcome until 5pm.