Seattle Weekly, October 23, 2013

OCTOBER 23-29, 2013 I VOLUME 38 I NUMBER 43

SEATTLEWEEKLY.COM I FREE

FEELING THE MENTAL HEALTH CARE CUTS PAGE 7 | NEW ALBUMS FROM CASPER BABYPANTS AND LAKE PAGE 72

THE GASMAN’S NEW GAME A year after leaving sports talk radio, Mike Gastineau returns with an unlikely story to tell about the “best franchise launch in sports history.”

By Matt Driscoll

ELLIOTT SMITH

The story behind the story of the Northwest’s most misunderstood songwriter. P. 19

2

SEATTLE WEEKLY • OCTOBER 23 — 29, 2013

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

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Opens Friday

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inside» October 23–29, 2013 VOLUME 38 | NUMBER 43

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% OFF 50 EVERYTHING!*

JJ GONSON

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news&comment 6

CHARTER SCHOOLS The passage of I-1240 begins to bear fruit.

7 | SPORTSBALL

9

SOUNDER AT HEART

»24 Editor-in-Chief Mark Baumgarten

Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert

17 BOURBON RENEWAL

Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears

take on the iconic American liquor.

Editorial Intern Alicia Price

arts&culture 19 ELLIOTT SMITH

BY WILLIAM TODD SCHULTZ | The

songwriter’s biographer reflects.

23 HOMETOWN VOIDS

BY BRIAN MILLER | Three new shows

at a dying museum.

19 ARTS

19 | THE PICK LIST 24 | OPENING NIGHTS | A light opera,

a classic musical, and chicken on the side.

27 FILM

27 | OPENING THIS WEEK | Robert

Redford’s brilliant, soggy revival, a Judy Blume adaptation, and a buddy movie in the Middle East.

29 | FILM CALENDAR

33 MUSIC

The 1975’s personal soundtrack, explorers of avant-jazz, and more.

33 | SEVEN NIGHTS

odds&ends

31 | THE GEEKLY REPORT 37 | TOKE SIGNALS 38 | CLASSIFIEDS

»cover credits

MIKE GASTINEAU PHOTO BY PETER KOVAL ELLIOTT SMITH PHOTO BY MARINA CHAVEZ

Contributing Writers Rick Anderson, Sean Axmaker, Sara Billups, Ma’Chell Duma LaVassar, Steve Elliott, Margaret Friedman, Zach Geballe, Andrew Gospe, Megan Hill, Robert Horton, Sara D. Jones, Isaac Kaplan-Woolner, Seth Kolloen, Sandra Kurtz, Dave Lake, Beth Maxey, Duff McKagan, Terra Clarke Olsen, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Christopher Dollar

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25 | PERFORMANCE/EAR SUPPLY 26 | VISUAL ARTS/THE FUSSY EYE

Friday & Saturday

Senior Editor Nina Shapiro

move from sports radio to soccer fandom.

17 | FOOD NEWS 17 | TEMPERATURE CHECK 18 | THE BAR CODE

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2013-2014

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 24 - 6:30pm, Free SOLD OUT!

Professor of Political Science and Philosophy, Yale University

Hannah Arendt’s Eichmann in Jerusalem, Fifty Years Later

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Environmental Imagination at the Crossroads

November 7 - 6:30pm, Free Rear Admiral (RADM) BORIS D. LUSHNIAK, M.D., M.P.H.

SEATTLE WEEKLY • OCTOBER 23 — 29, 2013

An Evening with Acting U.S. Surgeon General

6

November 13 - 7pm, Free

AMY CUDDY

Associate Professor of Business Administration, Harvard University

Connect, Then Lead

REGISTRATION IS REQUIRED, please register online at

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

After narrow voter approval, new schools are beginning to take form.

BY NINA SHAPIRO

E

arly Monday morning, Spokane resident Brenda McDonald caught a flight, slightly delayed by the October fog, for an 8 o’clock meeting in Seattle. Until last summer, McDonald was a public-school principal, as were the two women she was coming to see, Kristina Bellamy-McClain and Maggie O’Sullivan. Then they all left their jobs and leapt into A teacher and student work together at First Place in the Central the state’s emerging charter- District. The private school is trying to convert to a charter school scene. school, which it says will make it less reliant on grant money.

Facilitating their jump was the Washington State Charter Schools exist, and are now showing their hands. On Association, a Seattle-based group that formed Tuesday, “letters of intent” from would-be charter last spring with $800,000 in start-up money founders were due to the newly formed state from the Bill and Melinda Gates Foundation.

Charter Schools Commission. Full applications Created in response to the charter-school initiamust be in by November 22. tive that passed in November 2012, the associaBy the end of Tuesday, 24 individuals and tion picked McDonald, Bellamy-McClain, and organizations had expressed interest, some Sullivan as the first cohort of charter leaders it declaring an intent to launch schools next fall hopes to nurture. Each received a $100,000 stiand others the following fall. The Los Angepend for a year of planning. les–based Green Dot, one of the better-known They’ve been meeting weekly in Seattle to go charter organizations (unusual in that it boasts over ideas and consult with WSCSA staff who a unionized work force), submitted a letter indihave had experience with charter schools around cating that it wants to start a middle school in the country. The three have also traveled to San Tacoma. Summit Public Schools, a Silicon ValFrancisco, New Orleans, and Denver to visit ley–based organization focusing on technologycharter schools. heavy “blended learning,” registered its intent to “What we saw are two different types of start two schools, including one in Seattle. models,” McDonald says, taking a break with her Also submitting letters were a number of other cohort members from their Monday meetlocals: an individual from Grays Harbor who ing to talk with Seattle Weekly. “We tend to think envisions a military-style school; one in Spokane of them as charter school 1.0 and 2.0.” The forwho plans to focus on highly capable students; mer, she says, emphasized college readiness, with yet another in Yakima who proposes a duala “lot of data-driven dialogue.” The latter added language program. “soft skills,” like those needed for leadership.

McDonald plans to stay in Spokane with her Now, McDonald continues, she and her peers charter school, in which she says students will are trying to create “3.0” charter schools, distintake on eight-week internships or community guished by their incorporation of online learning projects intended to develop leadership skills. The and a more individualized approach.

Spokane school district is unique in that it has As her observations reflect, the state is coming enthusiastically embraced charters. It surveyed late to charter schools: public schools funded by families asking what kind of schools they would taxpayer dollars but not controlled by state and like to see; is about to launch a center that will coordinate charter schools with regular public local school superintendents. Voters here turned schools in the district; and may have a common down charter-school initiatives three times over enrollment system for both kinds of schools, the past two decades. Opponents argued that according to McDonald. It is also the only discharters have a mixed success record nationally, trict in Washington allowed to authorize charter and would drain desperately needed resources schools on its own; all other charters will have to from existing public schools. go through the state.

Initiative 1240, the fourth and last charterThe Seattle district has taken the opposite school initiative, which allows for the creation approach, having voted of 40 charters over five last year to oppose charteryears, only narrowly PRINT IS GREAT, but if you school Initiative 1240. So want to PEEK . . . passed. So this has not inside the nerve center of Seattle’s perhaps it’s no surprise been the most recephorrendous traffic, check it out on that neither Bellamytive climate for aspiring The Daily Weekly.

McClain, the former princharter-school leaders.

SEATTLEWEEKLY.COM/DAILYWEEKLY cipal of Seattle’s Emerson Yet such leaders do

[

COURTESY OF FIRST PLACE

SEYLA BENHABIB

Here Come the Charter Schools

Elementary, nor O’Sullivan, a South Seattle resident, are eyeing Seattle for their schools. BellamyMcClain intends to open her charter in Tacoma’s Hilltop neighborhood; O’Sullivan is scouting south King County locations.

Yet even in Seattle, charter aspirations flourish. Hannah Williams, a 30-year-old former teacher at Aki Kurose Middle School who just got a master’s in education from Harvard, says she’d like to start a charter school in a Pioneer Square warehouse. “I dream of what MOHAI looks like,” she says referring to the inventive open spaces of the rebuilt Museum of History and Industry.

Williams’ plan for an untraditional space matches her envisioned curriculum, which she says will not revolve around classes per se.

Instead, students will pursue “deeper experiential learning opportunities” through individual projects, with their teachers acting as “coaches.”

Every two to three weeks, they will pick a new theme to work on—say “power” or “equilibrium,” she says. While doing so, she continues, they might write blog posts or “make an episode for their YouTube channel.” As with the Charter Schools Association cohort, the Gates Foundation is aiding Williams’ aspirations with a $100,000 planning grant.

nshapiro@seattleweekly.com

D

on James won at life. He picked a career at age 24; he rose to the top of his profession. He got his dream job at age 41; he held onto it until he retired. He married his sweetheart after high school; they stayed together for more than 60 years. Death did them part last Sunday.

James, the best University of Washington football coach of the past 11 decades, was 100 percent substance and 0 percent

BY SETH KOLLOEN style. Even among the no-nonsense coaches of his generation, James’ lack of pretense stood out. Unlike Joe Paterno, he advanced no grand mission. Unlike John Wooden, he proposed no path to success.

Unlike Bear Bryant, he donned no signature hat.

Don James just went about the business of winning football games—153 of them from 1975 to 1992 as the Huskies’ head coach.

It’s taken 20 years to get a coach around these parts as good as James was, and Pete Carroll couldn’t be less like him. Carroll starts with philosophy, and translates it to action. James couldn’t have told you what his philosophy was because he didn’t have one.

He just did stuff. So it falls Don James to those who followed his career to try to sum up what he believed. Here goes: 1) Just Do Your Damn Job James surveyed Husky practices from a tower, letting his position coaches do the job of . . . coaching positions. He rarely interacted with players, who had their own jobs to do. James’ job was to lead.

2) Manage Your Passions James made decisions like whether to go for it on 4th down before the game. He prepared a chart ahead of time so that his decisions wouldn’t be clouded by in-game adrenaline.

3) Adapt James was one of the first coaches to see that speed, rather than size, would be the key to college football success in the ’90s and ’00s. He retooled his recruiting and his schemes. Three Rose Bowls and the 1991 National Championship followed.

4) Make Every Moment Count James’ practice schedules were detailed down to the minute; he was obsessive about punctuality.

5) Don’t Cheat Former Post-Intelligencer reporter Steve Rudman recently relayed an incredible story at SportspressNW. Rudman had seen something at an opposing team’s practice that could’ve helped UW win the one game that cost it the 1984 National Championship. Husky assistants wanted to hear what it was, but James ordered them to leave Rudman alone. “If we’re going to win, we’ll do it fairly,” James said. E

SPORTSBALL

sportsball@seattleweekly.com

Now through November 17

THIS WEEK’S CONCERTS: Thursday, OcTOber 24 KirKland PerfOrmance cenTer, 7:30Pm

Seattle Women’s Jazz Orchestra w/ Ingrid Jensen

Brilliant trumpeter Ingrid Jensen joins this all-star big band in a program that includes the world premiere by the winner of its jazz-composition contest for women. (Presented by Kirkland Performance Center.)

Thursday, OcTOber 24 chaPel PerfOrmance sPace, 8Pm

Syrinx Effect / Naomi Siegel Quintet

In two of the most innovative groups on Seattle’s new forward-moving jazz scene, trombonist Naomi Siegel appears with outstanding soprano saxophonist Kate Olson, and her quartet. friday, OcTOber 25 rOyal rOOm, 8Pm

Steve Treseler Group featuring Ingrid Jensen

The compelling Seattle saxophonist celebrates a new CD release with renowned trumpeter Ingrid Jensen. friday, OcTOber 25 POnchO cOncerT hall, cOrnish cOllege, 8Pm

Nicole Mitchell Ice Crystal Quartet

Mitchell, “the most important jazz flutist of her generation” (All About Jazz), draws gospel, African percussion, and avant-garde elements into a thrilling extension of jazz.

With Jason Adasiewicz (vibes), Joshua Abrams (bass), and Frank Rosaly (drums). saTurday, OcTOber 26 TOWn hall seaTTle, 8Pm

Patricia Barber Trio +1

The “conspicuously literate and restlessly inventive” (The New Yorker) singer-pianist is a gifted musician who turned from classical to jazz performance. Tonight with bassist Patrick Mulcahy, drummer Ross Pederson, and special guest Kate Olson on saxophone. saTurday, OcTOber 26 chaPel PerfOrmance sPace, 8Pm

Beth Fleenor Workshop Ensemble / B’shnorkestra

Two distinctive composers on the Seattle scene, clarinetist Beth Fleenor and trumpeter Samantha Boshnack, showcase their works for large ensembles in one of the city’s finest concert rooms. (Presented by Nonsequitur.) sunday, OcTOber 27 POnchO cOncerT hall, cOrnish cOllege, 8Pm

Lucian Ban & Mat Maneri

Classically trained in Romania, pianist Lucian Ban is increasingly recognized for his modernist jazz. He teams with the stellar violinist Mat Maneri on the new ECM release, Transylvanian Concert.

Thursday, OcTOber 31 POnchO cOncerT hall, cOrnish cOllege, 8Pm

Darcy James Argue & Cornish Contemporary Big Band

The Vancouver-raised, Brooklyn-based composer, pianist, and bandleader, part Radiohead, part Steve Reich, and fully his own man, directs the Cornish community’s best. (Presented by Cornish College of the Arts.)

COMING UP...

Bill Frisell w/ Cuong Vu & Robin Holcomb, Manhattan Transfer, Marc Seales Group, Brian Haas & Scott Amendola, Chemical Clock, Jon Pugh Quartet, Paul Kikuchi, Seattle Repertory Jazz Orchestra, Bill Frisell w/ Ted Poor & Luke Bergman, Kora Band, Kneebody, Garfield High School Jazz Band, Omar Sosa Afri-Lectric Sextet, NEXT Collective, Charles Lloyd with Bill Frisell, and more...

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

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

More indirectly, the Foundation is also playing a role in the decision by Seattle’s First Place to turn into a charter school. A small private school that serves homeless kids, First Place charges no tuition, making it possibly the only school of its kind in the country, according to emeritus board member and former legislator Dawn Mason.

Yet Mason says the cost of serving its students—around $25,000 per pupil—is unusually expensive because First Place offers free meals and social services in addition to classes. The school has survived with grants from a number of organizations, including the Gates Foundation and Microsoft.

When First Place becomes a charter school, however, it will get public funds. That fact was central to First Place’s decision to convert, according to Mason, who just finished six months of consulting for the school as it worked on its transition. Not only will this allow the school to expand (from 45 students this year to perhaps 75), but it will make First Place less reliant on grant dollars—something Mason says the school assumed the Gates Foundation and Microsoft would want, particularly given the strong support both have given to charter schools.

Not all those who want to start charters will necessarily get the chance. All applications must be approved by either the state Charter Commission or, in Spokane, the local district.

The commission has set a “very high bar,” says Jim Spady, the Dick’s Drive-In entrepreneur and longtime charter advocate. The application is extensive and requires documentation of all aspects of a school plan, including “a very capable team,” Spady notes. He says he’s nevertheless confident that a number of proposals will win the commission’s approval.

Winning broader approval in the state may be a dicier affair. But Bellamy-McClain, for one, is optimistic. “Once I’m able to prove that our model works,” she says, “I’ll be open to starting other schools.” E

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The Gasman outside CenturyLink Field.

GASMAN’S

n flip-flops and shorts, Mike “The Gasman” Gastineau is downing beers at happy hour on the F.X. McRory’s patio like he’s been here before. It’s been nine months since The Gasman signed off of the KJR sports-talk airwaves. He doesn’t appear anxious or particularly nervous. But he is in uncharted territory.

d The date is September 11, two nights before Seattle

Sounders FC will take down Real Salt Lake 2-0 at a packed CenturyLink Western Conference—at least momentarily—and mark the squad’s fifth victory in a row, a franchise record. A crowd of 55,107 will witness the

win in person. An average of 177,000 viewers will watch it across the country on the NBC Sports Network, making it the station’s second-most-watched MLS game of the season to date. The Sounders faithful will cheer an electric third-minute goal by Obafemi Martins, and later revel at a late-match sighting of the team’s new star, Clint Dempsey, straight off his U.S. National Team appearance in Columbus, Ohio.

Sports talk has long tuned out soccer.

Now, less than a year after

Mike Gastineau left his

radio career behind, the iconic commentator is using

his new-found freedom to tell the story of the beautiful game in Seattle. by matt driscoll

d From the patio on this waning summer afternoon, Gastineau peers toward October and the release of

his self-published book, Sounders FC: Authentic Masterpiece: The Inside Story of the Best Franchise Launch in Sports History. It’s a career transition that The Gasman— who reached iconic sports-talk status in Seattle during his 21 years at KJR 950 AM—has dedicated himself to since last December, when he abruptly announced his plan to leave the station.

» CONTINUED ON PAGE 10

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

Field. The win will give the Sounders sole possession of first place in the

NEW GAME

PHOTOGRAPPHY BY PETER KOVAL

I

THE

9

( ) » FROM PAGE 9

Hospital Mergers & Religious Restrictions on Health Care

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SEATTLE WEEKLY • OCTOBER 23 — 29, 2013

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End-of-life care, reproductive health, and care for LGBT patients: Experts discuss how secular-religious hospital mergers affect patient access.

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“Probably three weeks after I determined that I was going to leave KJR, I knew [this book] was going to be my project,” Gastineau says with conviction.

Gastineau’s gamble is monetary, in that he left a six-figure salary at KJR, worked unpaid for nearly a year, and spent in the “low five figures” of his own money to bring the book to life.

But, more important, it’s personal: The Gasman first stepped up to a microphone at age 15 and earned his name in Seattle behind one. He’s traded his comfortable radio status for a pen, and for a sport that—outside Seattle, at least— is considered fringe.

“It takes tremendous guts. I know it’s the type of guts I don’t have at this point,” says Gastineau’s longtime on-air partner, Dave “The Groz” Grosby, of Gastineau’s career pivot from established radio jock to self-publishing soccer author.

“It’s really taking a chance.” The Groz left KJR for KIRO 710 ESPN in 2010, but starting in May 1996, he and Gastineau established themselves as a Seattle sports-talk institution. By the early aughts, the duo was the top-rated afternoon talk show on the AM dial.

The Gasman’s decision to abandon his successful sports-talk career surprised some, as did the fact that he left to write a book about soccer.

As Gastineau puts it, “I stepped away from a sure thing to gamble”—a choice he says he’s “never had an ounce of doubt” about.

On air or off, Gastineau loves a good story.

And the launch of the Sounders, he promises, is just that. As Gastineau writes in his book’s opening: Pulling it off took the faith and cooperation of one of the richest men in the world, one of the most powerful movie executives in Hollywood, and a minor league sports owner who would have to take a big leap into the world of big league sports.

Along the way they’d get help from a former NFL executive who spent much of his NFL days ridiculing anyone who watched soccer. They’d find a coach who had almost become an accountant. They’d build the on-field product around that trickiest of sports stars: the local hero attempting to come home to finish his career on a high.

They’d do their primary customer research not at youth soccer fields in the suburbs, but at dark, beerdrenched soccer bars tucked away in various Seattle neighborhoods. They’d form a union with the most dedicated group of sports fans any of them had ever encountered. Then they held their collective breath hoping that union would work.

The qualities that made The Gasman an on-air success permeate Sounders FC: Authentic Masterpiece. During his two decades at KJR, Gastineau established a reputation for being different, employing a relatable style that Seattle listeners came to appreciate. “I think I was honest,” he says of his time on the air. Instead of the contrived, hotheaded takes that are commonplace in the sports-talk genre these days, the Gasman told stories. Instead of the view from the press box, Gastineau preferred the view from the stands—a perspective that resonated in his on-air persona.

“I wanted to feel the pain of paying $8 for a beer and getting elbowed in the ribs in the men’s room at halftime,” The Gasman says.

This everyman approach went beyond the booth. Originally from Indianapolis—a selfdescribed “son of the Midwest”—Gastineau endeared himself to the community by being approachable and giving back. The Kares-AThon, an annual fundraiser he created at KJR in 1995 that continues to this day, has raised more than a million dollars for various charities since its inception. The first Kares-A-Thon benefited the Northwest Literacy Foundation. In 2005, only weeks after Hurricane Katrina hit, the Kares-AThon sent all its proceeds to New Orleans.

Charity work is just one way Gastineau has left a mark on the city he’s come to love. Many of these marks are on a personal level. Talk to Gastineau’s friends and former colleagues, and they’ll tell you of the importance The Gasman places on the relationships he’s built over the years since his arrival in June 1991 from a station in the small city of Harrisonburg, Va. “You can belly up to the bar with him. He was perfect for us,” says KJR station manager Rich Moore.

“Mike Gastineau is a radio icon. . . . He’s the guy that started it all,” says current KJR DJ Dave “Softy” Mahler. “In a lot of ways, I owe everything to Mike.”

“It was tough to swallow,” he says of Gastineau’s decision to leave KJR. For Gastineau, however, the decision was easy.

New business realities of sports talk in Seattle had changed the game, and an amplified pressure for ratings in a suddenly crowded market only increased his desire to do something different.

A man who had spent the past 37 years on the radio was left wondering where his voice fit.

“This is just the kind of story you can’t even tell on sports radio anymore,” says Gastineau of his book.

P

eople start pouring out of the Pioneer Square bar Fuel and into Occidental Park a little over an hour before the match.

The Gasman and I are among them. It’s two days after we’d first met at F.X. McRory’s, we’re a couple beers in, and the showdown with the hated Real Salt Lake has arrived. First place in the Western Conference is on the line.

We’re headed to March to the Match, a ritual that precedes every Sounders home game. Led by the Emerald City Supporters—a “supporters group” of fans who, in the fashion of European soccer traditions, sit behind the south goal (or Brougham End) at CenturyLink Field—the March goes from Occidental Park to the stadium gates. Gastineau says it’s something I have to see—one of the many aspects that makes the Sounders experience unique. Pioneer Square feels fueled by beer, brimming with green scarves and fight songs: I’m a Sounder, I’m seldom sober I’m a Sounder, all blue and green It’s when I’m drinking, I’m always drinking, To a Sounders victory!

No one likes us, no one likes us!

No one likes us, we don’t care!

We are Sounders, Mighty Sounders, We are Sounders, from Brougham End! The March to the Match is just beginning as Gastineau and I duck into Nord Alley and attempt to head off the herd at Jackson. It works perfectly, and seeing the swath of humanity come toward us is impressive. The occasional smoke bomb makes it even a little theatrical. In

March to the Match

hosts the pre- and post-game shows for the Sounders on KIRO Radio, local interest in the team has its roots in the area’s robust youth participation and the seeds sown by the original North American Soccer League Sounders, 1974–83, winning lifelong soccer fans at games at Memorial Stadium and the Kingdome while the league around it struggled to find a footing.

The NASL Sounders folded at the conclusion of the 1983 outdoor season, to the dismay of many.

The league followed suit a year later.

Soccer would return to the Emerald City in 1994, with the Seattle Sounders of the American Professional Soccer League attempting to fill the void left by the departure of the club that first bore the name. The club won two championships in three years before joining the USL in 1997— where it would claim two more titles. Despite this on-field success, those who’ve closely followed Seattle soccer say it was the creation of the MLS Sounders FC that truly unlocked the fanbase cultivated in the ’70s and early ’80s. When the USL Sounders made way for Sounders FC in 2009, many of those original hardcore NASL fans—and now their soccer-playing children— were here, waiting.

“Everybody in this area played soccer at some point growing up,” says Johnson, who’s from the Northwest and participates in the sport to this day. “It is mainstream to a lot of people.”

The numbers seem to back Johnson up. Washington Youth Soccer—the state’s largest youth soccer organization, and the Washington affiliate of the national US Youth Soccer organization—boasts more than 105,000 players, 15,000 coaches, 12,000 teams, and 6,500 referees. That’s the 10th largest membership of any youth soccer organization in the nation. Even more telling, about 90,000 of those soccer-playing kids—or 85 percent—are located in western Washington.

“The original 1974 Sounders . . . really laid the foundation for soccer in Seattle and the Northwest,” says current-day Sounders FC co-owner and general manager Adrian Hanauer, who also served as a majority shareholder and general manager for the USL Sounders. “From there, youth systems thrived, high-school programs thrived, college programs thrived. . . . There was just this massive amount of pent-up demand that was built in the community for high-level professional soccer.”

Rabid fans and attendance records aside, what really hooked Gastineau was a chance to tell the story behind the Sounders’ 2009 launch. It’s a birth unlike any other in the history of major sports, he says, and the way the team’s original

» CONTINUED ON PAGE 13

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SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

front of tonight’s wall of Rave Green passion walks Sounders majority owner Joe Roth, wearing warm-up pants and giving an interview to a backpedaling Jeffrey Hayzlett of Bloomberg TV’s C-Suite, in town for a piece chronicling the Sounders’ financial success. Roth—a Hollywood film executive and former chairman of 20th Century Fox and Walt Disney Studios —has a reported net worth of $700 million.

“Think Chuck Armstrong, or even Paul Allen, would be out there like that?” Gastineau asks me, pointing at the Sounders’ main money man.

“He’s basically throwing himself to the wolves.”

As the scene around us confirms, Sounders diehards are different. And the team’s relationship with its legion of supporters is even more unusual. There are 55,000 people flowing toward the stadium for tonight’s game, and most don’t fit the profile of the mainstream sports fan. When arch-rival Portland was in town in August, the number swelled to 67,000—an NFL-like figure.

If soccer isn’t mainstream in Seattle, it has created a stream of its own.

“Niche sport my ass,” remarks Gastineau of what transpires around us. “Not here.”

In some ways it was the Sounders’ fervent fanbase—the envy of the MLS—that originally drew Gastineau to the sport and this story. In the grand scheme, he’s relatively new to soccer, but he’s been a Sounders season-ticket holder since the team’s MLS debut season in 2009. “I never had the typical media view of soccer, of hating it or being scared of it,” says Gastineau, one of a “minority” at KJR that ventured into Sounders talk on-air. “I wasn’t head-over-heels about [soccer], either. I was just kind of fascinated by the quirkiness of it, and by the massive support.”

Locally—even nationally—there’s nothing like what the Sounders have cultivated in Seattle.

Attending a match at CenturyLink feels as much like a cultural experience as a sporting event.

It’s hard not to get caught up in the moment.

Since the Sounders joined the MLS, the team has logged the league’s top four all-time season attendance averages—a number that’s increased each year, with an average of 43,144 in 2012.

The team’s average attendance is double that of the next best MLS team, and two of the MLS’s all-time top 10 most-attended games were in Seattle, in 2012 and 2013 against the Portland Timbers. The Sounders have sold out all 81 home MLS matches to date, and the club’s 2013 average attendance so far—42,576—would rank seventh in the English Premier League, third in Spain’s La Liga, second in Italy’s Serie A, and 10th in the German Bundesliga.

According to Matt “Stretch” Johnson, who

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» FROM PAGE 13 sign.’ . . . It just kind of hit me, all at once, that the ground had really shifted beneath me.”

If the new business realities of sports talk in Seattle helped make Gastineau’s decision easy, the amplified pressure for ratings in a suddenly crowded market, and an industry-wide trend to push NFL-dominated content, only solidified it.

These days, judging by the ratings, what listeners want is not soccer. It’s football—and as much of it as humanly possible.

“We never talk soccer on the air,” says Grosby of his KIRO show. “Our ratings haven’t been hurt by it. . . . I don’t think soccer fans are your traditional sports-radio listener.”

Likewise, KJR station manager Rich Moore presents a programming plan devoid of the Beautiful Game, despite the approaching MLS

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playoffs. “We go fast. We’re playing the hits.

Right now we’re talking Seahawks, Seahawks, Seahawks, and Husky football.”

It’s not a development Gastineau finds appealing. “More and more competition has led to [more NFL talk],” says Gastineau. “The NFL is just a monster. It’s a behemoth. . . . I hear the guys at KIRO 710 have been told by ESPN in Bristol to talk NFL 50 percent of the show, 365 days a year. . . . I can’t do that. I’m not going to make up stuff to talk about.”

With his book now officially available via Amazon, Gastineau has made it to October, but that doesn’t mean his work is done. Minus a publisher, one of the most famous names in Seattle radio history is working on distribution deals at small local bookstores, scheduling book signings, and once again peering into the future. He’s done some freelance work for Sirius XM’s Pearl Jam Radio; if things work out he may write another book; and he doesn’t rule out an eventual return to the local sports-talk airwaves. What lies ahead, he says, is anyone’s guess.

If he does return to sports-talk radio, you can bet Gastineau will find time to talk about the Sounders. And who knows?—the rest of sportstalk radio may one day follow suit.

“Not to sound confrontational, but I think this generation of sports-talk radio personalities will probably be the last generation that doesn’t know the game and is maybe unwilling to embrace [soccer],” Hanauer told Seattle Weekly, citing changing demographics and increased national diversity. “A lot of those guys got to where they are by talking about football, baseball, and basketball, and trashing on soccer—kind of a cool jock thing to do. Eventually, that’s going to lead them to not having jobs. It’s only a matter of time.” E

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food&drink The Bourbon Boom

FoodNews

How Washington is reimagining the classic Kentucky liquor.

BY SARA BILLUPS

BY ZACH GEBALLE

MCCUN934

F

Micro-barrels, climate, and cor n contribute to unique local bourbons.

alter mash bills (the mix of grains you begin with), yeast strains, and distillation proofs to achieve different distillate flavor profiles, but close to 70 percent of what you taste in a bourbon is the barrel influence. When you think about it, this makes sense. It takes five days to mash and distill and four to eight years to mature in a standard-size 53-gallon barrel, so it spends over 99 percent of its life in the barrel. The bulk of the flavor is imparted onto the spirit by the barrels, and the strict regulation surrounding those barrels and the ways they must be prepared ensure that there’s a baseline flavor standard that all bourbons meet.”

While the barrel does have a significant impact on the finished flavor, choices made well before aging also have an effect. The precise mixture of grains used in a mash goes a long way in determining the eventual taste: Bourbons with a high percentage of corn (well above the 51 percent required by law) tend to be richer and sweeter, while those that cut the corn with rye or other grains will maintain a spicier flavor and a leaner texture.

Experimenting with that mash bill is something every distillery has to do, but the learning curve has been accelerated in Washington. The state legislature passed a craft-distilling bill in 2008 that legalized sampling onsite, provided that distilleries stay below a certain volume (20,000 gallons a year) and use at least 51 percent Washington grains in their spirits. Virtually all the state’s distilleries have opened since then, with some setting their sights on bourbon—and thus facing some unique challenges.

While it typically takes at least four years in barrels for bourbons to mature, local distilleries wanted to have a product on the market sooner.

Some turned to micro-barrels: Aging in smaller casks increases the surface area a whiskey can contact, theoretically speeding the process.

Additionally, western Washington’s climate is significantly different from Kentucky’s. To age properly, some of the spirit needs to evaporate over time—one of the reasons that airpermeable oak casks are the preferred vessel. This evaporation is harder to achieve in our cooler and wetter climate, so Woodinville Whiskey ages their barrels in eastern Washington.

“We are currently evaporating at a higher rate than a warehouse in the South would, due to our drier climate,” Sorensen says.

Of course, each ounce of whiskey that disappears into thin air is one you can’t sell, but it’s a trade-off that Woodinville Whiskey is willing to make. “More evaporation traditionally produces a more complex bourbon.”

Even with plenty of Northwest inventiveness

and know-how, anyone who sets out to make bourbon does so with an eye on Kentucky. It’s still the source of the majority of the bourbon made in the U.S., and the nexus of knowledge, techniques, and experience in the art. For Sorensen, it was the perfect place to find a mentor.

“We did a lot of research and preparation, from visiting the Kentucky distilleries to handson distilling courses to books to apprenticeships,” Sorensen says. “We spent months developing our products. But by far the biggest asset has been being mentored by David Pickerell, former master distiller for Maker’s Mark. He’s worked with us on everything from building the distillery and selecting equipment to developing our products.

Knowledge like his is invaluable, and we’ve been fortunate to absorb some of his decades of experience making whiskey.”

It remains to be seen if Washington’s bourbon can establish its own identity, or merely be an echo of Kentucky’s. Kirby Kallas-Lewis, owner of Oola Distillery, says that “Eastern Washington grows some of the best grain and corn in the world, and that allows us to make exceptional spirits. As we get more established, we can experiment with more unique whiskies that will highlight individual terroir.”

Sorensen seconds that sentiment, proclaiming that once the industry matures, “Each producer will have a terroir like wine producers do. I personally believe the climate of a given region will have the largest impact on the characteristics of the matured whiskey. That’s definitely what we’re tasting when we pull samples.” E

food@seattleweekly.com

Live music, eats, and dulces for trick-or-treaters are part of Día de Muertos parties at La Carta de Oaxaca in Ballard and Mezcaleria Oaxaca in Queen Anne on Halloween. Mezcaleria Oaxaca’s second location on Pine and Summit in Capitol Hill is scheduled to open in early 2014.

In sadder-than-sad news, Capitol Hill’s North Hill Bakery is shuttering. As owner Margaret Rumpeltes posted via Facebook: “Good Bye North Hill! Landlord kicked us out. We have loved serving the Capitol Hill neighborhood, you have all made work a kick to come to every day.”

The Ballard Bridge Cafe opened in the former Counter space around the corner from Top Pot and Trader Joe’s in the Ballard Blocks building. The breakfast/lunch spot will serve standards: scrambles and French toast in the morning, burgers and fish and chips in the afternoon. Hours are 6 a.m.–3 p.m.

Monday–Saturday and 7 a.m.–3 p.m. Sunday.

Frank’s Oyster House & Champagne Parlor is throwing a Bubbles & Bivalves all-you-can-eat oyster party on Nov. 10 in honor of its upcoming fifth birthday. $45 per person includes two drink tickets.

Reserve a spot online (franksoysterhouse.com) or by calling the restaurant at 214-6518.

Shanik’s new market is now open next door to its South Lake Union dining room. The sibling eatery of Vij’s in Vancouver will sell grab-and-go hot meals, like curried chickpeas and rice, alongside packaged meals and mango lassis at a takeaway counter. Market hours are 11:30 a.m.–7 p.m. Monday–Friday.

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SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

or decades, discussion of alcohol production in Washington was centered on beer or wine. More recently, enterprising distillers are tackling a whole array of different spirits, from vodka and gin to absinthe and eau de vie. Several, however, have set their sights on the pinnacle of American distilling: bourbon. To understand why this is at once both logical and daring, a bit of bourbon history is in order.

In its simplest telling, the long history of American alcohol production has involved fitting pre-existing Old World techniques to New World spaces and resources—from the California wine industry to apple-cider production throughout the Midwest and Northeast.

Nowhere is that more evident than in our greatest contribution to the world of drinking, bourbon. A quintessentially American spirit, its history weaves together agricultural progress, a wealth of natural resources, a willingness to simultaneously adopt and reject European practices, and a slight outlaw mentality. Oh, and a bit of a sweet tooth.

At some point shortly after learning how to grow corn, pioneering Americans realized that if you ground it, fermented it, and distilled it, you could get drunk on it quicker than on beer.

Since life on the frontier was often cold, grim, and harsh, drunkenness was seen by many as a desirable state. Furthermore, distilled corn kept longer than dried corn, which meant that if you stored it, you could get drunk for years to come, even if the corn harvest failed—which was of course when you’d need to get drunk most of all.

Eventually, distillers in Kentucky discovered that if you aged your corn hooch in charred oak barrels for a few years, the resultant liquid was far, far more enjoyable than the moonshine that everyone else had been drinking. Since these distillers happened to be living in and around Bourbon County, the name for the spirit became “bourbon” and a drink was born. To this day, the interplay of the sweetness of the corn and the caramelized sugars inside the oak barrels is bourbon’s defining flavor characteristic.

After that loosely accurate narrative, how about some clear-cut facts? Bourbon fits into the larger category of spirits made by aging a distilled grain spirit in wooden casks, generally oak. As with Scotch or Irish whisky, a bourbon producer has to meet certain requirements, from the composition of the initial mash (at least 51 percent corn) to the type of barrels used for aging (new, charred oak) to the proof (80 at minimum). Most important is the location: classically in Kentucky, but legally anywhere in the United States.

It should be said that wherever it’s made, bourbon is always going to taste like bourbon: toasty, rich, and somewhat sweet. “By the very nature of chemistry and federal law, bourbon is a pretty specific product,” says Orlin Sorensen, co-owner of Woodinville Whiskey Co. “You can

17

food&drink Washington: The New Rhone Valley?

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BY ZACH GEBALLE interested in experimenting with just about any grape variety they can get their hands on. While it’s interesting to see how the local terroir handles barbera or tempranillo or auxerrois, one of the most exciting discoveries has been that Washington can make some really amazing wines modeled on those of France’s Rhone Valley.

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Leading that charge is Sean Boyd of Rotie Cellars. The name hints at the kind of wines he’s making: The CÔte RÔtie is a small region in the northern Rhone Valley known for its syrah-based wines, and indeed Boyd makes his Northern Blend in the classic CÔte RÔtie style, adding a small amount of viognier (yes, a white grape) to enhance the aromatics and, paradoxically, darken the color.

A quick word about the Rhone: It’s generally divided into north and south, with different grapes pre-eminent based on where you are.

In the north, red wines are largely or totally made from syrah, while the whites are largely viognier. The best-known appellations are CÔte RÔtie, St. Joseph, and Hermitage. Down south, grenache is the dominant red grape, but plenty of syrah and mourvedre are grown as well, while roussanne and marsanne are the central white grapes, with viognier factoring in too. Châteauneuf-du-Pape is the best-known region in the southern Rhone, but wines from Vacqueyras and Gigondas are similar in style and often match in quality.

Both Rotie’s whites are aromatically expressive and bright, but with a nice backbone of acidity and minerality that reins in the fruitiness inherent in Rhone varietals. In particular, the Northern White Blend is the best Washington viognier I’ve tried, showing fragrant white flowers and

luscious stone fruits on the nose, but delivering a balanced and complex taste with a refreshing zing of acidity on the finish. It’s that devotion to balance and acidity that defines all Rotie’s wines.

When it comes to reds, syrah has a long history in Washington, but it’s typically made into rich, jammy, fruit-forward, high-alcohol wines that have more in common with Australian shirazes than the wines of France. Boyd has consciously broken with that tradition, making complex, elegant, high-acid red wines that are wonderfully food-friendly. His Northern Blend showcases Washington’s ability to achieve a wonderful ripeness without sacrificing acidity and complexity, with notes of blackberry, bacon fat, and chocolate leavened with a nice dose of spices and a bracing hit of rocky minerality.

Even more exciting to me than well-made Washington syrah is the potential of grenache. While it has until now gone largely unnoticed in this state, grenache is currently being buzzed about as a potential “grape of the future.” As a counterpoint to the rich and luscious fruits of the Northern Blend, Rotie’s Southern Blend shows brighter red fruits coupled with dusty, leathery, and briny notes which would be right at home in the southern Rhone.

With those flavor components, it’s one of my favorite reds for grilled meats, especially lamb.

Beyond bringing Rhone varietals into focus, Boyd is one of the founders of Proletariat Wines, one of the local pioneers in keg wines. These allow bars and restaurants to avoid one of the traditional perils of glass-pour wines: An opened bottle of wine goes bad really quickly. Keg wines are kept fresh with inert nitrogen, so the wine can be served for weeks on end without any spoilage or waste.

In short, it’s winemakers like Boyd who push forward the frontiers of Washington wine.

In short, it’s winemakers like Boyd who push forward the frontiers of Washington wine. Paradoxically, this is sometimes done by looking back at Old World wines and figuring out how they can be recreated locally. Of course, the goal isn’t to make a perfect clone of a Châteauneuf-duPape, but to understand what makes those wines great, and then to apply those grapes, materials, and techniques to the outstanding and unique local conditions of eastern Washington. E

thebarcode@seattleweekly.com

arts&culture

To Elliott, With Love

Thoughts on biography and dreams of the artist he never knew from the author of Torment Saint: The Life of Elliott Smith.

ThisWeek’s PickList

BY WILLIAM TODD SCHULTZ

THURSDAY, OCT. 24

he dreams I did not expect. They hadn’t come with any of the other books or articles I’ve written over the years. Not one nocturnal visit from Wittgenstein, Kafka, Agee, Capote, Plath, Arbus. But I liked what my Elliott Smith dreams implied—some deep power, some watchful presence; maybe even, if I was going to be self-serving about it, an ally. At the very least my unconscious was telling me, “I’m in the game.

I’m going to weigh in from time to time, whenever it seems necessary.”

Elliott helped me wash dishes. He was a bank teller from whom I made a withdrawal.

We met on the sidewalk near Mt. Tabor in Portland, close to my childhood home, and he smiled, wordlessly. He gave me a gesture of thumbs-up. He wished me the best. On occasion the symbolism was almost disappointingly direct, such as when he climbed into an empty box in which I’d received a mailing of 20 copies of my prior book about photographer Diane Arbus. I had taken to telling friends, not entirely joking, that Elliott had become my best friend. He was there in my head when I was awake, and he was there when I was asleep too.

To be properly obsessed is a requirement of the biographer. At minimum, I was holding up that end of the bargain.

Books are omen-riddled enterprises; you register atmospheric reverberations. You invest some moments with meanings they don’t even have as a way of upping the stakes on yourself—a whip you use, to quote Truman Capote, for “selfflagellation.” There were the dreams, for one.

And before the dreams, before I’d signed a contract, there was this too: My editor was in town, and we set a date to meet for drinks. The place was on Hawthorne Boulevard in Portland. As I parked, I glanced off to the right. Elliott Street, coming into traffic at a sideways angle (a lot like Elliott). I smiled as I entered the bar, my editor already there on a stool. Then I heard the music.

“Between the Bars,” Elliott Smith. It seemed like a minor miracle. Someone, somewhere, had sup-

Because his latest novel is such a chore to read, I look forward to hearing the author give voice to Umbrella (Grove, $17, new in paperback).

The book runs 400 pages with no chapters, very few paragraphs, very long Joycean sentences, and constant interjections of italicized text. Two main characters toggle among three points in time: Audrey is a young woman during World War I, then in 1971 a mental-hospital patient of Dr. Busner, who four decades later, in his dotage, reflects on his life (and patients). Self begins Umbrella with an epigraph from Joyce, and the novel is a bold step back into modernist, stream-ofconscious writing that one almost never encounters today. Remember how Faulkner considered using different-colored ink to distinguish the characters of The Sound and the Fury? That might’ve helped readers digest the incredibly dense yet rewarding Umbrella. Poor older Audrey is locked in her body by encephalitis; what’s happening in her head is a matter of guesswork for Dr. Busner. (New drugs revive her, as in Oliver Sacks’ Awakenings.) But what’s happening in his head is sometimes opaque to us, too—as if shielded by an umbrella, which is a membrane, a fragile protection against capricious nature. (Also, young Audrey works in the umbrella trade.) And Self rains down his words in a ferocious, brilliant torrent. For example, “Audrey peeks from behind the door and sees claybrown, marblewhirl, glasstripe with sunrays shining through it so pretty she cannot resist it”—which will probably make more sense coming from Self, rather than simply encountered on the page. Seattle Central Library,

T

plied auspicious visuals and a soundtrack. From then on, everything fell into place.

Dreams and premonitions became a book.

I have to say, I never expected to write about Elliott, but then I don’t believe we choose what we write anyway. It was 2009. I’d just finished two books (which I’d written simultaneously),

POLLY BORLAND

JJ GONSON

Elliott Smith, backstage in the early ‘90s

1000 Fourth Ave., 386-4636, spl.org. Free. 7 p.m.

BRIAN MILLER

and I figured to lay low for a while, doing a large amount of absolutely nothing. “Nothing” sounded very good to me. It sounded like something. Then I heard Elliott’s “Waltz #2 (XO).”

Or, I overheard it. My daughter Adrienne—a Lincoln High School grad like Elliott—had gone through her Shins phase, and now she was deeply into Elliott Smith, playing him as she worked away on a paper in our side study. It’s difficult to describe emotional responses to art that, by their very nature, “can’t be said.” So I’ll resort to vernacular: IT BLEW ME AWAY. It might have been the waltz form, the firing-squad drum beat, the ominous opening guitar chords, the enigmatic lyrics that seemed to describe a night

at a karaoke bar, or the gorgeous longing of the testimonial line, “I’m never gonna know you now, but I’m gonna love you anyhow.” Most likely it was the gestalt, all of it. Plus the hint of antiauthoritarian sentiment, the way Elliott tells “Mr. Man” to leave him alone, in the place he makes no mistakes and has what it takes.

There are moments of liftoff; you don’t know you’ve boarded the plane, but it’s climbing, and there’s no calling the whole thing off. You just go. This was it for me. It was going to happen.

The songs, my love for them, were going to make me write a book. In fact, I couldn’t not listen to Elliott. And “Waltz #2 (XO)” was no anomaly. A

» CONTINUED ON PAGE 20

Vuyani Dance Theatre

The original rule in American modern dance is to “dance who you are.” South African performer/choreographer Gregory Maqoma may not come from that tradition, but he’s certainly following that directive. His work has been described as “auto-ethnographic,” combining personal and political history in kinetic form.

Exit/Exist reflects his current experience combining the multitude of dance styles found in Soweto. In the piece, backed by Italian guitarist Giuliano Modarelli and four vocalists from his homeland, Maqoma also portrays his 19thcentury ancestor, Xhosa chief Jongum-sobomvu

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

He was there in my head when I was awake, and he was there when I was asleep too.

To be properly obsessed is a requirement of the biographer.

Will Self

» CONTINUED ON PAGE 21 19

arts&culture» TOWN HALL

CIVICS

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10/29

The Life of Elliott Smith William Todd Schultz with Mark Baumgarten

(10/24) LitCrawl: Ivan Doig with Mary Ann Gwinn (10/24) Mark Helprin ‘In Sunlight and in Shadow’ (10/25) Susan Kieffer The Dynamics of Disaster (10/25) LUCO: Britten & Brahms (10/26) Earshot Jazz Festival The Patricia Barber Trio (10/27) Seattle Festival Orchestra Brahms’ ‘Violin Concerto’ with Felicity James (10/27) Seattle Radio Theatre Halloween (10/28) Reclaiming Prosperity Living Wage Ordinances (10/28) Alex Prud’homme What Everyone Needs to Know about Hydrofracking (10/29) University Book Store Helen Fielding

SEATTLE WEEKLY • OCTOBER 23 — 29, 2013

(10/30) ACLU Hospital Mergers and Religious Restrictions on Health Care

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(10/30) Darrin McMahon The Concept of ‘Genius’ Throughout History 10/31

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Elliott » FROM PAGE 19 little like the Beatles or Elvis Costello—both of whom Elliott adored—every single song seemed sui generis, inexpressibly beautiful and realized.

This was no mean pop star. This was, I came to believe, a songwriting genius. And for the moment, I had no idea he was dead—of two stab wounds to the chest. (My daughter quickly filled me in on some of the surface details.)

At this early juncture, before I’d even signed the publishing contract, I didn’t yet know what I’d think of Elliott as a person, so I checked him out online—performance and interview clips.

Nabokov called this part of the creative process “prefatory glow.” There’s a stirring, a sort of silvery feeling of hopeful incipience. What I saw in Elliott was just what I expected to see, what the music had primed me for—humility, grace, extreme intelligence, compassion, a nuanced artistry, and maybe most important of all, mysteriousness, something withheld, not overtly articulated. I liked him. A lot. He was real, genuine, openly vulnerable. He didn’t lie. In fact, he seemed almost incapable of it. And the truths he told were not self-glorifying. He told them reluctantly at times, they had to be scooped out, but they came all the same, cloaked in metaphor, and in what I came to see as a basic operating personality feature—ellipses. What Elliott was, nearly all the time, was elliptical. Part of him trailed off, pointed elsewhere, echoed down a

He was loved. He was admired, respected. He was also someone to be protected. But then, most overwhelming, he was dead. hole with no perceptible bottom. As he once said, with customary obscurity, the songs were all about “what it is like to be a person.”

Biography is fantasy until you take that first step of reaching out to others, announcing the role you’ve decided for yourself, always a little audaciously: biographer. I’m going to tell Elliott Smith’s story, you say. Inevitably, some answer, “Don’t. He told it himself. In the songs.” Others want to know, perfectly reasonably, “Why?” Or, as a few people asked, “What’s your angle? Did you know Elliott?”

There’s a tentative, delicate, unpredictable collaboration between biographer and interviewee.

It’s clear what the biographer wants—stories.

It’s never clear what the interviewee wants. But with Elliott, no matter who it was I happened to be talking to—for an hour, for dozens of hours, on the phone, on Skype, in person, on or off-record—it was almost always the same. He was loved. He was admired, respected. He was also someone to be protected. But then, most overwhelming, he was dead. That fact framed everything. It was in between every word anybody said. It didn’t come out immediately.

Sometimes, surprisingly, it didn’t come out at all. But it was there. The inescapable subtext.

The limitless darkness.

I took a trip to L.A., to the Elliott Smith Memo-

rial Wall on Sunset. This is where fans gather— not where it started, but where it ended. To write messages. To take pictures. Sometimes just to stand and stare. A big truck pulled up, and a kid, about 16, jumped out with a stepladder. He wanted to write something way up high, words no one could mess with. His dad was there.

He never said anything. He was the driver. He was the kid’s Virgil. I watched the son get to work. I even took a picture of what he wrote from where I stood at the curb. He finished, climbed down, then stepped back beside me. I kept quiet. I didn’t want to interrupt his private imaginings. Then, abruptly, he turned to me and asked,”You think she did it?”

Five words. Not “Where are you from?” Or “What’s your favorite song?” Or “What does Elliott mean to you?” Though it’s the sort of thing that likely always happens, especially with artists who die prematurely, violently, and unforgettably, it still takes one by surprise; how the death hijacks the life, how everything gets read backwards from a terminus, how the life seems never to have existed without a death in it. It’s a soundtrack you can’t mute. It keeps imposing itself tendentiously. It narrows everything. It’s a fish-eye lens.

There’s a funereal aspect to Elliott Smith that’s dislocating. But it’s false. It’s distorting.

And from the start my impulse was to reject it.

I wrote as if he was alive. I wrote in amnesia of the ending I already knew. Around every Internet corner you find them. They are militant, watchful, obsessed, adamant. The handful of people—and I do, now, believe them to be no more than a handful—who insist Elliott was murdered. They wrote me. They left comments wherever they could. They tracked my progress.

They surmised, opined, invented scenarios.

The “she” they bore down on, the “she” the kid at the wall was talking about, was Elliott’s last girlfriend, the person who was there when he died, Jennifer Chiba. There was a moment during my interview with Elliott’s friend Pete Krebs, himself a terrific musician and incredibly admirable individual, a person with true

soul. We had finished our chat, and I asked if I’d left anything out, if I’d omitted a question I shouldn’t have. “It’s surprising,” he said, “but unlike every other person I’ve ever talked to about Elliott, you didn’t ask me about his death.” And I realized—I was interested in the music, the songs, the creative process, the milieu, the zeitgeist in Portland, the relationships, the slapstick moments, the successes, the failures. In short, the life. In short, the art.

Then I thought it over more. I’d talked to dozens of people exceptionally close to Elliott, friends and girlfriends spanning the years from sixth grade to 2003, and almost no one brought up his death. And no one, not a one, strongly believed or even suspected he’d been murdered.

In fact, they preferred to focus on better days.

They all said a version of the same thing: Elliott wasn’t always depressed; he was never, until around the turn of the millenium, an addict; far from sad, most of his life he was happy, funny, healthy. Make sure you don’t forget that, they told me. Don’t leave out the wit, the moonwalking, the hilarity of Elliott at his peak.

I remember clearly the feeling, as I worked on the chapters about Elliott’s time in Texas, elementary school and junior high; the college years; the return to Portland to form the band Heatmiser; the recording of his first solo record in JJ Gonson’s basement—I recall thinking forcefully, This is the realest Elliott. Not flawless, not without inner pain, but fresh, inventive, productive, bold.

The concept of true self is problematic. Just as Elliott did, in college I studied post-structuralism, the idea that “all reading is a misreading” and every self a “paper-I.” So, as I had these thoughts of realness, I also instinctively doubted them. Identities possess a fractional truth, I figured. Some selves get 80 percent there, some are largely fraudulent, subtractions rather than additions. One friend told me that, in his final two years, it seemed as if a portion of Elliott’s personality got excised. I agree. The art kept building, refining itself; the life was another matter.

Books are a grinding; they grab you by the hair and drag you across gravel. You are like a rider on horseback; there is no doubt where the superior strength lies—the horse. I came to terms early on with the fact that biography is a selfless act. It’s not autobiographical fiction. The book is about some other person. What you do, if you manage to get things right, is disappear.

What you are, at most, your role in the process, is story-hoarder. People open up their parcel of stories, and you do all you can to get them right, to put them in their proper places. You are also, always, a bit of a loiterer, a trespasser. Your job is to wander the territory. Most people don’t mind too much; the rare few even leave the gate open for you. But you learn to walk lightly. To be as inconspicuous as possible. To take what’s offered and no more.

To me, looking back, the idea of an objective biographer is mostly nonsense. Or else I just suck at the emotional side of it. You spend dozens of hours with people, taking in what they feel comfortable sharing, and what happens— what must happen, it seems to me—is that you get to know them. In unusual cases you even become friends, at least of a sort. At first I won-

music@seattleweekly.com

WILLIAM TODD SCHULTZ Town Hall (Downstairs), 1119 Eighth Ave., 652-4255, townhallseattle.org. $5.

7:30 p.m. Tues., Oct. 29.

JOHN HOGG

Maqoma impersonates his ancestor.

Pick List » FROM PAGE 19 Maqoma. Recognizing the polyglot nature of his art (“I have allowed other cultures, traditions, and forms, by choice, to form part of my anthropological cocktail”), he still fulfills that cardinal rule of modern dance: He is dancing who he is today. (Through Sun.) On the Boards, 100 W. Roy St., 217-9888, ontheboards.org. $25.

8 p.m. SANDRA KURTZ

Farm to Fable

Rounding out the second annual Lit Crawl Seattle, Seattle Weekly food-and-drink editor Nicole Sprinkle hosts this conversation with fellow food writers Langdon Cook (The Mushroom Hunters), Kathleen Flinn (The Kitchen Counter Cooking School), Joe Ray (The New York Times), and Kurt Timmermeister (Growing a Farmer).

At this salon, expect a primer on the pleasures and best practices of home cooking: Flynn will discuss technique; Cook will dish on ingredients and sourcing; and Ray and Timmermeister will explain why it’s all worth the effort. As fall descends and we return to the slower pace of the season, the simple comforts of cooking and reading—indoors, of course—are indeed worth exploring with the authors here. (See litcrawl.org/seattle for a sprawling schedule that includes over 60 authors at 19 venues, including memoirists Claire Dederer and Nicole Hardy at the Century Ballroom and cartoonist Ellen Forney at Hugo House, where an after-party runs from 9 p.m. to midnight.) Capitol Cider, 818 E. Pike St., 397-3564, seattleciderbar.com.

Free. 8 p.m. GWENDOLYN ELLIOTT

FRIDAY, OCT. 25

Horror Week

Who better to launch this series of fright and monster films than Bruce Campbell, the star of Army of Darkness? He’ll appear live tonight, an hour before the 10 p.m. showtime, to answer all your questions about skeleton armies, demonic ghouls, and attaching a chainsaw to your arm. The 1993 trilogy-ender is the high-water mark of his collaborations with Sam Raimi. In the sword-andsarcasm epic, Ash (Campbell) is transported back from his hardware-store present to the middle ages, where he gets caught up in medieval politics and warfare. And he must also master the secret of the Necronomicon, which he foolishly opens to unleash the army of the dead. (Embeth Davidtz plays the swain to Campbell’s hero.)

If there was ever a wisecracking, shotgun- and chainsaw-wielding master of the B-list, it’s Campbell, the closest thing we got in the ’90s

» CONTINUED ON PAGE 22

A Grownup’s Prequel to Peter Pan

PHOTO CREDIT: JENNY ANDERSON

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dered about that. Was it a good idea? Could it lead to trouble down the line? Then I gave in. It started to strike me as inevitable. There’s a side effect to this that benefits the work. You feel, if you let yourself, a terrific responsibility to your interlocutors. It’s not just about getting Elliott Smith right; it’s also about getting them right, from their words to your ears to the tips of your fingers as you write the memories down. And from the start, I realized: These were exceptional people, Elliott’s friends. Thoughtful, creative, gifted, smart, dignified, sensitive, compassionate.

In short, a lot like Elliott. In many instances, I was overcome by their generosity. I felt as if I’d been gifted with precious heirlooms—to handle carefully, to not break.

But the love you feel for your interviewees is nothing compared to the love you feel for your subject. It’s corny to call it love, I suppose. Maybe affection suffices, or longing. I don’t think this love is always there. Some biographies are hatchet jobs. Others exude dislike or annoyance. Most subjects don’t choose their biographer. Posthumously, they luck out or they don’t. For me, after 25 years of writing about artists, the work is an act of sympathy. To understand, you sympathize. To interpret, you must love; it’s the only way to feel yourself in, to gather the shadings of experience. Love allows you to see. It helps you take everything in. It’s clarifying, not distorting.

Also, with love as your guide, you make better choices, I think. And biography is all about choice. It’s a constant series of judgments. As I wrote on I noticed all the things I did not say piling up beside the things I did. You leave a second book of omissions. Some are necessary—people tell you things, then tell you not to write them in. Others are more slippery. You hear something, it is “on record,” then you ask yourself: Can I say this? Is it essential? What’s the ratio of harm to good? There is a lot I know about Elliott Smith, and about the people in his life, that is not in the book. It’s explosive, strange, shocking, dark, but invisible.

Yet through it all—the constant, day-to-day moving around of words, the tracking down of people, the getting them to agree to talk, the interviews themselves, each a universe of backstoried complexities—I had on my side an invaluable trick, a sure-fire stimulant. The songs.

If I ever wavered, I went to the songs. “Coming Up Roses,” “Cupid’s Trick,” “St. Ides Heaven,” “Angel in the Snow”—virtually any one sufficed. And the feeling I got from them—the rush, the excitement, the truly antidepressant feeling—always put me in a groove. The story was whatever was the song. And I told it.

Just last night I dreamed Elliott alive again.

I had gone to a restaurant with a friend, and he was there at a table being interviewed. He called me over. He was so happy, healthy, loquacious even. We talked for a minute or two. I don’t recall exactly about what. As I went to the next room, I rejoined the person I’d come with.

He asked, “Who was that?” I said, “He’s the guy I wrote my biography about.” E

21

a&c» Pick List » FROM PAGE 21 EXTRAORDINARY PERFORMANCES FROM AROUND THE GLOBE

to Indiana Jones in the ’80s. Other scary and/or funny titles in the series include The Birds, Alien, Psycho, Dracula, An American Werewolf in London, and The Shining. (Through Halloween.)

Cinerama, 2100 Fourth Ave., 448-6880, cinerama.com. $25–$35. 9 p.m. BRIAN MILLER

Henry Open House

Dance-illusionists perform Botanica OCT 31-NOV 2

Fall brings a flurry of new shows to the Henry, and tonight’s seasonal party is a great way to knock four artists off your tick-list (along with enjoying food, drinks, music, and a dance performance by Kate Wallich). I strongly recommend photographers Ray K. Metzger and David Hartt; and the latter also has a hypnotic 12-minute video filmed inside a half-empty Chicago office building. With a lovely jazz score by Nicole Mitchell, the piece is like a slo-mo ballet constructed of routine gestures (get coffee, send fax, avoid work, etc.). Downstairs, South Korean artist Haegue Yang has hung a colorful, intricate series of Venetian blinds arranged into geometric shapes. Called Towers on String, they’re not Calder-style mobiles, but static, dangling constructs, humble materials artfully arranged. Next door is the new installation

by Jason Dodge, What Have We Done, comprising a half-dozen conceptual pieces dealing with residual traces and lingering energy. The sparse gallery containing Living is scattered with hay and animal hairs from the livestock that once trod the floor. (Were there elephants? He won’t say.) Dodge also deploys pillows, light bulbs, and massive rolls of newsprint in his show. Yang’s work could conceivably be recycled as window treatments, while Dodge’s newsprint will be used in the presses of The Seattle Times. Henry Art Gallery, UW campus, 543-2280, henryart.org. $20. 8–10 p.m. BRIAN MILLER

SATURDAY, OCT. 26

Seattle Philharmonic

SEATTLE WEEKLY • OCTOBER 23 — 29, 2013

MARIZA | Fado music’s biggest star

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ANDA UNION | vibrant traditional Mongolian music

OCT 25

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ANDRÉ WATTS | works by Scarlatti, Mozart, and more

CAFÉ VARIATIONS | by SITI Company

NOV 7

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In the 1945 film melodrama Hangover Square, Laird Cregar plays high-strung composer George Harvey Bone (!), hard at work on a piano concerto and driven over the edge, who discovers that during his stress-induced blackouts, he’s been committing murders. At this time there was a vogue for including concertos—stand-alone pieces that could be extracted for real-life concert performance—in movie scores, especially in films about musicians.

One of the best is the high-camp Concerto Macabre that Bernard Herrmann wrote to represent the fictitious Bone’s work. He packs a lot into its 12 minutes: an ominous march, a darkly brooding slow section, a sinister scherzo, and something like a love theme, all in a throbbingly hyper-romantic fog-and-gaslight style. (The snarky might call it Schlockmaninoff.) Why does the orchestra drop out before the end of the piece? Because in the film, Bone commits suicide by setting fire to the concert hall at the premiere of his concerto, and dies playing alone among the flames. The Seattle Philharmonic is resurrecting Concerto Macabre on its Halloween program alongside more conventional spooky numbers like Night on Bald Mountain and Chopin’s “Funeral March.” Adam Stern conducts; the presumably sane Peter Mack is the pianist. (And make a note: For more Herrmann, the Seattle Symphony is screening Psycho with his iconic score played live, Oct. 30 & 31.) Benaroya

Hall, Third Ave. & Union St., 215-4747, seattle phil.org. $20–$30. 2 p.m. GAVIN BORCHERT E

arts&culture» Visual Arts

Hometown Voids

Three modest shows at SAAM point to the problems with an obsolete building.

BY BRIAN MILLER

W

JOHANSEN KRAUSE/COURTESY OF SAM

Liu’s Chengzi Shows up at the Wrong Door.

All of which is a very roundabout way (sorry!) to

address three modest exhibits currently running at SAAM. Its 80th birthday is being celebrated

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SEATTLE ASIAN ART MUSEUM 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5–$7. 10 a.m.–5 p.m.

Wed., Sat., & Sun.; 10 a.m.–9 p.m. Thurs.

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SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

hy do we have a Seattle Asian Art Museum? As opposed to one dedicated to European or African art? Because Asian art is what the Seattle Art Museum’s first director, Richard Fuller, so avidly collected. Fuller (1897– 1976) got the original SAM built in Volunteer Park in 1933. After SAM moved downtown in ’91, something had to be done with the old building. Hence the ’94 renaming, hence SAAM, and hence its somewhat neglected status today.

SAM’s current director, Kimerly Rorschach, told me last spring that a renovation and possible expansion of SAAM were on her to-do list, but that would take fundraising and negotiating with the city about surrendering more of Volunteer Park. Meanwhile, the 80-year-old building is showing its age. The low-ceilinged galleries are small and not particularly well laid out. The central atrium is a nice place for party rentals, if little else, and the entrance is a maze. Also, most people have to drive to get to SAAM, the opposite of modernbuilding practice: Be accessible, go where the people are. That’s been SAM’s formula for success since the 2007 addition, which will eventually yield 450,000 square feet of space (growing into the offices upstairs) versus 45,000 for SAAM. Put differently, there’s no reason a super-sized SAM would need a separate satellite facility for Asian art, when it could more effectively bring that collection downtown and reach more eyes.

Particularly during summer, downtown is teeming with tourists from Asia and beyond. Volunteer Park? Not so much. (The Frye Art Museum has the same problem—both facilities are too far from the walkable urban core.) If SAM put new money and thought into its old home, the scope could be broader than merely Asian art—maybe modern?

Alternatively, SAM could simply relinquish the structure to another culture organization.

Carl Gould’s Deco-influenced building was landmarked by the city in 1988, but its design is more familiar than distinguished. Perhaps the city could find a use for it.

with A Fuller View of China, Japan, and Korea (through April 13), curated by SAM’s Josh Yiu and including 150 lovely objects—including the famous gold Crows screen—that go together because, well, they’re Asian and Fuller collected most of them. Those two criteria do not a show make.

Better is Hometown Boy (through June 29), a small selection of roughhewn realist scenes and portraits by the Chinese painter Liu Xiaodong.

Having achieved success in Beijing, Liu went back to his emptied-out old village after three decades away, finding stagnation and defeat among his former cronies. The young people have fled to the coast, where the money is. Back in Jincheng, prospects and hopes are things of the past.

There’s nothing explicitly political here, yet the paintings read like a socioeconomic portrait of China’s old inland Rust Belt. These are somewhat sad, desultory scenes. Weeds grow in an unused pool. A restaurant fails. A dejected man shows up at the wrong door, pointing futilely at it with a purple umbrella. Two shirtless guys study an X-ray. A bored cop poses for Liu, apparently having nothing else to do.

Pages from Liu’s notebooks supply some background. “He works on the margins of the criminal underworld,” reads one. “Poverty makes people unable to forget the importance of the basics of life and gives them a fear of losing the same,” says another. A 1982 snapshot of Liu’s friend Li Wu, later painted in front of a TV set playing a basketball game, hints at the remorseless passing of time. If anything, SAAM could offer more context beyond one short video.

What about Foxconn and Apple, the Three Gorges Dam, tainted milk, lead-painted toys, globalization, corruption, and the costs to China’s tectonic-scale industrialization? Liu isn’t a political artist like Ai Weiwei. He works within the system but is certainly aware of its constraints and discontents, which surely swirl into Hometown Boy’s palette of oils.

Somewhat complementary are the scroll paintings of Liu’s countryman, the San Francisco-based Wan Qingli. In Inked (through June 29), traditional calligraphy and line drawings have been tweaked to reflect and indirectly comment upon the modern world. They’re whimsical but rather obvious (actual mouse meets computer mouse, etc.), too gentle for satire.

Wan and Liu are both responding to a wrenching modernity that makes the Fuller holdings seem utterly antique. We’re at least three revolutions past those old times. Traditional notions of beauty yield to topicality—or at least they must be linked somehow by SAM curators.

A more ambitious show might, but that would require a bigger investment and a better exhibition space. Probably downtown. E

23

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arts&culture» Stage

Opening Nights RUFUS WAINWRIGHT

“It’s De-lovely”) are some of the high points of the Great American Songbook. (On the other hand, though practically every musical’s score has its gems and duds, the gap here is oceanic between Porter’s hits and his weirdly stodgy

Krackenthorp—a speaking part, often a cameo for a grande dame (Bea Arthur and Hermione Gingold have played her)—gets a drag turn from tenor Peter Kazaras, swathed in violet. Imagine Harvey Fierstein as the Dowager Countess of Grantham. GAVIN BORCHERT

PThe Modern American Chicken

York (center) leads the maritime merriment.

WASHINGTON HALL, 153 14TH AVE., CAFENORDO.COM. $65–$90. 7:30 P.M. THURS. & SUN., 8 P.M. FRI.–SAT. ENDS NOV. 24.

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The Life of Elliott Smith William Todd Schultz with Mark Baumgarten

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PAnything Goes 5TH AVENUE THEATRE, 1308 FIFTH AVE., 625-1900, 5THAVENUE.ORG. $29 AND UP. RUNS TUES.–SUN. ENDS NOV. 3.

Nothing could kill this Cole Porter classic like trying too hard; and, well, you know how touring musical companies can be: frenetic, plastic, mechanical. But from the start, practically the first lines, of this Roundabout Theatre Company production, it was a relief to see that the cast has the art-deco-era insouciance down pat.

For instance, Scene One: Rachel York plays sassy lounge chanteuse Reno Sweeney and Josh Franklin plays Billy Crocker, an upwardly striving Wall Street newbie. They have a sexual history (no big whoop); she invites him to tag along on a transatlantic voyage (sure, why not?); and she sings “I Get a Kick Out of You” (pour me another drink, wouldja?).

If you can bring material like this true adult sophistication, and not just make it a sort of selfconsciously mannerist period exercise, you have a winner. They can, and they do. York, in particular, is magnificent, owning the stage and making it look easy. (In Porterland, visible effort just leaves you less energy for the important things, like stowing away on luxury liners, knocking back cocktails, and looking good in white tie.) You know whose voice York’s reminds me of? Ella Fitzgerald’s. What they share is a lightly smoky bottom, like a peaty Scotch, that gains a bit of a ring as it opens up—not an edge, just a glint that delivers Porter’s word-drunk lyrics in high-def.

Also aboard: the ingénue Billy’s pursuing (Alex Finke) and the man she’s engaged to ( Joey Sorge, as the sort of hapless British toff Terry-Thomas made a career of playing), and a two-bit gangster (Fred Applegate) and his sidekick/moll ( Joyce Chittick). What they all want, and what they all end up with, forms the web of subplots that’s really just a scaffold for the songs, among which (“You’re the Top,”

choruses, which sound like he was straining, but not quite managing, to forget all the Gilbert and Sullivan he’d ever heard.) Like the performances themselves, Kathleen Marshall’s direction and choreography is smart but never strenuous; her Act 1 tap-dance finale, to the title song, is everything you could possibly want a production number to be. GAVIN BORCHERT

PThe Daughter of the Regiment MCCAW HALL, SEATTLE CENTER, 389-7676, SEATTLEOPERA.ORG. $25 AND UP. 7:30 P.M. WED. & SAT. PLUS FRI., NOV. 1. ENDS NOV. 2.

Seattle Opera brings a light touch to Donizetti’s 1840 opera, harmlessly updating the setting to France at the end of World War II—primarily, I’m guessing, so that soprano Sarah Coburn can look smashing in Julio Galán’s costumes, like a honey-blonde Andrews Sister. She plays the title role, Marie, who as a foundling was raised by an army platoon but who discovers she’s an heiress, jeopardizing her romance with Tonio— Lawrence Brownlee, who’s come to own SO’s bel canto tenor roles. Solid throughout, they both sounded best in their slow arias—especially Coburn’s two laments, at the end of Act 1 (a balm after 45 minutes of Donizetti’s martial fanfares and snare drums) and the start of Act 2.

In the first she’s teamed with a solo English horn (Stefan Farkas), in the second a cello (Terri Benshoof ), and her way with a long line shows her the instrumentalists’ equal in control and pathosdrenched, expansive phrasing. The role of Tonio is notorious for the showpiece “Ah, mes amis,” full of high Cs, but, as Brownlee pointed out, his “Pour me rapprocher” is harder yet, and the audience’s response was even warmer.

SO veteran Joyce Castle is adorable as Marie’s aunt the Marquise. Baritone Alexander Hajek is lively and nimble as regimental officer Sulpice; I’d love to see him back in any number of comic baritone roles. This airy beignet is flavored with one splendid touch of camp: The Duchess of

An African tradition, dating back hundreds if not thousands of years, calls for a ritual to accompany the creation of a new drum. First an egg is cracked at the base of the chosen tree as a symbol of life, then follow prayers to acknowledge the sacrifice of the living tree.

Café Nordo has something similar in mind in restaging their first Seattle production, which made them local luminaries four years ago. The show pays homage to all things henhouse with a fanciful dining experience that does for the art of fine food and conversation what Shortbus did for sex. Equal parts meet-and-greet, nightclub, and gustatory exploration, Chicken is also a winking nod to—and lampoon of—the dinner theaters of yesteryear. But this is not some kitschy remounting of The Odd Couple set off by a three-bean casserole, store-bought rolls, and lemon-baked chicken breast for 500. Rather, there’s an Old World feel as the evening unfolds, with an accordion player gliding across the ballroom floor while the waiters—imaginatively costumed by Alenka Loesch—seat their patrons, not all of whom know each other beforehand.

What follows is a didactic-gastronomic tour through the life of a chicken named Henrietta, regularly punctuated with high-flung prose to illuminate each course, offset by generous pours of some of the best wines grown around the state.

Hovering omnisciently is the apocryphal Chef Nordo himself, speaking through his charges about the origins and sensory details of your meal. The intent, successfully achieved, is that you become closer to both the food and the guests at your table. It only makes sense, then, that the meal is the main event, and in both presentation and flavor, it does not disappoint. Designed by director Erin Brindley, the menu proceeds from egg—nestled in a nest made from Parmesan cheese and phyllo—to a mild and savory chicken soup to a roast chicken stuffed with homemade sausage and habanero cherries.

Maximillian Davis brings sardonic flair to his role as emcee; Annastasia Workman’s original score includes country sing-alongs, jazzy instrumentals, and bluesy laments, all handled with dexterity by the performers, who also serve between the theatrical interludes (written by Terry Podgorski). With its delights and surprises (though few plot points other than the courses served), this is one very selfaware Chicken. Its performers all acknowledge the hoary dinner-theater clichés with tongues planted firmly in cheek, yet Chicken is certainly more highbrow and more foodie-oriented than anything you’d see in Branson or Vegas. (In fact, this show would make a great episode of Portlandia.) All the patrons at my table, fellow theaterfolk from Seattle or New York, shared in the irony and enjoyed a dinner most fowl.

KEVIN PHINNEY E

stage@seattleweekly.com

arts&culture» Music Stage OPENINGS & EVENTS

ALL HALLOWS’ CLEAVE Blood Squad and Balagan’s

improvised horror show. Erickson Theatre Off Broadway, 1524 Harvard Ave., 587-5400. $10. 8 p.m. Sat., Oct. 26.

AND THEN THERE WERE NONE Agatha Christie’s thriller about gradually, mysteriously dying houseguests. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, rentoncivictheater.org. $17–$22. Opens Oct. 25. 7:30 p.m.

Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Nov. 9.

BO-NITA Hannah Mootz stars in Elizabeth Heffron’s solo show, which explores Midwest working-class life with a touch of magical realism. Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$65. Opens Oct. 23. 7:30 p.m.

Wed.–Sun., plus some matinees 2 p.m. Wed., Sat., & Sun.; see seattlerep.org for exact schedule. Ends Nov. 17.

CARNEVOLAR IV: THE HAUNTING A cirque-arts journey into the underworld. 8 p.m. Thurs., Oct. 24: all ages, $20–$35. 9 p.m. Fri., Oct. 25–Sat., Oct. 26: 21 and over, $38–$70. Emerald City Trapeze Arts, 2702 Sixth Ave. S., 800-838-3006, brownpapertickets.com.

FRIDAY THE 13TH Ian Bell’s Brown Derby series stages, and usually gender-fucks, cult classics. Re-bar, 1114 Howell St., rebarseattle.com. $18. 8 p.m. Thurs., Oct. 24–Sat., Oct. 26.

THE GREGORY AWARDS Seattle’s Tonys, honoring the year’s best theater. The Neptune, 1303 N.E. 45th St., gregoryawards.org. $35–$125. 7:30 p.m. Mon., Oct. 28.

THE LUXURIA CYCLE Jimmie Galaites’ exploration of modern romance “satirizes not only our society’s obsession with finding the perfect partner, but also the way personal information is used as currency.” Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10.

Opens Oct. 22. 8 p.m. Tues.–Wed. Ends Nov. 13.

MERRILY WE ROLL ALONG Sondheim onscreen from the West End’s Harold Pinter Theatre. See fathomevents.com for participating theaters. 7 p.m. Wed., Oct. 23.

MOISTURE FESTIVAL’S HAUNTED HALLOWEEN CABARET A fundraiser/costume party/auction to ben-

CURRENT RUNS

ANIMAL CRUELTY Scot Augustson’s “shadow puppet

noir” tells of Chicken Jenny’s brush with the law. Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, printers devil.org. $15–$18. 8 p.m. Thurs.–Sat. Ends Nov. 9.

ANYTHING GOES SEE REVIEW, PAGE 24.

THE BACCHAE GreenStage’s “Hard Bard” series (classics with the gore turned up to 11) presents Euripides’ tragedy.

Stage One Theater, 9600 College Way N., 800-838-3006, greenstage.org. Free. 7:30 p.m. Thurs.–Sun. Ends Nov. 2..

CAFE NORDO SEE REVIEW, PAGE 24.

CANNIBAL! THE MUSICAL! The tale of Alferd Packer, written by those South Park guys. Market Theater, 1428 Post Alley, 800-838-3006, unexpectedproductions.org. $12–$15. 8:30 p.m. Fri.–Sat. Ends Nov. 2.

CARRIE: THE MUSICAL A notorious 1988 Broadway flop, this show still has an adolescent urgency, if not selfawareness. Here, Tony-winning Alice Ripley plays mom to Keaton Whittaker’s Carrie; Ripley can really tear it up in

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

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HELLO DARLIN’S: MOM’S GOT SOMETHING TO TELL YOU! Josephine Howell channels comedian “Moms”

Mabley. Langston Hughes Performing Arts Center, 104 17th Ave. S., 800-838-3006, langstoninstitute.org. $10–$25. 7 p.m. Thurs.–Sun., 2 p.m. Sat.–Sun. Ends Oct. 26.

THE MATCHMAKER The aims of Thornton Wilder’s classic 1954 farce are embodied by widowed marriage broker Dolly Levi Gallagher, played boldly and joyfully by Pam Nolte with a thick Irish brogue and twinkling eye. Wilder peppers his hit play with expertly crafted dialogue, but the cast generally fails to deliver; thankfully, the laughs land consistently. MARK BAUMGARTEN Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $15–$40. 7:30 p.m.

Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Oct. 26.

MIRROR IMAGES The premiere of Scott Timmons’ mother/ daughter drama. DownStage Theatre, 4029 Stone Way N., 800-838-3006, playwrights-theatre.org. $16. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 26.

NIGHT OF THE LIVING DEAD One of the creepiest movies ever becomes children’s theater. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x109, youth theatre.org. $15. 7, 8, & 9:30 p.m. Fri.–Sat. Ends Nov. 2.

THE REAL INSPECTOR HOUND Tom Stoppard’s murdermystery parody. Jones Playhouse Theatre, 4045 University Way N.E., 543-4880, depts.washington.edu/uwdrama. $10–$20. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Oct. 27.

REWIRED The Phoenix and The Frog present an “immersive performance project” on the theme of “mental health and life on the periphery.” Teatro de la Psychomachia, 1534 First Ave. S., 800-838-3006, brownpapertickets.com. $18.

8 p.m Fri.–Sat. plus Thurs., Oct. 31. Ends Nov. 2.

SUGAR DADDIES Sir Alan Ayckbourn comes to Seattle to direct this production of his 2003 dark comedy, which takes a familiar premise—a Faustian bargain between a worldly, wealthy older man with a shady past and a provincial, susceptible young woman—and rides it, well, nowhere terribly interesting. Ayckbourn systemically saps potential menaces as soon as they appear, yet Sugar Daddies scores its laughs, even while paddling in place.

MARGARET FRIEDMAN ACT Theatre, 700 Union St., 2927676. $41 and up. Runs Tues.–Sun.; see acttheatre.org for schedule. Ends Nov. 3.

THE TAMING Riffing on Shakespeare, Lauren Gunderson has created a rare specimen: a political comedy that’s fair-handed and funny. When Republican senate staffer Patricia wakes up in a hotel room with Bianca, a liberal blogger, we expect a familiar hostage plot. But both have been captured by Miss Georgia contestant Katherine, whose aspirations go way beyond shaking her peaches.

MARGARET FRIEDMAN ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $15–$34. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends Oct. 26.

10 DAYS TO HAPPINESS Donna Rae Davidson’s play/ memoir about “one woman’s hilariously tortured search for enlightenment.” Amazing Grace Spiritual Center, 2007 N.W. 61st St., 800-838-3006, brownpapertickets.com. $15–$20, 8 p.m. Fri.–Sat. Ends Oct. 26.

THE UNDERNEATH Kelleen Conway Blanchard’s horrormovie sendup is set in a seaside town. Annex Theatre, 1100 E. Pike St., annextheatre.org. $5–$20. 8 p.m. Thurs.– Sat. plus Mon., Nov. 4. Ends Nov. 16.

THE WALWORTH FARCE In a distressed London flat, Dinny (Peter Crook) and his adult sons Sean (Darragh Kennan) and Blake (Peter Dylan O’Connor) are engaged in their daily performance of the titular farce—a zany comedy of errors, triggered by the wake of a family matriarch. The laughs are uneasy; there’s an ominous undercurrent to this 2006 work by Irish playwright Enda Walsh. During each interruption, we gradually learn why Sean and Blake have been kept close to the nest. Expertly directed by John Kazanjian, the cast lands every beat.

MARK BAUMGARTEN New City Theater, 1404 18th Ave., wearenctc.org. $20–$30. 8 p.m. Wed.–Sun. Ends Oct. 27.

For more Current Runs, see seattleweekly.com.

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Dance

3RD SHIFT DANCE/EXPOSE THE EASTSIDE DANCE COLLECTIVE A split bill of contemporary jazz dance.

Velocity Dance Center, 1621 12th Ave., 800-838-3006, 3rdshiftdance.org. $8–$10. 10 p.m. Fri., Oct. 25.

VUYANI DANCE COLLECTIVE SEE THE PICK LIST, PAGE 19.

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GHOST GAME VII: THE WILD HUNT The Cabiri’s

acclaimed production. See metopera.org for participating theaters. 10 a.m. Sat., Oct. 26, 6:30 p.m. Wed., Oct. 30.

JAMES REID From this guitarist, a miscellany of Spanish music. Frye Art Museum, 704 Terry Ave., 365-0845, frye museum.org. Free. 2 p.m. Sat., Oct. 26.

Halloween dessert-theater cabaret brings creepy folk tales to life. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 800-838-3006, cabiri.org. $40–$70.

Opens Oct. 25. 8 p.m. Thurs.–Sun. Ends Nov. 3.

Classical, Etc.

SEATTLE METROPOLITAN CHAMBER ORCHESTRA

Berlioz and Stravinsky. Chapel Performance Space, 4649 Sunnyside Ave. N., 800-838-3006, seattlemetropolitan chamberorchestra.com. $10–$15. 2 p.m. Sat., Oct. 26.

SEATTLE PHILHARMONIC SEE THE PICK LIST, PAGE 22.

TUDOR CHOIR English church music from across the centuries. Blessed Sacrament Church, 5050 Eighth Ave. N.E., 323-9415, tudorchoir.org. $20–$30. 7:30 p.m. Sat., Oct. 26.

UW HALLOWEEN ORGAN CONCERT Owning the organ’s spooky connotations in this annual event. Kane Hall, UW campus, 685-8384, music.washington.edu. $15.

7:30 p.m. Sat., Oct. 26.

MCCAW HALL DAY OF CELEBRATION Has it been 10 years already? Celebrate with performances by tenants Seattle Opera and PNB, plus the Cornish Latin Ensemble, SANCA, and much more. McCaw Hall, Seattle Center, mccawhall.com. Free. 11 a.m.–4 p.m. Sun., Oct. 27.

UW CHAMBER WINDS Music by Joseph Schwantner, Michael Daugherty, and others. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 1:30 p.m. Sun., Oct. 27.

MICHAEL CARROLL Debussy, Schubert, and more from this pianist. Haller Lake United Methodist Church, 13055 First Ave. N.E. Donation. 2 p.m. Sun., Oct. 27.

SEATTLE PRO MUSICA SEE EAR SUPPLY. SEATTLE FESTIVAL ORCHESTRA Anna Edwards conducts Brahms and more. Town Hall, 1119 Eighth Ave., seattlefestivalorchestra.org. $12–$20. 2 p.m. Sun., Oct. 27.

TOTAL EXPERIENCE GOSPEL CHOIR Celebrating 40 years! Patrinell Wright conducts. Seattle First Baptist Church, 1111 Harvard St., totalexperiencegospelchoir.org.

Donation. 3 p.m. Sun., Oct. 27.

• LORI GOLDSTON New works from this composer/celFilm Scores.

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list, including music from her recent album, Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.blogspot.com. $5–$15. 8 p.m. Wed., Oct. 23.

SEATTLE OPERA SEE REVIEW, PAGE 24.

SEATTLE SYMPHONY Music by Elgar, Tchaikovsky, and the brothers Haydn. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19 and up. 7:30 p.m.

Thurs., Oct. 24, 8 p.m. Sat., Oct. 26, 2 p.m. Sun., Oct. 27.

UW SYMPHONY Beethoven’s Seventh plus a Hindemith ballet. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Thurs., Oct. 24.

INVERTED SPACE The UW’s modern-music ensemble plays Cage, Rzewski, and works by UW composers.

Chapel Performance Space, 4649 Sunnyside Ave. N., music.washington.edu. $5–$15. 7:30 p.m. Fri., Oct. 25.

LAKE UNION CHAMBER ORCHESTRA SEE EAR SUPPLY, THIS PAGE. NORTHWEST SYMPHONY SEE EAR SUPPLY. PACIFIC MUSICWORKS SEE EAR SUPPLY. SEATTLE SYMPHONY With Broadway diva Bernadette Peters. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $52 and up. 8 p.m. Fri., Oct. 25.

SEATTLE WOMEN’S CHORUS On their Halloween concert, music from Bach and Wicked. Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., flyinghouse.org. $25–$45. 8 p.m. Fri., Oct. 25, 2 p.m. Sat., Oct. 26.

THE MET: LIVE IN HD Shostakovich’s surreally irreverent The Nose, in William Kentridge’s imaginative and

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EarSupply

tively, Sean MacLean and Dave Beck). On Sunday, Seattle Pro Musica (seattlepromusica.org) is inviting the audience to sing along with three of Britten’s religious works.

In his birthday month, watch for his bittersweet Serenade for tenor, played by the Northwest Sinfonietta (northwestsinfonietta.org) on Nov. 15; and, from The Esoterics (theesoterics. org), Britten’s complete choral works over two weekends, Nov. 22–24 & Dec. 6–8. Seattle Pro Musica brings more Britten for the holidays, Dec. 7 & 14, and . . . well, now I’m just asking for trouble, because the longer the list, the more likely those omitted will be peeved. Now if we could just convince Seattle Opera to stage Peter Grimes . . . See websites for complete info.

» by Gavin borchert

He Will Survive

The past century’s classical-music style wars have invariably been framed in terms of composers versus audiences: courageous pathbreakers battling mindless reactionaries; or, conversely, egoist charlatans alienating fed-up paying customers, each side blaming the other for the art form’s lowered cultural profile. But here’s a little secret. Who really controls the canon? Performers. That music will live which musicians deem worth their time and effort, regardless of what anyone else says. And in that respect, one of the 20th century’s big winners is Benjamin Britten (1913–1976). His immortality seems secure (something few would have guessed 50 years ago, when he was dismissed by the avant-garde) because of his music’s profound rewards for singers and instrumentalists: an individual yet relatable personal voice; an exquisite ear for surprising nuances of color or harmony; heartfelt emotion wrapped in a sort of British self-effacement; and, in his vocal works, a peerless skill in setting English.

Area musicians are taking advantage of his centennial to express their affection. Though his actual birthdate is November 22, this weekend ended up a kind of coincidental mini-festival.

On Friday, Pacific MusicWorks (pacificmusic works.org) surrounds Britten with vocal music by his English ancestors Dowland, Purcell, and Handel. Saturday night sees simultaneous performances of Britten’s brilliant Young Person’s Guide to the Orchestra by the Lake Union Chamber Orchestra (luco.org) and the Northwest Symphony (northwestsymphonyorchestra. org) with dueling KING-FM narrators (respec-

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

efit the spring show, with emcee Kevin Joyce. Hale’s Palladium, 4301 Leary Way N.W., moisturefestival.org. $40.

6 p.m. Fri., Oct. 25.

MUCH ADO ABOUT NOTHING Shakespeare’s oppositesattract romantic comedy. Center House Theatre, Seattle Center, 733-8222. Previews Oct. 23–24, opens Oct. 25.

7:30 p.m. Wed.–Sat., plus some Sat.–Sun. matinees; see seattleshakespeare.org for exact schedule. Ends Nov. 17.

RED LIGHT WINTER & 25 SAINTS Tim Gouran and Richard Nguyen Sloniker star in both these dramas, alternating in repertory. ACT Theatre, 700 Union St., 292-7676, azotheatre.org. $25–$30. Previews Oct. 23–24, openings Oct. 26. Runs Thurs.–Sun.; see acttheatre.org for exact schedule for both. Ends Nov. 24.

THIS IS HALLOWEEN A cabaret/burlesque spectacular based on The Nightmare Before Christmas, starring Armitage Shanks, Jed Dunkerley, Orkestar Zirconium, and many more. The Triple Door, 216 Union St., 838-4333. $20–$40. Opens Oct. 24. Daily except Mon.; see thetripledoor.net for showtimes. Ends Oct. 31.

A WRINKLE IN TIME SPT’s Youth Program presents Madeline L’Engle’s YA sci-fi classic.Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org, Donation. 7 p.m. Fri., Oct. 25, 2 & 7 p.m. Sat., Oct. 26, 2 p.m. Sun., Oct. 27.

the right role. STEVE WIECKING The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $17.50–$50. 8 pm.

Thurs.–Sat., 2 & 7 p.m. Sun. Ends Oct. 26.

AN EVENING OF CHRISTOPHER DURANG Four short plays. JewelBox/Rendezvous, 2322 Second Ave., 800-8383006, fantasticz.org. $15–$20. 7 p.m. Wed. Ends Oct. 30.

5TH OF JULY Lanford Wilson’s play about a post-Vietnam reunion of Berkeley alums. West of Lenin, 203 N. 36th St., theatre22.org. $10–$20. 8 p.m. Thurs.–Sat. Ends Oct. 26.

FLAME IN THE MIRROR John Ruoff’s exploration of the Irish experience in America. Eclectic Theater, 1214 10th Ave., S., 800-838-3006, eclectictheatercompany.org. $12–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Nov. 3.

SW FILE PHOTO

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

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TICKETS AVAILABLE AT WWW.CINERAMA.COM

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

Openings & Events • BEMIS BUILDING OPEN HOUSE The massive SoDo

ONE NIGHT ONLY OCT 24

SOUNDERS DOCUMENTARY - PREMIERE

For Tickets, RSVP to pandoraevent@vulcan.com

Sat Oct 26 11AM, 3:30PM

artist live/work space opens its doors to showcase the work of the sundry artists. Bemis Building, 55 S. Atlantic St., 621-2146, Oct. 26-27, 12-8 p.m.

RUMI KOSHINO The local multidisciplinary artist Work Revisited presents an installation of past work before she relocates to California. Vignettes, 1617 Yale Ave., vignettes.us, Thu., Oct. 24, 7-10 p.m.

OLSON KUNDIG CLOSING PARTY The architecture firm marks the closing of its downtown storefront and celebrates the 2014 launch of its Itinerant Projects series of installations. Olson Kundig Architects, 159 S. Jackson St., 624-5670, olsonkundigarchitects.com, Wed., Oct. 23, 5 p.m.

TRACY ROCCA & CHRISTOPHER BOFFOLI Rocca’s New Paintings collects her soft-focus color fields.

Boffoli’s Amuse-Boche continues the photographer’s series of posed miniatures set in landscapes created out of food. Opening reception: 6-8 p.m. Tues., Oct. 29.

Winston Wachter Fine Art, 203 Dexter Ave. N., 6525855, winstonwachter.com, Mon.-Sat., 10 a.m.-5 p.m.

Through Dec. 23.

LUCÍA SANROMÁN An independent curator and writer from San Diego, she presents a lecture called “Incite•Insight.” Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org, Thu., Oct. 24, 7-8:30 p.m.

SEATTLE WEAVERS’ GUILD ANNUAL SHOW AND SALE This event presents local handcrafted textile

items like rugs, blankets, and tapestries. See seattleweaversguild.com for hours. Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., Oct. 24-26.

THREE PHOTOGRAPHERS Ellen Garvens, Caroline Kapp, and Graham Shutt showcase their stark, monochromatic photographs. Opening reception: 2-4 p.m.

Sat., Oct. 26. Prographica, 3419 E. Denny Wy., 322-3851, prographicadrawings.com, Opens Oct. 26, Weds.-Sat., 11 a.m.-5 p.m. Through Nov. 30.

Museums • RICK ARALUCE With a day job designing sets and

scenery for Seattle Opera, artist Rick Araluce is a specialist in illusion—making castles and palaces out of plywood and paint. In his first solo museum show, The Minutes, the Hours, the Days, he builds immersive sculptural environments with doors, keyholes, thresholds, and other means of guiding the eye. Notions of viewing and voyeurism are strongly felt throughout.

His creations are often miniature and frequently incorporate trompe l’oeil painting tricks. Araluce also uses lighting and sound effects to create the impression of space and perspective. His large installation The Longest Hours reads like a corridor leading to a series of doors impossibly suggesting more rooms within. There’s a tantalizing possibility of portals to the beyond, only it’s confounded by viewing the entire structure from outside. For this show, Araluce has created five new works specifically for BAM, among dozens more created in the past few decades. BRIAN MILLER Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, $7-$10, Tues.-Sun., 11 a.m.-5 p.m. Through Jan. 31.

CAMERA NIPPONICA Hand-colored historical photos from Japan, circa 1880-1930. Henry Art Gallery, $6-$10, Thurs., Fri., 11 a.m.-9 p.m.; Weds., Sat., Sun., 11 a.m.-4 p.m. Through Jan. 5.

JASON DODGE Dodge’s What We Have Done is a conceptual show containing six sparse installations intended to create “broad associations.” Also on view: Haegue Yang’s Anachronistic Layers of Dispersion uses Venetian blinds as dangling geometric sculpture.

Henry Art Gallery, Through Jan. 26.

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• THE DOROTHY & HERBERT VOGEL

COLLECTION: 50 WORKS FOR 50 STATES The

Vogels began buying art in New York in the early ’60s.

Four decades later, they approached the National Gallery about donating their collection. In 2008, SAM was designated this state’s beneficiary, and today those works are going on view. Artists include Stephen Antonakos, Sol LeWitt, Terry Winters, Cheryl Laemmle, Robert Mangold, and others. BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum. org, $11-$17, Thurs., 10 a.m.-9 p.m.; Weds., Fri.-Sun., 10 a.m.-5 p.m. Ends Oct. 27.

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

• Oct 25th-Premiere Event

with Bruce Campbell Live!

Bruce, Live at 9PM • Movie Begins 10PM • VIPs receive signed artist poster

Sat Oct 26

7:00PM The Wicker Man-Final Cut (dcp) 9:45PM The Shining (dcp)

SEATTLE WEEKLY • OCTOBER 23 — 29, 2013

Sun Oct 27

26

1:00PM Dracula 1931 (dcp) 3:30PM Psycho (dcp) 6:30PM Alien (dcp) 9:45PM Exorcist (dcp)

Mon Oct 28

5PM Frankenstein 1931 (dcp) 7PM The Birds (dcp) 10PM American Werewolf (dcp)

Tues Oct 29

7PM The Thing (35mm) 10PM The Omen (35mm)

Wed Oct 30

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TheFussyeye » by brian Miller

Forgotten Music

Opened ahead of SAM’s big new Peru show, and located just outside those treasure-filled galleries, is a mountain of scrap, perhaps the cheapest thing in the whole museum. Visiting artist William Cordova built the edifice, called machu picchu after dark (pa’ victoria santa cruz, macario sakay y aaron.dixon) 2003–2014, from over 200 clunky old stereo speakers, the type of chipped, veneer-covered boxes that now pile up unwanted at Goodwill. The Peruvian-born artist, long based in Miami, is referring back to the glory days of vinyl and album rock (a few LPs are scattered on the floor), when baby boomers piled huge stereo systems into their tiny dorm rooms. Today, of course, mp3s and smartphones have made such hi-fi connoisseurship obsolete.

Music is portable, not monumental. And that, partly, is the point of machu picchu. The fabled city, featured in the main SAM exhibition, was built by the Inca in the 15th century, faded from memory during the Spanish colonial era, then was “discovered” (i.e. rediscovered) in 1911.

Cordova’s mini-mountain is about 15 feet high; it’s less a tower than a large stump. Bits of sawdust and musical detritus give the thing a forlorn aspect. Nobody wants these speakers any more; nobody listens to music that way. The

“night” of the piece is like the historical night that descended on Machu Picchu, like amnesia.

The indigenous old customs were long forgotten; stones were carted away; the jungle took back the precisely leveled altars that once had such sacred meaning. Were there songs and music during the old rituals and human sacrifices? No one knows. They fell into silence, like Cordova’s mute speakers. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $11–$17. 10 a.m.–9 p.m. Thurs., 10 a.m.–5 p.m.

Wed., Fri., Sat., & Sun. Ends Jan. 19.

Palette BRIAN MILLER

ARMY OF DARKNESS

Primary

arts&culture» Film Redford at the helm.

DANIEL DAZA

PAll Is Lost OPENS FRI., OCT. 25 AT SEVEN GABLES AND OTHER THEATERS. RATED PG-13. 107 MINUTES.

OPENS FRI., OCT. 25 AT SUNDANCE CINEMAS. NOT RATED. 90 MINUTES.

If the Oscar-winning Once opened the door for such a thing as an indie musical, I Used to Be Darker tiptoes quietly inside the subgenre.

And maybe “indie musical” is a misleading description of this admirable film, but it’s better than “critically acclaimed Sundance hit”—although that one’s accurate too. We begin with a teenage girl from Northern Ireland, Taryn (Deragh Campbell), who needs a place to crash after her wild American summer hits a serious snag. She rings up her Aunt Kim (Kim Taylor) in Baltimore, but the timing is bad: Kim is about to leave her husband Bill (Ned Oldham). Their daughter Abby (Hannah Gross), an aspiring actress, is happy to see Taryn but nursing some major resentment against her mother.

in for story beats (as does a Shakespeare recitation, the closest the movie comes to playing a chord too hard). Encountering a song like Taylor’s haunting “American Child,” embedded in the midst of this knotty human mix-up, is resolution enough. ROBERT HORTON

PThe Last Time I Saw Macao RUNS FRI., OCT. 25-THURS., OCT. 31 AT NORTHWEST FILM FORUM. NOT RATED. 85 MINUTES.

The Last Time I Saw Macao serves up a title, plot, and characters that are fragrant with the more exotic strain of film noir. But there will be no Robert Mitchum on hand for this exercise, no trenchcoat in view; and the gunshots that ring out are heard but not seen.

In fact, the plot occurs almost entirely in voiceover. A narrator tells us he has returned after many years to Macao (more commonly spelled Macau), where an old friend named Candy needs his help from threatening underworld figures. The narrator himself might also be in danger. We sometimes hear Candy’s voice in urgent telephone messages, but we don’t see any of the characters. Instead, Portuguese filmmakers João Pedro Rodrigues and João Rui Guerra da Mata present a series of evocative cityscapes and noirish interiors—we seem to be peering into rooms that the characters have just exited. Which makes sense, because random chance keeps making our narrator miss his assignations with the increasingly desperate Candy.

The only exception to this curious storytelling strategy is the opening sequence, a nightclub song aimed at the camera by the transvestite performer Cindy Scrash (we assume this is Candy). The song is “You Kill Me,” which comes from the 1952 film Macao, a daft Hollywood noir produced by Howard Hughes. That movie will be referenced later, and it’s part of the way Last Time tries to understand its strange, singular location: What is Macao? A movie fantasy, a place to escape? The longtime former Portuguese colony at the edge of China is known as a notorious gambling mecca, but the film implies its madness might stem from its indistinct status as a tiny thumb of existence perched between (at least) two worlds.

If there’s something missing in this place, then it makes perfect sense for a movie to unfold without characters or action present for the camera. But does this get tiresome, even for a movie that comes in under 85 minutes?

Amazingly, no: The selection of shots and the visual fascination of Macao keep it compelling.

So does the eerie suspicion that—sometime before the movie actually ends—our narrator might have met the fate common to so many film-noir heroes. ROBERT HORTON

Tiger Eyes RUNS FRI., OCT. 25–THURS., OCT. 31 AT NORTHWEST FILM FORUM. RATED PG-13.

92 MINUTES.

Published in 1981 and now directed by her son, Lawrence Blume, Judy Blume’s Tiger Eyes is a young-adult novel that puts death and grief squarely at its center. In her many books, so beloved by readers, she’s no less direct about fraught topics—including hormones, heartache, the treachery of friends, and the unreliability of family. Blume herself helped adapt this book to

» CONTINUED ON PAGE 28

A typically cryptic scene from Macao.

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

PI Used to Be Darker

Campbell as troubled yet musical young heroine.

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Do you want Robert Redford to die? The same question can be asked about Tom Hanks and Sandra Bullock in this season’s unexpectedly fine trifecta of survival tales, but Redford’s case is special. One of our handsomest, golden-haired movie stars from the ’60s through the ’80s, the actor/director/Sundance Film Festival founder is an improbable 77 years old. To imagine his death is to contemplate the loss of a whole chapter in Hollywood history.

Playing an unnamed solo yachtsman shipwrecked in the Indian Ocean, he’s truly like The Old Man and the Sea—a taciturn, uncomplaining hero in the Hemingway mold. He represents an old-fashioned tradition of self-reliance and competence. Though writer/director J.C. Chandor withholds any personal information about our hero, he has the air of a semi-affluent retired entrepreneur. He wears a turquoise wedding ring and some beaded bracelets that suggest a West Coast liberal (which Redford is); and his 39-foot-sloop, the Virginia Jean, hails out of Portland—but Maine or Oregon we’ll never know. His short voiceover that begins the film— “I’m sorry . . . ”—implies a family, but he hardly mutters a word to himself. He’s living in his head even as the hull cracks open and the elements come raging through.

Chandor’s very accomplished debut, the 2011 Margin Call, addressed the global financial crisis, and All Is Lost is no less linked to world commerce. Our sailor is jarred from a nap by the edge of a floating shipping container full of shoes, somehow lost during its journey from China to the U.S. He wakes into an almost dreamlike scene: No wind, calm sea, and this ridiculous and likely fatal collision between uncaring capitalism and the puny individual. His radio and electronics are flooded, so he calmly and methodically goes about patching his boat while storm clouds gather in the distance. Like Gravity and Captain Phillips, this is fundamentally a process drama: Character is revealed through action, not words.

It’s a Shackleton story without the crew to save.

With his weather-lined face and briny thatch of hair, Redford certainly looks the part of an experienced sailor. (You don’t get out to be in the middle of nowhere unless you know what you’re doing.) For non-sailors, there is a lot of line-pulling, fiberglass repair, water-distilling, and sail-trimming; this can be tedious to watch, but the film shows how survival is often a matter of enduring tedium and loneliness. And, as a sailor myself, I must praise Chandor’s relentless realism. The situation keeps getting worse for Redford, as it would, for entirely logical reasons. And against that tide of adversity, he keeps responding logically. (One nice little detail has him shaving before the storm—knowing he won’t get the chance again.) During this eight-day ordeal, it takes 70 wordless minutes to get to Redford’s “Fuuuuuck!” of frustration.

Chandor rarely but effectively pulls his camera up high—or pushes it below in the water, where sharks inevitably gather. Here is a small man adrift, stripped of technology, surviving by his wits. Here, too, is Redford without any Hollywood trappings—no chance to smile or charm. And it’s a great performance, possibly his best, a throwback to the silent movies his parents watched. All Is Lost pushes backward to the primitive: from GPS technology to sextant to drifting raft. It’s a simple story, but so in a way was that of Odysseus: epic, stoic, and specific. BRIAN MILLER

CINEMA GUILD

Opening ThisWeek

Kim’s a singer, still gigging and going on the road; Bill has sacrificed his own musical career because he has to pay the mortgage. A handful of musical numbers emerge from the storyline, which director and co-writer Matthew Porterfield (Putty Hill) treats with the unbroken-take method of shooting. This suggests the characters’ organic need to create art out of unhappiness, to give order to the otherwise clumsy encounters captured here. In the case of a quiet solo guitar number that Bill sings to himself in his lonely basement, the sequence has a surprise finish that is also the only logical conclusion for Bill at that moment. Porterfield’s observations about human behavior are sharp, but he doesn’t underline how sharp. He lets the long-take method define dialogue scenes, too. There’s a painful sequence between Kim and Bill as they sit at a table and work through an entirely recognizable succession of anger, connection, resentment, and more anger—all in three minutes or so. Taylor and Oldham are musicians making their film-acting debuts here, and their plainspoken style with dialogue is as authentic as their way with singing.

Considering all this, it will come as no great shock that I Used to Be Darker is content to leave major plot points unresolved and let music stand

27

arts&culture» Film

RUN LIZARD

Holland (left) and Johnson share a moment.

» FROM PAGE 27

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screen (it debuted on video in June), so no one can complain of insufficient fidelity to the source.

This both is and isn’t a good thing.

On the plus side, the grieving 17-year-old Davey is played by young actress Willa Holland, who’s got marvelously expressive Audrey Hepburn eyes. She’s plunked down in Albuquerque with her little brother and pill-popping mother (Amy Jo Johnson) after the death of her father in a robbery back in Atlantic City. Davey is friendless in New Mexico and worried that her family will settle there. Forced into the local high school, which clique will she choose? (Not the medievalists! Ewww!) Before she can decide, teenage alcoholic Jane (Elise Eberle) latches onto her. And Davey’s home life is no less problematic, as the family is staying with her overbearing aunt and uncle (Cynthia Stevenson and Forrest Fyre). And more, she’s got to sing at the school talent show and volunteer at the hospital, where she befriends a wise, dying Indian (actor and activist Russell Means) who just happens to be the father of the handsome, soulful Wolf (Tatanka Means, son of Russell), a rock-climbing, Cal Tech–going Native American dreamboat! Who takes her to sacred caves and tribal ceremonies but never pressures her into sex!

OK, a little pruning would’ve helped Tiger Eyes, which also piles on the golden-lit flashbacks to Davey’s old life with her dad. But its melodrama is straightforward and its emotion genuine. Though set in the cell-phone present, the sentiment feels old-fashioned, untainted by snark or sarcasm. Your Facebooking daughters may be well past that point already, so the film’s best audience might be those women who adored the book 30 years ago.

Hmm, speaking of Facebook, I wonder what Wolf is doing these days . . . BRIAN MILLER

Beirut. How this kid will get out of Lebanon and into Israel during a war is not something he’s thought through.

Yet the liberal-minded nature of Zaytoun is such that not only will Fahed find a way, but his passage will also involve Israeli pilot Yoni (Stephen Dorff, late of Sofia Coppola’s Somewhere), who just parachuted into Palestinian hands after bailing out of his damaged plane. If the prospect of these two characters teaming up and hitting the road sounds like a preordained excuse for well-meaning social commentary, well, it is. This is unabashedly the territory of Stanley Kramer’s The Defiant Ones, built on the premise that if warring individuals could only spend time with each other, they might reach some sort of tentative understanding. If such a concept invariably seems simplistic, it nevertheless offers opportunities for drama—especially when the action takes place behind one or the other’s enemy lines.

On the dramatic score, Israeli director Eran Riklis earns a mixed grade. An admirably bold filmmaker, he previously explored issues of occupation and displacement in his acclaimed The Syrian Bride and Lemon Tree. He seemed to go in a more conventional direction with The Human Resources Manager (2010), another road movie, and Zaytoun continues this trend. It’s charming in ways that undercut its setting and purpose, even if a couple of unexpected shootings—one lethal, one not—remind us of the cruelty of this particular war zone. A competent, professionally made movie that falls short is not necessarily a

Dorff, jailed before bonding.

As deathbed promises go, this one will be tricky: A Palestinian orphan named Fahed (Abdallah El Akal) must return a spindly olive-tree sapling to his now-Israeli-occupied hometown to honor the wishes of his late parents. But it’s 1982, and the roughly 12-year-old Fahed is currently residing in a refugee camp in

bad thing, but when the political stakes are this high, it feels more troubling when a film settles for half-baked effects. Almost everything about Zaytoun is thoughtful and nice, and that is not enough. ROBERT HORTON E

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arts&culture» Film

BY BRIAN MILLER

Local & Repertory • ALL MONSTERS ATTACK! The GI’s annual

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catered by Thrive, features the subject of this new documentary: Frank Ferrante, the local actor known for his Groucho Marx stage show and frequent appearances at Teatro ZinZanni. (NR) Central Cinema, $15$40, Sun., Oct. 27, 12:30 p.m.

A PLACE AT THE TABLE This well-intentioned doc by Kristi Jacobson and Lori Silverbush is really best suited for the children of Seattle’s overeducated foodies, something that ought to be screened in middle school.

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

Among other non-surprises here are the thwarted efforts in Washington, D.C., to increase the purchasing power of food stamps and decrease the lobbying power of big agribusiness. For a little stardust, concerned citizen Jeff Bridges adds his comments—and they’re entirely intelligent. (“It’s a problem people are ashamed of acknowledging,” says the Dude of poverty and malnutrition.) Like others in the doc, he wants to see increased federal spending to fight hunger. Where might such funding come from? “We’re spending $20 billion a year in agricultural subsidies for the wrong foods,” says Nestle. Well, tell that to the congressional representatives from red-voting farm states.

That’s where Place needs to be screened. (PG) BRIAN MILLER University Congregational Church, N.E. 45th St. & 15th Ave. N.E., 524-2322, universityucc.org, Free, Sun., Oct. 27, 6:30 p.m.

RIDE THE NIGHT Continuing SAM’s fall film noir series, Orson Welles directs and stars in the enjoyably convoluted The Lady From Shanghai (1947). Opposite him in the drama, which includes the famous hall of mirrors sequence, is the succulent Rita Hayworth.

(NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63–$68 series, $8 individual, Thursdays, 7:30 p.m. Through Dec. 5.

THE SHINING In the fright-flick canon, The Shining (1980) is an art-film anomaly, since director Stanley Kubrick emphasizes the long buildup so much more than Jack Nicholson’s final ax attack on his snowbound family. The swooping aerial shots, the Big Wheel pedaling down endless hallways, the dull talk of canned goods and Indian burial grounds, the thumping tennis ball—they lull you into a kind of dream state. There’s a primal, fairy-tale quality laced with Oedipal conflict as this household of three is fatally divided. It matters less if Nicholson’s blocked writer is demonically possessed (or Indian-cursed or evil reincarnated or whatever) than that he’s simply a bad father—rough and impatient with his young son, cruelly dismissive of his wife (Shelley Duvall), selfish in his writerly ambitions. (Stephen King is never kind to his fellow scribes.)

A failure at the typewriter, his imagination turns inward, rotting inside its own topiary maze. If King’s book manifests more of that horror, Kubrick lingers upon its latency and origins. (R) BRIAN MILLER Harvard Exit, 807 E. Roy St., 323-0587, landmarktheatres.com, $8.25, midnight, Sat. TRASHED What but a sense of shame about the trash each of us produces could account for the relief of disposing of it and the speed at which its memory evaporates? But our garbage never really goes away, as Jeremy Irons and director Candida Brady expend vigorous energy and much jet fuel to illustrate in the quietly livid Trashed. Irons’ high indignation provides a fine, Stradivarian accompaniment to his visits to a seething Lebanon landfill, several Scandinavia incineration plants, a rubbish-choked Indonesia river, and, most grotesquely, a hall of Agent Orange–warped fetuses aligned in giant pickling jars in Vietnam. The form is straightforward, if a little meandering, as is the message: We have to fix this. In that sense, forcing our attention onto the thing most of us love to forget makes its own point. And indeed it is hard to look at the dumps, heaps, toxic seepages, and ocean-polluting plastics shown here to be neither as distant nor as containable as one might hope. The coup de grâce— that we are now literally made of that which we throw away—is softened only by the idea that future generations need not be. (NR) MICHELLE ORANGE McCaw Hall, 321 Mercer St. (Seattle Center), cedar-grove. com, Free, Tue., Oct. 29, 7 p.m.

WAXIE MOON IN FALLEN JEWEL Both the local dancer (Moon) and director Wes Hurley will attend this benefit screening on behalf of Seattle Counseling Service. (NR) Central Cinema, $20-$25, Thu., Oct. 24, 8 p.m.

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Halloween celebration has a complicated schedule of horror and fright flicks (see grandillusioncinema. org for full details). Titles include Hellraiser, Witchcraft Through the Ages, and Deep Red. Notable also are the anthology screenings, one including a pizza party (3 p.m. Sun.) and another presented by Scarecrow: VCR That Dripped Blood 2: Undead Media (8 p.m. Weds.)

Prepare to be very afraid. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, $5-$8, Oct. 25-31.

AMERICAN FOOTBALL One way or another, 2013 looks like it’ll be the Sounders’ most memorable MLS season so far. Exactly how remains to be seen. Will this be the year they take it all—or the year they come closer than ever and then implode at the last moment?

At press time, both outcomes, agonizingly, look possible. But this is also the year Scott Levy’s documentary American Football will finally appear, a close-up chronicle hugely anticipated by the fan base. The film opens with what’s arguably the team’s low point to date, the shocking 3-0 first-round playoff loss to Real Salt Lake on October 29, 2011, and follows the 2012 season through to a redemptive victory—in an amazing coincidence no scriptwriter would dare—a year later against the same team to mark the Sounders’ first playoff advance. Judging from the clips made available so far, Levy’s game footage is ravishing, but he balances it with deeply personal interviews with players and coaches. (NR) GAVIN BORCHERT Cinerama, 2100 Fourth Ave., 448-6680, cinerama.com, $20, Sat., Oct. 26, 11 a.m. & 3:30 p.m.

BEST OF FEST FAMILY FILMS The Seattle Jewish Film Festival presents a trio of kid-friendly pictures: the English bar mitzvah comedy Sixty Six, set in 1966 and starring Helena Bonham Carter (7:30 p.m. Sat.); the animated French adventure tale The Rabbi’s Cat (likely subtitled, 2 p.m. Sun. ); and the recent Russian dance My Dad Is Baryshnikov (7:30 p.m. Sun.). Films are rated PG and PG-13. Rainier Valley Cultural Arts Center, 3515 S. Alaska St., 725-7517, seedseattle.org, $5, Sat., Oct. 26; Sun., Oct. 27.

THE FLY The Ark Lodge is beginning a periodic series of “Dark Lodge” screenings upstairs, beginning with the original Vincent Price version of the famous sci-fi tale about a teleportation device gone horribly wrong. (PG) Ark Lodge Cinemas, 4816 Rainier Ave. S., 721-3156, arklodgecinemas.com, $7-$11, Fri., Oct. 25, 9 p.m.

FRENCH CINEMA NOW Nineteen titles are scheduled during this week-long fest, beginning with the Cannes favorite Blue Is the Warmest Color (6:30 p.m.

Thurs.), based on a comic book, which features all the steamy lesbian sex you can handle, and then some.

(The film runs nearly three hours.) Random highlights includes Juliette Binoche portraying sculptor Camille Claudel, the animated fantasy picture The Day of the Crows, and Denis Levant playing some kind of ogre chasing children through the forest in Hop O’ My Thumb. See siff.net for full schedule, which also includes several visiting directors and actors. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., Seattle, 324-9996, $6-$11 individual, $75-$100 series, Oct. 24-30.

HORROR WEEK SEE THE PICK LIST, PAGE 21.

THE LOST BOYS/THE CABIN IN THE WOODS Jason Patric battles California vampires in this enjoyable 1987 horror-com, capably directed by Joel Schumacher.

Despite the marquee attraction of Corey Feldman and Corey Haim, the film earns a solid B rating thanks to Edward Herrmann, Dianne Wiest, and Kiefer Sutherland. (R) BRIAN MILLER Following is the Joss Whedon-produced The Cabin in the Woods (2012), in which director Drew Goddard creates an intricate design that makes the this horror comedy nearly impossible to talk about without giving away surprises.

Five college kids go up to a remote cabin for a weekend of hijinks. They are a near-perfect collection of stereotypes/archetypes of their genre, each there to subvert/upend expectations. Whedon and Goddard attempt to honor, send up, and advance genre conventions simultaneously. Sometimes it works. But too often the film wants it both ways, trying to make the audience have a genuine reaction while never letting go of the self-conscious acknowledgement of how it is leading the audience to that response. (R) MARK OLSEN Central Cinema, 1411 21st Ave., 686-6684, centralcinema.com, $6-$8, Fri.-Weds. 7 & 9:30 p.m.

MAY I BE FRANK This three-course lunch event,

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arts&culture» Film AFTER TILLER At the time of filming, only four physi-

cians in the U.S. offer late-term abortions in their three separate clinics. One is located in liberal Boulder, Colo., which makes sense. The other two are in New Mexico and Nebraska, which makes no sense. Is the need greater there? Are there more birth defects, more poverty? And why, apart from the possibility of being assassinated (as was Dr. George Tiller in 2009), aren’t more than four doctors offering this service? First-time documentary filmmakers Lana Wilson and Martha Shane never address such issues. They’re not journalists, and their intent is only to humanize four aging physicians as people—not as demons subject to sidewalk screaming, fiery sermons, political denunciations, and the occasional bullet. That these four physicians are brave and compassionate is beyond dispute. Now where is the documentary about how the health-care system has forced them into that lonely position? (PG13) BRIAN MILLER SIFF Film Center BLUE JASMINE There’s nothing comic about the downfall of Blanche DuBois in A Streetcar Named Desire, the inspiration for Woody Allen’s miscalculated seriocom. Blue Jasmine is an awkward mismatch of pathos and ridicule, less fusion than simple borrowing. Grafted onto the story of delusional trophy wife Jasmine (Cate Blanchett) is a Madoff-like fable of the recent financial crisis. In flashback, we see her husband (Alec Baldwin) buying her consent with luxury while he swindles the Montauk set. In the present timeframe, Jasmine is broke and living with her sister Ginger (Sally Hawkins) in a shabby San Francisco apartment. Jasmine is a snob who needs to be brought low, a task relished by Ginger, her boyfriend (Bobby Cannavale), and her ex (a surprisingly sympathetic Andrew Dice Clay). Perhaps because her heroine isn’t entirely Allen’s creation, he doesn’t finally know what to do with her. (PG-13) BRIAN MILLER Sundance Cinemas CAPTAIN PHILLIPS Tom Hanks is hijacked and held hostage by Somali pirates, as actually happened to Richard Phillips in 2009. If you read the newspapers, there’s nothing surprising here, though expert director Paul Greengrass—of the Bourne movies and United 93—adds as much tension as he can, chiefly through jittery cameras, screaming pirates, and the late-film addition of lethal Navy SEALs. But if I may jump to the end of the movie first: Greengrass and screenwriter Billy Ray do make the interesting decision not to treat that ending triumphantly. Before that point, however, Captain Phillips flatters the chief pirate, Muse (Barkhad Abdi), by treating him as an equal. If not quite cogs, they’re bit players in the global nexus of commerce ART APPROVED and power. Muse says of the warlords who stake him, AE APPROVED “I got bosses.” “We all got bosses,” replies the weary Phillips.

In Captain Phillips, their conflict is starkly CLIENT APPROVED asymmetrical: all our American military might versus four skinny guys with AK-47s. Muse and Phillips are both small men ferrying large assets in the international supply chain. And if they don’t like the job, plenty of others will take their place. (PG-13) BRIAN MILLER Alderwood 16, Factoria, Woodinville, Southcenter, Cinebarre, Redmond Town Center, Kirkland Parkplace, Guild 45th, Lincoln Square, Meridian, Thornton Place, SIFF Cinema Uptown, Ark Lodge, Bainbridge, others DON JON Joseph Gordon-Levitt wrote, directed, and stars in Don Jon, the story of a porn addict who’d be right in place amongst the braying loudmouths of Jersey Shore. However, the likable Jon is also a ladies’ man, prowling the disco with his buddies and searching for a “dime” (a “10,” on the immortal scale) to take home on a Saturday night. An encounter with the lushly named Barbara Sugarman (Scarlett Johansson, in a deft caricature) suggests that our boy may have found authentic love, but Gordon-Levitt throws in some reasonably fresh variations on the tale of an addict redeemed. One of them comes in the form of a night-school classmate (Julianne Moore) who’s got more honest life experience than most of the people in Jon’s circle. All this is in service of a very simple message, of the kind an earnest young filmmaker might feel is important to say for his generation. (R) ROBERT HORTON Varsity, others ENOUGH SAID Nothing much happens in a Nicole Holofcener film, and that’s OK. Ten years divorced, her daughter soon to leave for college, Eva (Julia Louis-Dreyfus) wearily lugs her massage table from client to client, hearing their petty complaints without comment, seemingly resigned to a single woman’s slide toward menopause. The large, hairy obstacle in that path is Albert (James Gandolfini). Eva has a secret pipeline to confirm her doubts about him: Albert’s ex-wife Marianne (Catherine Keener) is one of her clients. If there is a Hippocratic oath for masseuses,

Eva knows she’s broken it tenfold. Yet she continues to knead and befriend the cynical poet while allowing Marianne’s complaints to poison her relationship with Albert. In his last screen role, Gandolfini conveys a lumpy shyness and decency; his Albert is genuinely hurt by the fat-shaming of Eva’s yoga-toned cohort.

Eva’s BFF (Toni Colette) tells her to learn to compromise in a relationship, even while constantly dissing her husband (the excellently indignant Ben Falcone). For the women of Enough Said, too much candor has its risks, but remaining silent can bring disaster. (PG-13) BRIAN MILLER Kirkland Parkplace, Lincoln Square, Sundance, Lynwood (Bainbridge), Majestic Bay ESCAPE FROM TOMORROW First-time filmmaker Randy Moore shot his movie at Disney World and Epcot Center without asking permission, an act of bravado that made it instantly notorious at Sundance this year. Although this suggests an underground aesthetic, the black-and-white result is sharply composed, tightly scripted, and dense with digital effects.

While the movie does have fun letting the air out of certain beloved Disney balloons, the nightmare that unfolds has more to do with a general human tendency to retreat into fantasyland than with a slam on Walt Disney. We are following Jim (Roy Abramsohn) and Emily (Elena Schuber) as they escort their two kids through a final day of fun at Disney’s two Orlando theme parks. Jim’s journey eventually goes off its funhouse rails and enters a surreal realm, with a Shining-esque hint that maybe he was always meant to be here. Escape doesn’t entirely hold together, and its more baffling moments suggest that it was never meant to. (NR) ROBERT HORTON Sundance THE FIFTH ESTATE In tackling the hot topic of Julian Assange and WikiLeaks, whenever director Bill Condon wants to convey the Wild West reach of what can happen with information on the Internet, he uses cornball visualizations: hundreds of wired desks manned by hundreds of Assanges in a warehouse with no end, or fireballs exploding across the same space. The invention looks trite, but the effort is understandable.

In some ways, The Fifth Estate lines up as a movie about people sitting at laptops. We mostly get Daniel Domscheit-Berg’s perspective as the Nick Carraway to Assange’s mystifying Gatsby, a committed observer who becomes less enchanted with his white-haired hero the more he gets to know him. Daniel is played by Daniel Brühl, of the current Rush; Assange is a juicy role for Benedict Cumberbatch, the erudite scarecrow equally at ease playing classical parts or Star Trek villains. Condon aims for the vibe of a ’70s political thriller of the kind directed by Alan J. Pakula, like All the President’s Men. That’s a fine goal, but the tricky part is that Assange is here both tireless crusader and paranoid control freak—Woodward and Nixon in the same person. Issues like the future of journalism and public responsibility are dutifully stirred, but the movie keeps coming back to Assange as monster/martyr. (R) ROBERT HORTON Cinebarre, Bainbridge, Kirkland Parkplace, Lincoln Square, Majestic Bay, Meridian, Thornton Place, Sundance, others GRAVITY George Clooney and Sandra Bullock are stranded in orbit, bombarded by space debris. Their dilemma is established in an astonishing 12-minute opening sequence, seamlessly rendered via CGI by director Alfonso Cuarón. The camera occupies no fixed position. There is no up or down in the frame as it pushes and swoops among the wreckage and flailing astronauts. (Here let’s note that the 3-D version is essential; don’t even consider seeing the conventional rendering.) Dr. Stone (Bullock) at first can’t get her bearings; and the rest of the film consists of her navigating from one problem to the next. For all its technical marvels and breathtaking panoramas reflected in Stone’s visor, Gravity is a very compact, task-oriented picture. It’s both space-age and hugely traditional, though with a modern, self-aware heroine. Stone scores her biggest laugh with an exasperated aside: “I hate space.” Thanks to Cuarón’s peerless directing work, we know just the feeling. (PG-13) BRIAN MILLER Ark Lodge, Cinebarre, Kirkland Parkplace, Lincoln Square, Majestic Bay, Meridian, Thornton Place, SIFF Cinema Uptown, Sundance, others INEQUALITY FOR ALL The basis for this advocacy doc, Robert Reich’s Aftershock, was published three years ago as we were tentatively clambering out of the Great Recession. The market is up today, but we also have a jobless recovery for the middle class. Why is that? Using the same graphs he employs as a UC Berkeley professor, Reich shows how the inequality curve began climbing in the ’80s, accelerating with the deregulation of financial markets during the Clinton era. It’s a 40-year trend, with technology, globalization, outsourcing, and other causes. And that is why, despite Reich’s ebullience, this is such an important, dismaying film. (PG) BRIAN MILLER Varsity

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arts&culture»

13-1005

The YWCA of

Geeks Will Outlive You

I

t looks like science is starting to discover what geeks have known all along: Holding on to your youth is a good thing. Earlier this year, the University of Exeter’s Krystal Warmoth released findings showing that people who view themselves as elderly are more likely to behave as such, and thus are frailer and live lesshealthy lives. As Warmoth stated: “A person’s belief about their self could lead to a loss of interest in participating in social and physical activities, poor health, stigmatisation, and reduced quality of life.”

Now,

BY TERRA CLARKE OLSEN Warmoth hasn’t made a direct connection between geeks enjoying “childish” things and aging gracefully, but I’m taking it there.

Adulthood hits before you know it. One moment you’re getting krunk in the club, the next you’re discussing the best flooring options with

GEEKLYREPORT

TERRA CLARKE OLSEN

your friends over a glass of cabernet sauvignon.

It happens slowly and surely. Ugh, when did being an adult become so boring? Sure, you have to be responsible and do all those “adult” things, like pay bills and make sure you have more than ketchup in your fridge, but that’s not all it has to be! To live long and prosper, adults must remember to embrace their youthful passions.

Every boy and girl had a fantasy about the reality he or she would create as adults. Yet many people let go of these dreams.

Geeks never forget this. We understand the value of indulging in childish activities. In our world it’s perfectly normal to walk into someone’s home and see their fandoms represented all over the house. As kids, you have your obsessions.

Every boy and girl had a fantasy about the reality he or she would create as adults. Yet many people let go of these dreams. This makes no sense to me. You finally have the financial freedom (hopefully) to create your own reality. Do it.

My friend, accurately known as Star Wars

geeklyreport@seattleweekly.com

Career Navigator, Employment Services.

The Career Navigator will prepare low income adults for careers in Business Information Technology fields. Navigator will partner with local community colleges to increase the number of Seattle residents who access post-secondary education to attain a certificate or degree and help them obtain living wage jobs related to their training. The Navigator will also recruit students for Seattle Central Community College’s OfficeWorks class (offered in partnership with YWCA) and help students successfully navigate the “dance steps” of college enrollment, admissions, financial aid, and registration. Navigator will develop partnerships with Seattle Central Community College departments including but not limited to workforce education, admissions, advising, and financial aid. Navigator will encourage student retention and persistence towards a post-secondary certificate or degree by offering continued support while they are in school.

Full Time, 40 hrs/wk $16.28 TO $19.54/hr DOEQ. Details at:

http://www.ywcaworks.org Respond to:

cahiring@ywcaworks.org

SCIENCE

TOWN HALL

ARTS & CULTURE

COMMUNITY

CIVICS

November 9

Morton Subotnick & Lillevan “The Grandfather of Electronica” plus acclaimed Berlin-based video artist Advance tickets are $17 general/$15 Town Hall members $20/$18 at the door

WWW.TOWNHALLSEATTLE.ORG Support provided by:

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

Meg, has the largest Ewok and Star Wars Lego collection I have ever seen. She builds all the models and proudly displays them. Asked about her fandom, Meg notes that the Star Wars community has a huge age range, but points out that “we’ve been able to connect and learn from each other through our mutual love for the galaxy far, far away.” As for her health, Meg exclaims that Star Wars “gets my blood pumping and gives my mood a boost!”

It makes sense that something that brings such happiness and keeps your attitude youthful would also help you view your age differently. A prime example is my uncle, who’s in his 50s but still has his comics on display, along with his figurines for HeroClix, a superhero-based game.

He is one of the happiest and most youthful people I know.

I have aimed to live a fun life, adding nostalgic items and activities that might be considered childish. This is best illustrated by a childhood dream of my brother’s and mine. As kids, we talked about the days when we would finally be adults with our own money. We had grand plans, including filling our homes with arcade games. So it was quite rewarding when my brother recently visited and declared “You did it! You did what we always talked about as kids!”

That’s right. I bought an arcade game. Sadly, B&I Amusements in Lakewood recently shut its doors and auctioned all its games. I bid on a few, hoping I’d be lucky enough to win one. I’ll admit I got into a bidding war over Mortal Kombat, but sadly lost (it went for more than $800!). But luckily I won Tetris!

Like many Nintendo gamers, this was one of my favorite games growing up, and still is (I have it on my phone, DS, and Wii), so I was ecstatic to add another version to my collection. So now I have a Tetris machine in my dining room (have I mentioned I have a really awesome and laid-back husband?).

It is a guaranteed conversation starter, and one with its own particular history. I did some detective work and figured out that the cabinet, originally for Donkey Kong, was converted to Tetris. The Russian puzzle game was so popular in the ’80s, it turns out, that Atari sold kits so arcades could convert less-popular cabinets.

People’s reactions to my arcade game have been funny; other nerds understand, but nonnerds . . . well, they seem confused. They look at me puzzled, laughing nervously while trying to decide if I’m a crazy person. But I find their reaction puzzling. Why not play and enjoy the things I did as a kid? Just because I’m older doesn’t mean my loves for games or comics have lessened. In fact, I enjoy them more now because they allow me to escape the seriousness of everyday life and add simple fun. As Warmoth noted, “You are as old as you feel,” and I plan on feeling young for as long as possible.

So while I admit it set me back a bit, it was a good investment. My health depends on it! E

Seattle-King County-Snohomish County is seeking a

31

dinner & show

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

this is halloween!

FRI/NOVEMBER 1 - SUN/NOVEMBER 3 • 7PM & 9:30PM EARSHOT JAZZ FESTIVAL & KBCS 91.3 WELCOMES

the manhattan transfer TUE/NOVEMBER 5 • 7:30PM

garland jeffreys

w/ lincoln barr of red jacket mine WED/NOVEMBER 6 • 7:30PM EARSHOT JAZZ FESTIVAL PRESENTS

garfield high school jazz band THU/NOVEMBER 7 • 7:30PM

wesley stace w/ casey neill FRI/NOVEMBER 8 & SAT/NOVEMBER 9 • 8PM 91.3 KBCS WELCOMES

leroy bell & his only friends

El Corazon www.elcorazonseattle.com

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

THURSDAY, OCTOBER 24

FOLLIES AND VICES

SUN/NOVEMBER 10 • 7PM & 9:30PM

vanessa carlton

with Kirsten Silva, Steven Curtis, and Lindsay Stiehl Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

FRIDAY, OCTOBER 25

SEATTLE WEEKLY • OCTOBER 23 — 29, 2013

ELECTRIC CHILDREN

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next • 11/13 - 11/16 the atomic bombshells...lost in space! • 11/17 michael kaeshammer • 11/19 rokia traore • 11/22 the dusty 45s • 11/23 brett dennen • 11/24 chris hillman & herb pedersen • 11/27 the buckaroos • 11/29 & 30 the paperboys • 12/1 abbey arts presents winter round • 12/2 2nd annual dammit liz holiday special • 12/3 ed kowalczyk “i alone acoustic” • 12/5 david bromberg quintet • 12/6 vaden todd lewis • 12/7 an evening with joe henry • 12/8 an evening with buika • 12/10 rhett miller

happy hour every day • 10/23 closed for a private event • 10/24 wes mackey • 10/25 swindler • 10/26 darren loucas & the stone stollers • 10/27 kareem kandi • 10/28 monday night jazz w/ synthesis • 10/29 singer-songwriter showcase featuring: abi grace, jordan fenton and mykey haslip • 10/30 jd hobson 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

with WMD, Mechlo, Glooms, Seatrash, and Tonight We Launch Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $15 ADV / $18 DOS

SATURDAY, OCTOBER 26

MONETA

with Crooked Veils (feat. members of Vendetta Red), Kight, Subject To Downfall, and Home Alone Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SATURDAY, OCTOBER 26

INTO THE FLOOD with The Ongoing Concept, We Move

Mountains, Dissimulator, and Taker Lounge Show. Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SUNDAY, OCTOBER 27

HIKES with Goldspine, The Young Relics, plus guests

Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MONDAY, OCTOBER 28

OUTLAW NATION

with D.O.B., Part One Tribe, Nick Pauly, and Rootsquik Doors at 7:30 / Show at 8PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

WEDNESDAY, OCTOBER 30

PERFECT BY TOMORROW plus guests Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

FRIDAY, NOVEMBER 1

DWARVES

with Poison Idea, Toxic Holocaust, The Insurgence, and Toe Tag Doors at 8 / Show at 9PM 21+. $13 ADV / $15 DOS

JUST ANNOUNCED 11/18 LOUNGE OH MERCY 11/8 RAIN LIGHT FADE 11/9 KING RYAN EVENTS PRESENTS LIVE MUSIC SHOWCASE 11/10 LOUNGE BOBAFLEX 11/18 SAVE THE FOREST 1/2 LOUNGE JULIA SHEER UP & COMING 11/2 THE STORY SO FAR 11/4 THE BALCONIES 11/5 KILL DEVIL HILL 11/5 LOUNGE THE CONDITIONZ 11/7 MAYDAY PARADE 11/8 LOUNGE MEGA RAN WITH K-MURDOCK 11/9 LOUNGE RARE MONK 11/12 OVERKILL / KREATOR 11/13 TONIGHT ALIVE 11/14 THE FLESHTONES 11/15 ANTHONY GREEN 11/15 LOUNGE EZRA FURMAN 11/16 ALESTORM 11/17 THE CASUALTIES / NEGATIVE APPROACH 11/19 THE DEVIL WEARS PRADA 11/20 PROTEST THE HERO 11/21 FINNTROLL 11/22 AARON CARTER 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

arts&culture» Music

Coming of Age

SevenNights

The members of The 1975 started their band as teenagers. Ten years later, the four Mancunians have the perfect soundtrack to their 20s.

Wednesday, Oct. 23

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

KEEP SHELLY IN ATHENS is maybe the quintessential

BY AZARIA PODPLESKY

REBECCA LUTTERODT

I

Neumos, 925 E. Pike St., 709-9442. neumos. com. 8 p.m. Sold out. All ages. E music@seattleweekly.com

Send events to music@seattleweekly.com.

See seattleweekly.com for full listings.

Thursday, Oct. 24

MS MR Singer Lizzy Plapinger and producer Max

Hershenow hit it big with a carefully crafted Tumblr campaign last year before releasing debut album Secondhand Rapture in September. It makes sense, then, that their music is trendy and modern-sounding, a blend of electro-pop, R&B, and indie rock that sounds like everything and nothing all at once. With Wildcat! Wildcat! Crocodile, 2200 Second Ave., 4417416, thecrocodile.com. 8 p.m. $13 adv. AG GOV’T MULE Heading into its 20th year, this noted Southern-rock jam band is back with its first record of new material in four years. Vintage Mule through and through, Shout! finds the band returning once again to the hard-edge, loose blues that has defined its sound throughout the years. Something about the group keeps guitarist/singer Warren Haynes coming back, despite his marquee slot in the Allman Brothers Band and his own successful solo career. “It’s just a really good vibe,” he says. “The four of us [Matt Abts, drums; Danny Louis, keys; Jorgen Carlsson, bass] love playing music together, and there’s a chemistry that happens between us that doesn’t happen anywhere else.” There’s a strong sense of that chemistry on the new double-disc release: the album proper plus

J.M.RUELLAN

mine, and now they’re absolutely everywhere. It doesn’t feel quite real. This whole year really instills my knowledge of who I am, but it’s also really confused me, conflicted with every kind of idea. It’s two different realities.”

The second reality began in 2009, when their song “Robbers,” a story of love on the run, caught the attention of Jamie Oborne, who would become the band’s manager. After two years of nonstop touring, the band was entertaining offers from major labels, eventually deciding to sign to Oborne’s Dirty Hit Records.

The band members see The 1975 as the soundtrack of their formative years. “Everybody views their adolescence and their memories in a very romanticized, antiquated way,” says Healy. “We learned emotional dialogue through the media, and in regards to the idea of soundtracking your life, it’s very consistent with the idea of your memories being like Polaroids as opposed to clinical images.

“I very much romanticize my past,” he continues. “When I write music, I think about memories and I imagine that being the music to set to it.”

Sonically, the album plays exactly as a soundtrack should, each song setting a scene. There are the peppy highs of young love and the heartbreaking lows of love gone awry. There are teary goodbyes to loved ones and mundane drives with friends around town, all narrated by a foursome that can tap into exactly how listeners feel.

Looking to the future, Healy seems slightly overwhelmed by the band’s touring schedule, which is booked through December 2014. He’s excited to play for a growing fan base; he just hasn’t quite gotten a handle on the amount of attention The 1975 is receiving.

“It’s very hard to explain,” Healy says. “If you imagine throwing a party in your hometown and 50 people show up, that’s a good feeling, innit? Imagine going around the world doing that every night for 2,000 people. It’s incredible. It really is.” With Linus Young.

CocoRosie

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

n a sense, every debut album is a greatesthits (so far) album. But that’s especially true for The 1975, since the electric R&B quartet played together for 10 years before releasing its self-titled debut, culled from a catalogue of songs written during the bandmembers’ late teens and early 20s.

“We narrowed it down to 16 tracks, and every one of those songs, at one point or another, has been our most important song,” lead singer Matthew Healy says about The 1975. “We just never decided which one it was.”

The album, which the Manchester, Englandbased quartet began recording in Healy’s bedroom in 2012, reveals a band borrowing from multiple genres; no two songs are exactly alike.

There is the guitar-driven “Sex”; the ’80s-pop “Heart Out”; the R&B-tinged “Pressure”; the incredibly raw “Is There Somebody Who Can Watch You”—all woven into a slang-sprinkled coming-of-age narrative.

The 1975 is like a diary, a collection of fresh memories. It speaks to the woman who desperately wants to leave her boring hometown, yet worries about her family; the man who can’t help but pine over the one who just can’t make up her mind; the person who wants to love and be loved and is sometimes scared, frustrated, and hopeful.

Healy, who names Michael Jackson and John Hughes as influences, says that’s no mistake. “It’s a genuine extension of our identity,” he says.

The 1975 formed in 2002, when the members (Healy, drummer George Daniel, guitarist Adam Hann, and bassist Ross MacDonald) were in their early teens. A decade of “messing around” and four name changes later, the group and the album, which debuted at #1 in the UK last month, have attracted worldwide attention. The band supported The Neighbourhood, known for its chart-topping single “Sweater Weather,” in June; played nearly every summer festival imaginable; and even opened for the Rolling Stones.

“It’s a total juxtaposition,” Healy says of the newfound fame. “I went from being in a room and knowing all of those songs and them just being

Gorilla vs. Bear band. The Greek duo landed a deal with a label run by the tastemaking music blog, the band’s wavy synths and chilled-out beats meshing with GvB’s vintage-photo aesthetic and penchant for promoting chillwave-type artists. New album At Home ventures into heady, down-tempo electronica.

With Chad Valley, SPORTS. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $13 adv. ANDREW GOSPE The voice of Molly Hamilton, of WIDOWSPEAK, is best described as a “spooky swoon.” It’s got that lazy, summertime lilt, but her harmonies tend to lean on the ghostly side. It gives Widowspeak’s lovely psyched-out, peace-sign vibes a haunted edge, which pairs wonderfully with its cover of Chris Isaak’s “Wicked Game.”

With Pure Bathing Culture and Case Studies. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com.

9 p.m. $10 adv./$12 DOS. 21 and over. KELTON SEARS REBELMART is the “rock, folk, reggae, Irish, country, and punk” music of Scott Turner and Ian Hill—the latter of whom, with a team of investors, recently put in a bid to purchase the troubled Comet Tavern.

Rebelmart’s genre-fused rock is a good metaphor for the bar, which over the years has been a second home to everyone from poets, actors, and political organizers to punks and grunge rockers. This show is NOT happening at the Comet, but across town at the High Dive, a venerable venue with its own story to tell. If you love the Comet, however, you should head out to this show—and support this band—because all proceeds will go to the nonprofit New Beginnings, which provides advocacy and shelter to victims of domestic violence. Ian Hill—geez, what a nice dude.

With New Poverty, Darin Jones and Caleb Fischer.

The High Dive, 513 N. 36th St., 632-5656, highdive seattle.com. 8 p.m. $5. GWENDOLYN ELLIOTT Days Are Gone, the Billboard-charting debut album from the swoontastic HAIM sisters three, is almost comically good. Every single goddamned song is an arenaworthy jam, riffing on pop icons of yore like Michael Jackson, T. Rex, and Destiny’s Child. Make sure not to miss Este Haim’s bass face. She’s got a severe case of bass face. With IO Echo. Neumos, 925 E. Pike St., 709-9467, neumos.com. 8 p.m. SOLD OUT. All ages. KS I’m convinced EMPIRE OF THE SUN is actually MGMT, but from an alternate universe where they kept making songs like “Kids” and “Electric Feel” rather than intentionally alienating psych-prog. The Australian duo’s slick, shamelessly catchy music seems engineered on the molecular level for neon lights, outdoor music festivals, and car commercials. With Alpine.

The Paramount, 911 Pine St., 467-5520, stgpresents. org/paramount. 7:30 p.m. $35.75. All ages. AG

The fellas of WALK THE MOON may be best known as that adorable quartet with a tendency to wear bright tribal makeup, but it just so happens this Cincinnati indie-pop act also makes dance-worthy tracks with hooks you’re not going to be able to forget (see: every song they’ve ever released). With the Mowglis and Smallpools. Showbox SoDo, 1700 First Ave. S., 6520444, showboxonline.com. 7 p.m. $20. All ages/21 and over bar with ID. KEEGAN PROSSER BRAIDS This Montreal four-piece is an experimental rock band whose songs sound constructed by a producer: carefully shifting textures, ambient synthesizers, and processed vocals that spout tantric meditations on love, friendship, and drugs. Some songs go on for eight or nine minutes, but there’s enough detail within them that they avoid self-indulgence. With Hundred Waters, Kodak to Graph. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $10 adv./$12 DOS. AG CHRIS SMITHER Blues guitarist Dave Alvin may be headlining this show, but it’s the cool, restrained playing of Chris Smither that clinches this killer bill. With the blues it’s all feeling and warbly riffs, and metaphors like “Dust My Broom” and “Big Long Sliding Thing” take precedence over plain, cut-the-bullshit lyricism.

Which is why Smither rules. At 68, he can belt out the blues with the best of them, and his still-nimble fingers work the fretboard without missing a note.

Add to that Smither’s seasoned, world-weary tone and natural gift for storytelling, and nearly everything the artist produces feels unforced and honest. “Your loss is measured in illusions,” Smither sings in “Winsome Smile.” “Your gain is all in bitter-sweet intelligence/And your winsome smile will lose some of its innocence.”

He may be singing about a breakup, but the fact that he’s somehow OK with it to impart such an acute observation without resorting to jokes makes you wish more people saw things that way. With Peter Case, Rick Shea. Tractor, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. SOLD OUT. GE

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ani difranco squarepegconcerts.com

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SEATTLE WEEKLY • OCTOBER 23 — 29, 2013

10:00AM

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A Perfect Gift HolidAy tour

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the London Syrinx Effect souLs tuesday dec 10 Thursday, Oct.marion 24 oLiver

mccaw haLL ressed all in black, shaped by, SeAttle, a smart 321 mercer St WA blazer, 8:00Pm SHoW · All AGeS a smiling John Gilbreath addressed a crowd ticketS At ticketmASter locAtionS cHArGe by PHone 1-800-745-3000 before a performance during last year’s Earshot Jazz Festival. the executive HolidayIn brief, Concert With director of the now-25-year-old festival spelled out the institutionalized state of jazz in this city.

“Being involved in the overall jazz community here in Seattle, you get a sense of the continuum thursday dec in 26seeing the of the thing paramount theatre younger artists coming 911 Pine St · SeAttle, WA upSHoW through 8:00Pm · All AGeSthe education ticketS AvAilAble programs from ticketS.comand going on to cHArGe by PHone 1-800-225-2277 secondary education and coming out of the scene and becoming journey people and teaching other artists,” he said, cheeks slightly flushed beneath his wire frames.

“But occasionally it seems that some really brilsaturday february 1 kind of pop up on the scene. For liant artists just moore theatre for some 1932me 2ndand Ave · SeAttle, WA of us, that’s absolutely been the 8:00Pm SHoW · All AGeS case these two artists.” ticketSwith AvAilAble from ticketS.com Those two artists were saxophonist Kate Olson cHArGe

by PHone 1-800-225-2277 and trombonist Naomi Siegel, who together form the elliptical improvisational jazz duo Syrinx Effect. Though certainly not unschooled, the duo did appear unexpectedly; Siegel moved here in 2008 after studying at Oberlin, and Olson arrived after receiving a master’s degree from the University of Michigan. More to Gilbreath’s

D

Straight N Chaser & caroLine GLaser

a bonus disc of the same tracklist featuring guest vocalists. “To my knowledge, nobody has ever done this before, which was one of the things we found appealing about the concept once we stumbled on to it,” says Haynes, who enlisted the help of Elvis Costello, Jim James, and Dave Matthews to interpret the band’s tunes. About those songs: “We do a different set list every night. And we keep track of every show so that when we go back to Seattle, we’ll play a completely different show than whatever we played last time we were there.” So even if you’ve seen Gov’t Mule a million times, you haven’t seen them like you will tonight. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org/neptune. 7:30 p.m. $30. CORBIN REIFF English DJ and producer BONOBO returns to Seattle with a live set of the bass-heavy downtempo album The North Borders. Check out “First Fires” for a taste of Grey Reverend’s vocals, which blend harmoniously with Bonobo’s tracks. Showbox Market, 1426 First Ave., 628-3151, showboxpresents.com. 8 p.m. $20 adv.

ALICIA W. PRICE First KATHARINE MCPHEE stole America’s heart as one of our favorite runners-up on American Idol.

Then she entered our living rooms again as the lead in NBC’s short-lived Smash. While her acting abilities may not be the best, there’s no question the girl can sing. Snoqualmie Casino Ballroom, 37500 S.E. North Bend Way, Snoqualmie, 425-888-1234, snocasino.com/ entertainment. 7 p.m. $65. 21 and over. KP US ON ROOFS calls itself “adventure rock.” It’s an apt name: The tunes they craft are swirly, misty songs that sound like floating down a river or trekking through a canyon. If Grizzly Bear were born in the forests of the Pacific Northwest, this is likely what you’d get. With Specters and Winnebago. Sunset Tavern.

8:30 p.m. $6. 21 and over. KS

Friday, Oct. 25

Seattle-based CLOUD PERSON released its debut full-length, Monochrome Places, in August, and now brings its orchestral folk jams to Pacific Northwest

point, though, the duo delivers something fresh to Seattle audiences. Utilizing looping, distortion pedals, and a laptop, the two women create varied landscapes of sound—forests, skylines, desolate plains—populated with sympathetic voices, their instruments bending and slashing to achieve an expressiveness usually reserved for strings. Listening to the interplay between the two voices—the deep, sometimes booming trombone and the bright, chirping saxophone— feels like listening in on a casual, humorous, at times salacious conversation. The duo’s tone is highlighted by its style, which is quite the opposite of Gilbreath’s nightclub duds. Most often wearing jeans and T-shirts, the two women look more likely to be headed to the coast than to the shores of sonic transcendence. It’s a perfect fit in a genre where sartorial style punctuates; these artists are playful, unpredictable, and, most important, just plain interesting.

For those wary of cloistered jazz, Olson and Siegel are a great antidote; their inclusion in Earshot last year and again this year signals as great a promise for the festival—and this city’s jazz scene—as a room full of brasswielding tykes ever could. With the Naomi Siegel Quartet. Chapel Performance Space, 4649 Sunnyside Ave. N., earshot.org. 8 p.m. $5–$15. MARK BAUMGARTEN DANIEL SHEEHAN

A Perfect Gift HolidAy tour

arts&culture» Music

stages. Its first stop, at Ballard’s beloved Conor Byrne, seems more than appropriate for its emotive, journeyman-inspired cuts. With Lanford Black and Lowlands. Conor Byrne Pub, 5140 Ballard Ave. N.W., 784-3640, conorbyrnepub.com. 9 p.m. $8. 21 and over. KP COCOROSIE formed after sisters Bianca (“Coco”) and Sierra (“Rosie”) Casady reconnected in France about three years after losing contact. The former Sub Pop–signed band, now a trio, has an atypical sound to match its unusual backstory. The group’s latest, Tales of a GrassWidow, is a mix of indie and electronica, with Bianca’s lullaby-like voice and Sierra’s classical vocals shepherding everything along. With Busdriver. Neumos. 8 p.m. $25 adv.

All ages. AZARIA C. PODPLESKY OKKERVIL RIVER For its latest album, The Silver Gymnasium, this long-running indie-rock act looked back to frontman Will Sheff’s childhood for thematic inspiration; the record is a concept album that takes place in Sheff’s native New Hampshire. This is the group’s first Seattle show since helping to kick off the reopening of the Neptune in 2011. With Matthew E. White. Showbox at the Market. 9 p.m. $20 adv./ $22 DOS. All ages. AG

Saturday, Oct. 26

TALCUM Do you like dancing? Do you like classic soul?

Do you like dressing up nice and dancing to classic soul? Of course you do. So slip on your bell bottoms, shimmy on over to Chop Suey’s always-fun soul night, and meet your future husband/wife already. 9 p.m. $5.

21 and over. KS TWO DOOR CINEMA CLUB This Irish three-piece has taken the festival scene by storm in the past three years, touring in support of its energetic debut, Tourist History. They’ve since released a sophomore effort, Beacon, and built a reputation as one of the most electric dance-pop acts to see live. At this venue on a Saturday night, it’s sure to get rowdy. The Neptune.

9 p.m. SOLD OUT. KP

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

King Tears Bat Trip Thursday, Oct. 24

M

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

Grammy Award winning acclaimed trumpeter, composer and bandleader

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

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

GERALD ALBRIGHT THURS, OCT 31 - SUN, NOV 3

Grammy-nominated saxophonist, one of the biggest stars of R&B, contemporary and straight-ahead jazz

TANYA GLEASON

ix Haitian voodoo drum ceremonies with avant-garde jazz and you have King Tears Bat Trip. This Seattle-based band rocks four full drum kits, a saxophone, a guitar with all six strings tuned to G, and something called a “Chango” (more on that later). If that all sounds kind of nuts, that’s because it is.

The project was born out of the Racer Sessions, an improv series at Cafe Racer. UW jazz professor and KTBP guitarist Luke Bergman—whose other projects include Thousands, Heatwarmer, and Lonesome Shack— decided he wanted to write a composition that fused the Haitian drum rhythms he’d been digging with the on-the-fly structure of the Racer Sessions. The goal was to create something with a sort of hypnotic, vaguely spiritual effect.

It worked. King Tears Bat Trip’s selftitled album is an ecstatic clusterdrum explosion of rhythmic anarchy, consisting solely of two 18-minute tracks that sound like a specter soaring out of the underworld. Clangorous walls of percussion consume you as the guitar and saxophone wail triumphant, cacophonous melodies that often take sharp plunges into dissonant screeching. The songs can veer from celebratory to terrifying in the blink of an eye.

Furthering the madness is fellow UW alumni Brandon Lucia, a computer programmer who plays a self-created laptop instrument, the “Chango”: a program that reinterprets the patterns of light in video signals into fragmented audio drones. The resulting noise swirls atop the percussive madness, taking the band into one

JAZZ ALLEY IS A SUPPER CLUB

of its most volcanic, apocalyptic musical movements in the middle of “Elevenogram.”

While listening to the album is an experience in itself, there’s a compelling urgency to these sounds that require taking in a live show and

Sunday, Oct. 27

RL GRIME This Los Angeles producer is at the forefront

of one of the hottest recent trends in EDM: blending fist-pumping rave bangers with the trap beats of Southern rap. There’s a lot of stylistic overlap between the two—neither are much for subtlety—and Grime’s productions are brash and full of bass. The Neptune.

9 p.m. $16.50 adv./$18 DOS. All ages. AG AU REVOIR SIMONE first started making music in 2003, back when the idea of replacing guitars and

A formidable jazz/fusion juggernaut whose longevity surpasses every major fusion group...

witnessing the live, improvisational insanity of it all. You can listen to a wall of drums through headphones, but getting walloped by them in person is completely different.

Some of the fellows in King Tears Bat Trip also started an experimental-jazz label called Tables & Chairs. Tonight’s Tables & Chairs showcase, entitled “Apparitions,” collects some of the most free-form freaks in the Northwest, including Burn List, the Jacob Zimmerman & Gus Carns Duo, and Portland avant-ensemble Pinkish. With King Tears Bat Trip filling the bill, prepare for some delightfully cerebral sonic nuttiness. Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacitytheater.com. 8 p.m. $10 adv./$12 DOS. 21 and over. KELTON SEARS

drums with vintage synths and drum machines was still relatively novel. In the 10 years since, nostalgia-steeped dream pop and electronica have become more frequent in indie music. It speaks to the strength of the Williamsburg trio’s songs that it’s managed to stake out a long-term career. The music is simple—from the drum programming to the synth lines to the towering female vocal harmonies—but also purposeful and tightly focused. Its latest album, Move in Spectrums, is the group’s fourth; aside from some darker synth textures, it’s as consistent and unassuming as the rest of the band’s catalog.

Au Revoir Simone doesn’t make the most arresting music, but it’s established itself as more than just a trend. With CALLmeKAT, Wild Ones. Neumos. 8 p.m. $15 adv. AG CHAKA KHAN Though she’s been performing longer than some of today’s divas have been alive, Chaka Khan, whose career began four decades ago when she joined funk sextet Rufus, is still showing singers how it’s done. Having released the first album in her appropriately titled iKhan Project series earlier this year, it’s safe to say that Khan isn’t giving up her throne anytime soon. Snoqualmie Casino. 7 p.m. $65–$125. 21 and over. ACP

Tuesday, Oct. 29

THE BEARDS With three albums and more than

three million hits on its YouTube channel, these musicians from Adelaide, South Australia, have cemented themselves as the kings of totalitarian beard-rock, sharing their affection for facial hair with the masses. This stop, part of the Beards Across America! Tour, is sure to have the band feeling right at home. With special guests. Sunset Tavern. 8 p.m. $12. KP

RACHELLE FERRELL THURS, NOV 7 - SUN, NOV 10

Singer, pianist and crossover artist who is equally at home with gospel, pop, classical music and jazz

all ages | free parking full schedule at jazzalley.com

tractor Times listed are show times.

Doors open 30-60 minutes before

Thur, Oct 24 • 9pm ~ $15 experimental folk & americana

ELEPHANT REVIVAL RENEGADE STRINGBAND Sun, Oct 27 • 8pm ~ $15 The Tractor & KBCS 91.3FM present celtic rockers

YOUNG DUBLINERS THE BOG HOPPERS Wed, Oct 30 • 8pm ~ $12 bluegrass singer/songwriter

MARTHA SCANLAN CAHALEN MORRISON & ELI WEST SEATED SHOW

Up & Coming • 10/23 ~ SOLD OUT! The Tractor & KBCS 91.3FM present Kings of California ~ Roots On The Rails tour feat. DAVE ALVIN, CHRIS SMITHER, PETER CASE & RICK SHEA • 10/25 ACORN PROJECT, SPYN RESET • 10/25 The Tractor presents at The Sunset TWO COW GARAGE, JACKRABBIT • 10/26 SUPERSUCKERS, HELLBOUND GLORY, THE SHIVERING DENIZENS • 10/27 ~ SOLD OUT! KEXP Halloween Kids Dance Party • 10/28 MONDAY SQUARE DANCE with THE TALLBOYS

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

NTw.RlittleYreMdhUenS.coIC LIVE COUww m THURSDAY OCTOBER 24TH

BUCKAROOSTERS 9PM - $3 COVER

FRIDAY OCTOBER 25TH & SATURDAY OCTOBER 26TH

DIRTY SHAME

HALLOWEEN COSTUME PARTY SAT. OCT 26TH 9PM - $5 COVER SUNDAY OCTOBER 27TH

DAVANOS

9PM - $3 COVER 4PM OPEN MIC / ACOUSTIC JAM W/ BODACIOUS BILLY TUESDAY OCTOBER 29TH

T & D REVUE 9PM - NO COVER

MONDAY AND WEDNESDAY

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

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

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

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

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

English singer/actress SARAH BRIGHTMAN has one of those voices that fits perfectly into multiple genres.

Her ethereal pipes straddle pop and opera equally, which is great for newer fans while still keeping classical-music lovers satisfied with her impressive soprano. Brightman released Dreamchaser, her 11th studio album, earlier this year. Paramount. 8 p.m. $50.75–$251.25. All ages. ACP SUPERSUCKERS This gig’s touted as their 25th anniversary show, and this onetime Sub Pop–based group reportedly has a new album forthcoming in 2014, but you can’t help but wonder if this is just a glorified tour in support of Eddie Spaghetti’s June release, The Value of Nothing, which our own Matt Driscoll called “predictable yet fun.” With Hellbound Glory, the Shivering Denizens. Tractor, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9:30 p.m. $15. GE MANSIONS ON THE MOON is back with a new EP, Full Moon, which features the group’s signature electronic, hip-hop, indie-pop vibes. Prepare to dance and feel at ease as you move to “It’s Not Too Late” and the synthy single “Radio.” With Con Bro Chill and Cherub. The Vera Project, Seattle Center, 956-8372, theveraproject.org. 7:30 p.m. $11. AWP

STEVE SMITH AND VITAL INFORMATION TUES, NOV 5 - WED, NOV 6

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Budo, The Finger & the Moon (out now, selfreleased, budo.bandcamp.com) Producer/musician Budo lists his current location on Facebook as: “On the Road . . . always.” It’s a lifestyle he knows well, logging years in the biz and on the tour circuit, working with the likes of Macklemore and Grieves. In fact, the 10 tracks on his new solo album—the follow-up to 2009’s excellent Bird on a Wire—are all named after cities, and he uses travel as a theme to sing about hope, sadness, and lost loves.

Lyrically, “Berlin” relays the experience of feeling alone when surrounded by a group of people.

“Brooklyn” finds Budo repeating “This isn’t love” over a gorgeous swirl of trumpet and spacey synths. In “Barcelona,” the artist says goodbye and frees himself from a relationship; in “Austin,” he sings about the emotionally draining effects of being away from home and wishes someone would slow him down.

It makes sense then, that “Fremont” is the home base of all this wandering; there he describes coming home after a long time away, when everything you used to know now seems slightly off. The song begins with a beautiful combination of strings and brass before advisory lyrics waft in: “Rest your head/Let the moon become your guide.” Elements elsewhere on the album are expertly constructed, skill no doubt gained from years behind the decks.

Trumpet lines weave seamlessly with violins and keys; vocals are strong but not overplayed, another binding feature here. Though the album isn’t “unplugged,” there’s a very organic feel to the audio quality, thanks to a good use of acoustic instruments. The Finger & The Moon is the same solid Budo production fans have come to expect, but this is a Budo we’ve never heard before—honest and exposed, inviting listeners to relive moments from his past, both good and bad. AZARIA C. PODPLESKY

lyrics are suspect. “Ur New BF” is a ballad about a relationship that must be true-to-life, so painfully literal is the story. I steal a friend’s line when I say that Seacats has a Kelso-sized chip on its shoulder, a reference to the band’s clearly stated disdain for the rural area from which they hail. As Mike Davis sings on “Firewood”: “I’m so sorry/I don’t spend my time chopping firewood/I’m so sorry/I don’t take pride in the size of my truck.” But even where the lyrics falter, they are endearing, and the album as a whole is thoroughly so. DANIEL PERSON

LEIGH RIIBE

rs & Vintage Ste

Records, Guita

arts&culture» Music

Saturday & Nov 2

nd

Seacats, Seacats (out now, Fin Records, seacats. bandcamp.com) You know that teen movie from the ’90s—the one that opens on the first day of senior year at a nameless, open-air California campus brimming with age-of-consent-questionable sexual energy? The one with Jennifer Love Hewitt? “Wrecked,” the first track on Seacats’ self-titled album, is the song playing during that opening scene. This record is anachronistic for all the right reasons, an exhibition of casual self-hatred that you thought died with the Clinton presidency. “Wrecked” is a scuzzy and stoned song of bad romance driven by a bass line the band all but credits Weezer for, until some nifty song-crafting sends it into a spacey jam. Indeed, Seacats is hyperconscious that it’s treading on well-trod sonic turf, and responds by not allowing any song to go more than 20 seconds without a surprise synth solo or soaring interlude. Musical craftsmanship aside, Seacats’

Wishbeard, It’s All Gonna Break EP (out now, self-released, wishbeard.bandcamp.com) The four ladies of this wonderfully named group have crafted this year’s floatiest local release. Listening to this four-song nugget will make you feel like a buoy in an astral sea, gently wafting to and fro. It was mixed by Erik Blood, responsible for THEESatisfaction and Shabazz Palaces’ records, as well as his own shoegazey solo work. It’s no wonder Blood was drawn to Wishbeard, as the quartet soaks every instrument on the record in a dreamy, shoegaze haze. “Circles” quietly hums along in this manner, intimate-sounding and The xx–styled. The wordless album closer, “Adeline Street,” also billows in a cushy cloud, slowly building into a spacier post-rock coda. But the real standout track here is opener “Strawberry ’79.” It’s Wishbeard at its most muscular, riffing on a dancier Joy Division bass line that skirts around under a skittery, rolling drum line. It’s a refreshingly subtle punk number, and, like the best songs, sneaks up on you. While all tracks on It’s All Gonna Break are lovely in their own way, it would be great to see Wishbeard pursue the punchier tendencies of “Strawberry ’79”; the added beef helps anchor the band’s breezier side, something it could use lest it drifts away into space completely. Nevertheless, if you are looking for something to soundtrack your waking—or sleeping—dreams, Wishbeard’s new EP will do the trick. KELTON SEARS

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almost California-style; no bushy sugar leaves here. I also quickly noticed that these flowers were actually dry enough to smoke, with none of the borderline dampness found in some shops, where you’re paying for water weight, and none of the near-petrified, hard-to-incinCelebrating our New Low Prices erate flowers produced by some obsessive jarNew Hours: M-F 12:00 – 7:00 and New Summer Clinic Hours curing methods that seem to value cosmetics Saturday 10:00 – 5:00 ** Starting June 28, 2011 ** over usability. No, these buds were a breeze to Sunday 12:00 – 5:00 Celebrating our New Low Prices crumble and roll into joints.

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4021 Aurora Ave N. Seattle, WA 98103 Blue Cheese offers even more pronounced pain A non-profit organization in accordance wi relief, but with its pleasantly Now accepting all major sluggish indica credit/debit cards! effect, it’s a better nighttime medicine. After • I-502 application assistance dinner or at bedtime, this is a deeply soothing, calming, and cen• Location research and zoning by jurisdiction tering smoke, to be savored both for its medicinal • MMJ migration to I 502 businesses effects and its namesake flavor.

• Marketing strategies New Image carries a respectable selection of • Operating Plans / Business Plans medibles, along with BHO and hash; they were / Floor Plans out of kief the day I visited. Medicated brownies RMMCconsulting.com • Seed to sale (made using cannabutter and cannabis canola (206) 395-8280 implementation oil) and Oreo Bars (containing hashish) are tasty and worthwhile, especially at just $5 each. E Providing solutions and opportunity for business professionals and medical cannabis patients Steve Elliott edits Toke Signals, tokesignals.com, an irreverent, independent blog of cannabis news, views, and information.

STEVE ELLIOTT

discovered New Image Health & Wellness in Port Orchard while looking for another access point using Weedmaps. That must be really frustrating for the owners of Greenthumb Port Orchard, but the simple fact is, the two shops are so close together that when I used my phone’s GPS to find Greenthumb, it told me I had arrived when I passed by New Image. Seeing the green cross, I wheeled in and parked, and didn’t notice

BY STEVE ELLIOTT until a bit later that the street address was slightly different. (Don’t worry, Greenthumb, I’ll see you soon.)

Once inside the relaxed but smartly appointed lobby, it only took a few minutes to fill out and verify the paperwork, then it was back to the bud room with budtender Kody.

He’s one of those easy-toget-along-with, laid-back budtenders who isn’t interested in debating or one-upping the patients (yes, there are a few of those); he seemed more interested in just helping me find the strains, concentrates, and medibles that I needed and offering his own input about experiences with the medicine.

New Image had about a dozen strains the afternoon I visited, ranging from pure indicas on the left to hybrids in the middle of the counter and sativas on the right. Upon Kody’s recommendation I selected Blue Cheese, an indica, and on my own initiative picked the intriguingly monikered El Alquimista (“The Alchemist”), a hybrid.

One of the first things I noticed about both strains was that they were tightly trimmed,

S.A.M. COLLECTIVE

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MASSEUSE NEEDED FILM NEWSLETTER The inside scoop on

upcoming films and the latest reviews.

Vina Sauna GRAND OPENING

Open 7 Days a Week

10AM - 9PM

13985 Interurban Ave., Suite 200 Tukwila, WA 98168

(206) 243-2393

@seattleweekly

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SEATTLE WEEKLY • OCTOBER 23 — 29, 2013

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W W W. S E AT T L E W E E K LY. C O M / S I G N U P

WEEKLY

NEWSLETTER

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W E E K LY

The inside scoop on features, columns and reviews.

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EVE

Announcements

COUPLE SEEKING TO ADOPT Loving couple seeking to ADOPT an infant. We can offer your baby a lifetime of opportunity, humor, adventure 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 direct at 206-920-1376, toll-free at 877-290-0543 or email AndrewCorley@outlook.com You can also contact our attorney at 206-728-5858, ask for Joan file #0376.

Employment General MARKETING COORDINATOR The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department.

Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.)

If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com No phone calls please.

Employment General

ADVERTISING & MARKETING COORDINATOR

HELP WANTED!!

Make up to $1000 A Week Mailing Brochures From Home!

Helping home workers since 2001! Genuine Opportunity!

No experience required.

Start Immediately! www.needmailers.com

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 hreast@soundpublishing.com

No phone calls please.

Sound Publishing is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace.

Check out our website to find out more about us! www.soundpublishing.com

DOG LOVER???

Will you welcome a neighbor’s dog into your home while the owner’s away? Home FT? (not 24/7) Become a Sleepover Rover host! $20/day & up.

866-867-5048

SleepoverRover.com

Employment Transportation/Drivers

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

Professional Services Music Lessons GUITAR LESSONS Exp’d, Patient Teacher. BFA/MM Brian Oates (206) 434-1942

Home Services Drafting/Design

Marysville Globe Arlington Times Newspaper Delivery Routes Available

*Delivery takes place Saturday-Pick up papers @6pm - complete routes by 3pm... *Map and route list provided... *These are independent contractor routes. *Requires an insured vehicle & valid drivers license... *Must be 18yrs of age *Prior delivery experience a plus. For more info. please contact (360)659-1300 x 6050 Employment Computer/Technology

HOME DESIGN & CAD DRAFTING

Member: AIA, BBB, MBA

25 Years Experience Call 9a-8p, Mon-Sat.

360-386-9332

South Tacoma

3 Bedroom, 2 Bath. 1550 square feet, Rambler, 2 car garage, .25 acre, fully fenced back yard, doggy door, fireplace, wood floors, all appliances. $1400 + 1st months rent. Pets negotiable 360-688-3478 Apartments for Rent King County

Senior Software Engineer Twitter, Inc. seeks Senior Software Engineer in Seattle: Create web apps that reach hundreds of millions of ppl. & build high-vol. servers to supp. our content. Build distrib. & highly-scalable perf. solut.

Make use of algorithms & core comp. sci. concepts & ability to apply knowledge to real world sys. Req’s: MS(or equiv)+2 yrs exp. OR BS(or equiv)+5 yrs exp. Submit resume w/ref. to Req.# SK77(SW) at: ATTN: Mercedes Sperling, Twitter, Inc., 1355 Market St., Suite 900, San Francisco, CA 94103 Software Engineer Twitter, Inc. seeks Software Engineer in Seattle: Design new serv. admin., monitoring & visualization exp. & tooling for Twitter serv. Define & design applicable serv. metrics for this serv. & prov. necessary alerting & monitoring dashboards for these serv. metrics. Req’s: MS(or equiv)+4 yrs exp. Submit resume w/ref. to Req.# DP18(SW) at: ATTN: Mercedes Sperling, Twitter, Inc., 1355 Market St., Suite 900, San Francisco, CA 94103

Employment Social Services VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience.

Must live in Seattle area.

Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601

Electronics

Studio in Ravenna for rent $750 206-441-4922

University District 2 and 3 bedroom apts available for rent.

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. Laundry on-site. Large quality home.

Also, same type of smaller unit for $490. Employed with steady income. References and deposit required. No Smoking, No Pets. 1 Adult Only. 206-2411700 Evenings

TREE CLIMBER/ TRIMMER **$1,000 Hire on Incentive**

We have been in Business since 1986 performing Tree & Shrub Trimming, Pruning & Removals in Residential Neighborhoods.

We work Full-Time Year-Round.

REQUIREMENTS:

Min. 2 Years Tree Climbing/ Trimming Experience.

Must have own Gear (Saddle, Spurs, Ropes & Climb Saw) Valid Driver’s License & Vehicle

$160-$200/ day + OT

Contact our Recruiting Dept. in our Corporate Office at 1-800-684-8733 ext. 3434 or 3321 **Please make sure you meet requirements listed above

Dogs

COMPLETE QUEEN Bed $250. Ask about small kitchen appliances $30 ea. 206-444-0852.

Gun & Knife

Show

Lynden

Northwest WA Fairgrounds 1775 Front St, Lynden, WA

Oct. 26th & 27th

Garage/Moving Sales King County

BICHON FRISE Puppies. 2 Left! AKC registered, Companions only.

Vet check, first shots, wormed. 360-271-8912, 360-865-3346. Pictures/ info: www.bichonfrisepuppies4sale.com

ALL MUST GO TODAY Sale! Futon, womens office attire (size 6 and 8), kitchen galore, dishes, pots, pans, silverware, household cleaning items, furniture, coffee table, fans, computer desk, and tons more!

Saturday from 12 noon to 4pm at 4450 S. 172nd St. 206-444-0852.

$6 General Admission $1 OFF with this ad info 360-202-7336 Flea Market

5 SMALL APPLIANCES. $30 ea. Call for details.

SeaTac 206-444-0852.

Cats

BEAUTIFUL CFA Sealpoint Himalayan Persian kittens, 10 weeks old. 4 males with flat face. 1st shots $500.

Yakima.

509-576-4350 or 509575-3858

Professional Services Beauty & Health

SEATAC 98188

Firearms & Ammunition

Sat. 9-5 Sun. 9:30-3 Real Estate for Rent King County

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

Call

Long Time English Style Show Kennel is Retiring and offering 4 Adult Ret. Show Dogs Chocolate M, 18 mo.

Choc. F, 18 mo.

Black F, 3 yr old.

Black F, spade, 8 yr old All are great w/ kids & other animals. All have appropriate health clearences. Avail to approved homes only. $700 to $1200.

Call 360-661-6565.

My one reason for donating plasma?

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MEDICATE WIT DAKINE

Best Meds In Town!

Open From 10am to 7pm Everyday!

360-265-0236

4231 OLYMPIC DR. BREMERTON, WA 98312

As the world leader in next generation mobile technologies, Qualcomm is focused on accelerating mobility around the world.

To show I care about my community

Qualcomm Technologies, Inc., a wholly owned subsidiary of Qualcomm, has the following positions available in Bellevue, WA:

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.

STAFF SOFTWARE ENGINEER/ POWER MANAGEMENT:

Proficiency in low power management; and device driver development req’d (FR-YM27-L)

Multiple openings avail.

Mail resume w/job code to QUALCOMM, P.O. Box 919013, San Diego, CA, 92191-9013. EOE

facebook.com/seattleweekly HOLIDAYS ARE NEAR, GET HIRED NOW! OUR GOAL IS TO KEEP TREES SAFE & BEAUTIFUL AND WE NEED YOUR HELP!

As an Order Generator for TLC4Homes Northwest you speak to Home Owners and set them to meet with our Trained/Certified Arborists. Our Arborists Provide Home Owners Free Estimates and Free Safety & Health Inspections for Tree & Shrub Trimming, Pruning & Removal Services.

Work year round helping home owners keep their Trees Safe & Beautiful!

WORK OUTDOORS AND SET YOUR OWN SCHEDULE. TRAVEL, CELL PHONE, MEDICAL ALLOWANCE AVAILABLE

Requirements: Vehicle & Driver’s License · Cell Phone · Internet Access Fill out our online application: http://www.evergreentlc.com/inside-app-order.php

Call Recruiting Dept. for Snohomish, King, Pierce, Kitsap & Thurston County:

509-227-7410 ext. 3304 or 3308

SE ATTLE WEEKLY • O CTOBER 23 — 29, 2013

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

Employment General

39

NTS

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.

Classified

Call

@ 206-623-6231, to place an ad 2000 HARLEY DAVIDSON SOFTAIL FATBOY. $1795 OBO. mobens@live.com

Singing Lessons Single and Professional? www.425singles.com (425) 444-3916

Your Hours: Mon-Thurs & Sat 10a-7p Fri 10a-8p Sun 11a-5p 3811 St Rt 3 (Bayshore) 360-426-0420

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

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.

Steamcon October 25th-27th

Burien Room For Rent... $130 a week w/no deposit!

Includes Cleaning and Util.

206-762-2757

Shelton

80Flat Fee

$

OPEN ON SATURDAYS (1) Original Patient Watermark aka “green card” (1) Original Designated Provider Watermark 24 HOUR VERIFICATION WEBSITE 360-275-2004 Located in AVOID STRONG OPIATES Belfair

AND BARBITUATES

Alternative Therapies, for pain, all qualifying conditions a healthier means of achieving your goals.

This year Steamcon, one of the oldest steampunk conventions in the world, takes you on an international journey to exotic locales! Meet Peshawar lancers, and Japanese automaton geishas! See what steampunk is like on the other side of the globe and right here at home!

Steamcon takes place in the heart of Bellevue at the Bellevue Hyatt Regency. Steamcon.org

Earn $100 per donation!

If you have severe or life-threatening Allergies or an Autoimmune Disease your Plasma is vital.

Learn more at www.plasmalab.com 425-258-3653

$ TOP CASH $

PAID FOR UNWANTED CARS & TRUCKS

MOST CASH PAID 4 GOLD JEWELRY 20%-50% MORE 24/7 CASH 425.891.1385

$100 TO $1000

WWW.KIRKLANDGOLDBUYER.COM Mt. Hood Independent Film Festival Nov. 8-10th Columbia Center for the Arts will present the second annual Mt. Hood Independent Film Festival in Hood River, OR, featuring over 100 films in a number of categories including: a special block of short 3 D films, long and short narratives, animation, long and short documentaries, horror/sci-fi and adventure films. A three-day, all access Festival pass costs just $35 and a one-day pass just $15. www.ColumbiaArts.org

7 Days * 24 Hours Licensed + Insured

ALL STAR TOWING

425-870-2899

Oregon’s North Coast Beer 101 Weekends

One of the Northwest’s greatest beer destinations invites beer enthusiasts to join the fun Oct. 25-27. Taste and help name the specially-crafted beer brewed for the occasion

by Astoria Brewing Company, Fort George Brewery, Seaside Brewing Company and Bill’s Tavern & Brewhouse. Meet brewers and beer icons, learn about Oregon’s brewing history, enjoy beer dinners and get outstanding lodging deals. VisitTheOregoncoast.com

Belfair

Your Hours: Mon-Sat 9a-8p Sun 9a-6p 23710 E. State Rt 3 360-275-1181

PAKALOLO MEDICAL AUTHORIZATIONS YOUR LEGALLY DEFENSIBLE RECOMMENDATION

Toke Signals with Steve Elliott

Tour Greenpeace’s Rainbow Warrior

October 26 and 27, 10am-5pm – Greenpeace’s state-of-theart sailing ship, the Rainbow Warrior, will be in Seattle offering free public tours. Join the crew for a behind the scenes look at how the 190 ft ship works and life on board. Sunday morning will include family friendly activities from 10 to 12. Please note that tours have uneven surfaces and steep stairs. GreenPeace.org

Your source for uncut, uncensored, no-holds-barred, non-corporate-controlled cannabis news.

>> tokesignals.com - Activism - Culture - Dispensaries - Legalization - Legislation - Medical - News - Products & More

WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

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PROMOTIONS NEWSLETTER

PROMOTIONS

The inside scoop on VIP events, free tickets, and event photos.

10338 Aurora Ave N, Seattle · www.foursquare.com

DANCING BARE

W W W. S E AT T L E W E E K LY. C O M / S I G N U P DINING WEEKLY

» HOT BABES & COLD DRINKS «

FILM DINING

NEWSLETTER

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* *I.D. Required American Liberty Adult Store

S A N D E N T E R TA I N M E N T

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

MUSIC

DIFILM NING

The inside scoop on openings, fihotspots upcoming lms and and off ers. the latest reviews.

W EEKLY HAPPY HOUR MUS