Seattle Weekly, November 20, 2013 by Sound Publishing

NOVEMBER 20-26, 2013 I VOLUME 38 I NUMBER 47

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inside» November 20–26, 2013 VOLUME 38 | NUMBER 47

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OCCUPY CHERRY STREET

The story behind the takeover of the Horace Mann Building. Plus: Boeing’s “corporate greed gone wild.” 8 | SPORTSBALL

10 SMEAR.GOV

BY RICK ANDERSON | Finally opened

to view, the FBI’s secret file on Governor Albert D. Rosellini was packed with unverified dirt—from mob connections to lying to the Pope—thanks to a few Seattle Times informants, among others.

food&drink 33 KITCHEN MUSICIAN BY NICOLE SPRINKLE | Greg Ehrlich’s

dual career: retro-soul organist and pop-up chef. 33 | FOOD NEWS 33 | TEMPERATURE CHECK 34 | THE BAR CODE

arts&culture 35 TELLING TALES

BY BRIAN MILLER | Narrative art at BAM.

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Editor-in-Chief Mark Baumgarten Managing Editor in Charge of News Daniel Person Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Intern Alicia Price Contributing Writers Rick Anderson, Sean Axmaker, Sara Billups, 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

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news&comment Those Who Trespass

Boeing: The Thunder and a Theory

How Seattle’s racial achievement gap turned a Central District school into a battleground. BY KELTON SEARS

SEATTLELAND

Banda tried to strike a compromise, proposing that the district give AfricaTown rooms at Columbia Annex, miles away in Rainier Valley. Many of the occupiers accepted the district’s Columbia Annex compromise and left Mann, but not all. Emerging as a leader of the holdouts was Omari Garrett, whom many people know as the man who broke former Mayor Paul Schell’s nose and facial bones with a bullhorn in 2001, which cost Garrett 21 months in prison. After the district shut the power off to Horace Mann on November 9, Garrett grabbed a generator. Then things got tense. The night before I paid a visit to AfricaTown to speak with Garrett, KIRO-TV reported that

For the African-American community inside, this was the latest in a long history of systematic disenfranchisement. they’d received a threat on their voice mail from someone inside claiming to have an “itchy trigger finger.” The threat came after KIRO-TV cameramen tried to set up some exterior shots at nighttime, shining their lights on the building. Garrett

claims the call was a prank from someone trying to make them look bad, and vowed to press on. Seattle Public Schools began talking with SPD about their next move. On Tuesday afternoon, they made it. Police surrounded the school, broke through the barricade, and emerged with four men in handcuffs—including Garrett— under arrest for criminal trespass. Garrett, 67, shuffles when he walks and tends to

ramble a bit, but he’s friendly and personable. As we spoke last week on the steps of the occupied school, drivers honked and waved, and people walking down the street asked if they could lend a hand. Garrett’s been in the CD since childhood. He played football at Garfield across the street when he was a kid—“the first Russell Wilson” —back in 1964. He ran the social-studies department at Horace Mann from 1972 to 1974. “It was basically a school for all the black students who had been kicked out of middle school and high school,” Garrett said. He had to be on the ball with the students, many of whom were caught up in street hustling and had no sense of where their people came from. “Money isn’t everything, but when you think that, you stop thinking about yourself as a person,” Garrett said. “I had to teach these kids black history, but first I had to teach them

» CONTINUED ON PAGE 9

THE WEEKLY BRIEFING | What’s going on at seattleweekly.com: Boeing! Boeing! Gone? One expert told us it depends on whether the union and management “go flaccid.” Gross. Boeing CEO Jim McNerney won our first-ever “Dick Move of the Week Award.” Washington got a share of a $17 million settlement with Google for secretly tracking your web activity. Google said it was an accident. Honest. A City Hall probe discovered 24 utility workers were cheating on their water and sewer bills. High Times sued a local marijuana grower for holding his own “Cannabis Cup.” El Caballero left the Rain City Superheroes, saying Phoenix Jones stole his helmet. A running back on the Yakima Indian Reservation named Tony Picard weighs 400 pounds and has 15 touchdowns this year. His friends just call him “Big Tone.”

•

a •

•

Management was shedding no tears at the Dubai Airshow last week.

•

BOEING

KELTON SEARS

Omari Garrett led the occupation. He wants Horace Mann School to be devoted to helping black youth.

bids but first seeing how much more they might wring out of Washington: “Gut the employee benefits, triple the tax breaks, go for it, fellas! We end up in South Carolina again with more tax incentives and no union, or we get this ridiculous windfall from the suckers out West. So we stay a few more years. Then we do it again!” [Cheers. Cue the cigars and strippers.] Could that have been Boeing’s stealth strategy? Having already secretly decided to move production, did Boeing throw down the taxbreak gauntlet to gullible Gov. Jay Inslee and the knee-jerk legislature while demanding historic contract concessions from workers—knowing that whatever the outcome, they win? “That’s certainly the way it looked to me, before and after the union vote,” Miller tells me.

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

chain-link fence decorated in blood-red banners bearing messages like DECOLONIZE OUR SCHOOLS FREE US ALL barricaded the 100-year-old Horace Mann school in the Central District. The main entrance was blockaded by chairs, desks, and garbage bags. A stuffed giraffe and a large carved Zulu statue stood guard. Flags of African nations speckle the building’s perimeter. Welcome to AfricaTown. The “AfricaTown Center for Education & Innovation” started as a community-driven after-school program. Its mission was to close the achievement gap for black youth as well as educate them on their heritage and history in a country that typically glosses over it. The program ran in conjunction with the independent Seattle Amistad School, which occupied the Horace Mann building until June 15, when the lease with Peoples Family Life, the group subletting the building, ran out. Seattle Public Schools decided not to renew the lease because the school board had voted to renovate the building as the site of a new Nova alternative school instead. SPS allowed Amistad to remain in the building until August 15 so they and the community groups inside, like AfricaTown, could find a new home. August 15 came, and Amistad left. AfricaTown did not. Members chained up the interior, and an undisclosed number of them—no more than a dozen—began effectively living in the old school. For the African-American community inside, this was the latest in a long history of systematic disenfranchisement. The school was one of the only spaces they felt they had left, and they weren’t letting go. The occupation put School Superintendent José Banda in an awkward spot. He is keenly aware of the racial achievement gap in Seattle schools; at the State of the District speech he gave on November 12, it’s almost all he talked about. Spreadsheets were handed out detailing the drastic difference in math-exam scores: 83 percent of white students passed, 41 percent of African-American students. In Banda’s own words, “Our achievement gap is unacceptable. We simply must do better.” But he was also keenly aware that, with construction on the Nova school stalled, the Horace Mann occupation would cost the district $1,000 a day in delay fees.

udging by the statements of Boeing officials, the aerospace giant wasn’t wasting time worrying about last week’s Machinists Union vote in Everett. No tears, no do-overs. Moments after the 2-1 contract rejection was announced, the company launched its search for a new 777 factory elsewhere. “We’re left with no choice,” said defiant Boeing commercial chief Ray Conner, “but to open the [bidding] process competitively,” pitting state against state to see who BY RICK ANDERSON can supply his company, which earns $1 billion profit every three months, with the biggest tax breaks and cheapest labor. To some, it seemed Boeing was almost hoping for a contract rejection. As political blogger Jim Miller observed, Boeing officials can “now say that they tried for an agreement, while they start working on their first choice, moving the production to a lower-cost state.” It’s not difficult to imagine Boeing’s corporate suits sitting around the boardroom as CEO Jim McNerney, who makes $500,000 a week and got a 20 percent raise last year, tosses out the idea of not only putting the new 777X line up for

» CONTINUED ON PAGE 9 7

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Coach Carroll’s Cult of Positivity

id you love middle school? Do you miss the bullying, the offensive humor, the infantile aggression? Then NFL player is the job for you! I’ve never been happier to have been born with the physique of an undersized punter than in the past few weeks, as news reports have revealed the horrors of working in the NFL. Sure, my max bench press is 135 lbs., but let’s look at the positives: Unlike Miami Dolphin Jonathan Martin, I don’t get voice mails like this BY SETH KOLLOEN from my co-workers: “Wassup, you half-n----- piece of [expletive] . . . [I want to] [expletive] in your [expletive] mouth.” Martin has understandably left the Dolphins. His tormentor, the improbably named Richie Incognito, has been suspended. And Dolphins veterans have lined up to support Incognito! Ummm . . . you guys have fun with that. If I could play NFL football, I’d play only for the Seahawks. I say this not out of fanatical loyalty, but because Pete Carroll has made Seattle the NFL’s best place to work. “I love it here,” first-year Hawk Michael Bennett told NFL.com last month. “I can’t even explain to people how it is here. They wouldn’t believe me.” Bennett was comparing playing for Carroll to playing for Tampa Bay’s Greg Schiano, a classic

SPORTSBALL

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

Screaming at your employees is a management technique that has largely disappeared from the American workplace— unless you work in the NFL. Or in South Lake Union.

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rule-by-fear head coach. Square-jawed Schiano is prone to childish outbursts . . . and to losing. The Bucs started the season 0-8. Screaming at your employees is a management technique that has largely disappeared from the American workplace—unless you work in the NFL. Or in South Lake Union. After reading John Cook’s fantastic history of Amazon, The Everything Store, it dawned on me that Seattle may be the only town where the top businessperson yells more than the top football coach. I can’t stop telling people this story from the book: Amazon PR staffers botch the setup of a major presentation, and Jeff Bezos tells them “I can’t tell if you guys don’t have high standards, or if you just don’t know what you’re doing.” Ouch! Pete Carroll would probably say something like “Let’s figure out a way to fix this thing together!” He believes in relentless positivity, and has converted coaches to his style—even a legendary hard-ass like offensive-line coach Tom Cable.

NFL

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Former Seahawk John Moffitt, who quit football last week, says he would have played if still in Seattle.

“I always coached how my coaches coached me,” Cable told ESPN.com—i.e., by screaming. Now Cable’s changed. “If I go ballistic on a guy . . . who is wrong? I am. I’m attacking his self-confidence.” At Carroll’s previous employer, USC, a little love has transformed the Trojans from dismal to dangerous. Control freak and sourpuss Lane Kiffin is gone, replaced by assistant Ed Orgeron. Among Orgeron’s first moves? Allowing players to eat cookies after practice. Orgeron’s also said he’ll not be screaming at players, as he did in a former stint as head coach. Instead, he told The New York Times: “I’m going to treat these players like they were my sons.” If I may make a minor digression: It remains a mystery to me why coaches of school sports teams are permitted to scream at students. Regular teachers can’t yell at their students, though I’d imagine they’d often like to. Is teaching football so much harder than teaching math? Carroll may not yell, but he doesn’t treat his play-

ers like sons either, unless we’re talking about Cain and Abel. Coach Carroll and CEO Bezos do have this in common—they encourage cutthroat competition within their organization. According to The Everything Store, here’s what Bezos told the man he took from Amazon’s highly profitable books division to oversee the development of the Kindle: “Your job is to kill your business. I want you to proceed as if your goal is to put everyone selling physical books out of a job.” Fun times at the holiday party! Carroll judges players on competition alone. And one player he deemed expendable has quit football rather than play for another team. John Moffitt, the Hawks’ third-round pick in 2011 retired earlier this month, ten weeks after the Seahawks traded him to Denver. Moffitt says he’d have kept playing if he were still with the Hawks. Looks like I’m not the only one with a Seahawks-only policy. I’m ready when you need me, coach! E

sportsball@seattleweekly.com

news&comment»

human history. They had to feel human before they could start to find their black identity.” Garrett’s schooling had taught him about only two black people: George Washington Carver and Booker T. Washington. As a teacher, he was committed to giving his students something better. But eventually, black schools in the CD got broken up thanks to busing, and a black Seattle diaspora formed. Unification became hard without a central community, and drugs and gangs were tearing people apart. For Garrett, AfricaTown is more than an educational program; it’s a vision of a unified African community in the CD. Think Chinatown in the International District. “It’s a whole community,” Garrett said. He pointed at Horace Mann. “We need to develop our community and show children what you can be when you grow up—a part of a viable economic community with doctors and lawyers and scientists.” Instead, Garrett said, hip-hop is where most black children find community and identity, which often promotes a money-driven, “bling-

“If I am right, the union walked into Boeing’s trap, and Governor Inslee looks even more foolish than usual.” It has the déjà vu stench of the dearly departed Sonics, whose rich Oklahoma buyers demanded that taxpayers build them a new arena, and, once rejected, claimed, as Boeing does now, that they had no choice but to move. As we later learned from his e-mails, owner Clay Bennett, while telling the public he wanted to stay, was privately telling investors “I am a man possessed! Will do everything we can” to move. A similar ploy by Boeing seems probable, given the corporation’s broken promises. After getting a $3.2 billion tax break from Washington in 2003 to establish Dreamliner production in Everett, it opened a second line in South Carolina. In Kansas, Boeing enlisted the help of lawmakers to land the new Air Force tanker contract, then announced it would build the plane elsewhere. As Kansas Republican Sen. Jerry Moran put it, “It’s difficult to negotiate with someone who hasn’t kept their word.” Miller’s hardly alone in his conspiracy thinking. “Boeing knew the minute they made this offer that it would be rejected,” opined a reader in The New York Times. “Coming off a quarter of record profits, this just smacks of corporate greed gone wild.” He was one among hundreds who lined up to pummel Boeing over its tax and union demands out West—a spectacle that Seattle-based Times columnist Tim Egan called Boeing’s “race to the bottom.” Nobody expects a big corporation to be any kinder or more generous than its bottom line allows, but I’ve never seen or heard the kind of fear and loathing for Boeing that has boiled up in recent days. In the past, dissent was often drowned out by a lack of interest when Boeing made a controversial move or got caught making bribes. The few objections raised were typically stifled by stockholders reassuring us that lying and stealing were the necessary costs of big business. And that precinct has been heard from as usual: After last week’s union contract rejection, Boeing stock was still at an all-time high. And at the weekend Dubai air show, Boeing counted almost $100 billion in orders for the 777X— making it the biggest commercial jetliner launch in aviation history. But the once-Seattlecentric company known affectionately as the Lazy B had, in the words of commenters, become a greedy global conglomerate worthy of mention in the same breath as predator banks and Wall Street criminals. Not only were Boeing’s ethics being questioned, so were the quality of its products. “I’m not so sure I will, in the future, trust Boeing to make, and to keep maintained, the best airplane, if their only interest is slashing costs,” was a typical comment. “The Airbus selling point just became, ‘You can buy labor cheap and risky from Boeing, or you can buy quality from Airbus.” If this was a jetliner campaign intended to win hearts and minds, it’s working—for Airbus. E

Banners and African flags line the fences around the school.

bling” lifestyle, as Garrett puts it. A notable exception is Shabazz Palaces, a local group that Garrett says helps black youth connect with their past, in part by using traditional African instruments like the mbira. A member of Shabazz Palaces, Tendai Maraire, phoned me from L.A. to voice support for the occupation. He remembers hanging out at Rainier Place when he was a kid, part of a “Late Night Program” that kept black kids off the street. After gentrification started in the CD, most of these community-center programs disbanded. “That’s what I think AfricaTown would change—it would give people a sense of hope,” Maraire said. “I would ask the question, ‘Why wouldn’t [the school district] want to give that school to that community?’ Why do you want to have an alternative school? Alternative schools lead to what? Homelessness. Abortions. It leads to all these negative things. Why not have another option that demographically speaks to the people, and helps keep people off the streets and fulfill their dreams?” At the end of my conversation with Garrett, a local broadcast reporter swooped in and put a camera in Garrett’s face. “So, Mr. Garrett, how long have you and the people inside been occupying Horace Mann?” the reporter asked. Garrett paused a moment. “Well, we’ve been here for 50 years.” E

ksears@seattleweekly.com

randerson@seattleweekly.com

Journalist and author Rick Anderson writes about crime, money, and politics, which tend to be the same thing.

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Boeing » FROM PAGE 7

KELTON SEARS

Trespass » FROM PAGE 7

WIKIPEDIA

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

t would have been a memorable score, highway robbery pulled off with a pen and paperwork. The mastermind was soon-to-be-Governor Albert D. Rosellini, the FBI was told. He would secretly orchestrate the purchase of property where—as he’d heard on the sly—a new floating bridge was going to be built across Hood Canal. The title to the future bridge landings would be listed under his co-conspirators’ names. When the project was finalized years later, they’d sell the land to the state of Washington. And the governor, after snipping the opening-day ribbon, would receive an extraordinary chunk of cash. Improbable? Not, it would seem, for a man who would lie to the Pope. Not that any of this, papal lying included, actually happened. But it’s written down as truth in Al Rosellini’s thick and dusty Federal Bureau of Investigation file, a new chapter in the political history of Washington spelled out in black and white and 50 shades of FBI gray. J. Edgar Hoover, among others, likely believed it. After all, the legendary FBI director was kept personally informed of the secret federal investigation into Washington’s governor almost a half-century ago, and, despite the lack of any solid evidence, was led by agents to believe Rosellini was, in their words, an “underworld fixer” who had “no code of ethics” and held “immoral associations with women.” Released to Seattle Weekly last month through a federal

» CONTINUED ON PAGE 12

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Gov. Rosellini rides with President John F. Kennedy, First Lady Jackie, and Senator Henry M. Jackson during Seafair on Nov. 16, 1961.

MOHAI

records request, the late governor’s once-confidential file could have dramatically changed Washington political history had its contents— unsubstantiated though they are—been revealed during Rosellini’s active political career, which included five gubernatorial campaigns (two successful, in ’56 and ’60) and one failed try for King County Executive. In the turbulent mid-1960s, as McCarthyism wound down and the Vietnam War revved up, Hoover and his top aides were recipients of the most incriminating memoranda in Rosellini’s thick dossier, a 779-page collection of allegations, gossip, and rumors about the colorful and controversial governor, the first Italian-American to be elected to such a post west of the Mississippi. An immigrant’s son who became a Seattle attorney and consummate politician, Rosellini spent almost seven decades in the public offices and smoky back rooms of Washington state before dying two years ago at age 101. The file, which became available for public release upon Rosellini’s death, includes the names

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

“Some individuals who recommend him say these rumors are vicious and [have] no basis in fact and [are] politically inspired . . . Others indicate that if he receives a federal appointment, it will be a tragedy.”

Elvis Presley presents Gov. Rosellini with a ham from his Tennessee farm on Sept. 5, 1962.

of most of the officials and sources interviewed by agents, but the agency’s secret informants have been kept anonymous. The papers show Rosellini was exposed in part by those he trusted most— including Seattle’s then-Catholic archbishop, who, sitting for a background interview on his parishoner, bragged to a federal agent about how he broke up the governor’s affair with his “blonde bombshell” secretary. Rosellini was also visited annually in Olympia by the head of the Seattle FBI bureau and the two swapped friendly stories, with Rosellini expressing his support for the FBI, unaware the agency was keeping a file on him. (In one of his letters to Hoover, the Seattle bureau head labeled Rosellini “a scoundrel.”) The governor was also targeted by two Seattle Times “officials” who doubled as unnamed FBI informants. One of them

tipped off the agency to the newspaper’s ongoing investigation of Rosellini, saying the Times was weighing whether to publish a story or just to withhold it if Rosellini would agree to quit the governor’s race. The paper had assigned a Pulitzer Prize–winning reporter to the story, which was so hot, the source said, that documents were being kept locked “in a vault” in the Times building. In a letter to an aide to President Lyndon Johnson—who in 1965, according to the file, was considering Rosellini for an appointment to an unspecified post in his administration—a top Seattle FBI official called Rosellini “one of the most controversial figures we have ever investigated as a special inquiry for the White House . . . Some individuals who recommend him say these rumors are vicious and [have] no basis in fact and [are] politically inspired. Others

indicate that if he receives a federal appointment, it will be a tragedy.” Rosellini later withdrew his bid for the federal job. One of the Times sources told the FBI that Sen. Warren Magnuson persuaded Rosellini to drop the effort in exchange for an agreement by the IRS to end a probe of his personal finances. Or so the file says. The documents read at times like an indictment of Rosellini, but also tend to indict the investigative methods—much of it merely gathering rumors and hearsay—used to darken his name. Some of those interviewed admitted to failing memories, while many others conceded they lacked proof, including documentation, of their claims. At least one source’s accusations had to be retracted after it was learned he was delusional and mentally ill. Verifying many of the claims all these years later, with so many of the sources deceased, is virtually impossible. But the claims tend to collapse under their own unsupported weight. Of course, Rosellini was no angel. As a young Seattle attorney who knew his way around the city’s underbelly, he at times defended pimps, prostitutes, and gangsters and made a small fortune representing bar owners seeking liquor licenses. He grew into an old-style pol who practiced cronyism and demanded party loyalty, sometimes strong-arming donors and rewarding supporters with state jobs. As a political consultant and money rainmaker in his later years, he was involved in payoffs made by convicted racketeer Frank Colacurcio Sr. to Seattle City Council members during the mid-2000s “Strippergate” scandal, a minor parking-lot-rezone

issue that blew up into re-election losses for two councilmembers. His success and political connections, dating to the 1940s, first earned him the “fixer” sobriquet, and Strippergate resurrected that image. But in almost 70 years of law and politics, he was never charged with a crime, and likely no other politician in state history has been subjected to more rumors and stereotyping. Though Rosellini, a onetime King County deputy prosecutor, won two gubernatorial races after a successful run as state senator and left a legacy of new highways, social programs, and educational advancements, his Italian heritage led to accusations of involvement in organized crime. The Times railed against him, and the Seattle Post-Intelligencer followed suit. Though not the cause, he was blamed for a scandal involving a liquor-board employee who took payoffs prior to the 1964 election, which he lost by a landslide 55-to-44 percent vote to Dan Evans. Rosellini felt he lost a subsequent election—a 1972 gubernatorial comeback bid against Evans—after being smeared in the P-I as a Mafia godfather. Rosellini called it the “wop” factor. Similar accusations pile up in his FBI file. Had some of these unproved assertions been leaked to the papers when Rosellini was a candidate— given the added headline certification of an “FBI investigation”—he might never have held the state’s highest office. The 1972 smear—innuendo based on unnamed sources—is evidence of the bad blood that even a nugget of falsity could stir up about Rosellini. Incidentally, Rosellini’s file was compiled in

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couldn’t prove it—adding that Rosellini undertook liquor-license shakedowns, adding that he couldn’t prove that either. (Another liquor-board member said that Rosellini suspected Abel of taking payoffs.) Investigators tapped dozens of subjects for the White House background check, including Magnuson and fellow U.S. Senator Henry Jackson along with congressional members, former governors, mayors, and police officials. Rosellini’s enemies, allies, and critics offered support and complaints, revealing both friendships and die-hard grudges. Agents relied on named and unnamed insiders, including a

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n Rosellini’s hefty file, the focus is on the 1940s through the 1960s, the era when the handsome, Tacoma-born Rosellini rose to prominence as a well-connected Seattle attorney, a crime-fighting state senator for 18 years, and a progressive Democratic governor. A political brawler, he had been a boxer in college and worked as a Pike Place Market butcher, an Alaska steamer deckhand, and a law clerk to put himself through college. But his career-long battle was with name-calling detractors who saw “Italian” as synonymous with “mob.” “That Mafia crap really hurt,” he once said. The FBI believed most of its sources were solid, even if none provided any apparent documentary proof. For example, Don Abel, a man Rosellini removed from his State Liquor Board seat, called the governor a “crook,” but said he

newspaper editor in Spokane (“a very good friend of ours”) and the unnamed Times officials in Seattle, one of whom “has provided a great deal of very good information.” Ex-Seattle Police Chief George Eastman told an agent he was still suspicious of Rosellini and once wanted to indict him (but had no proof ), while then-current Chief Frank Ramon supported him. He’d checked into some of the many rumors about Rosellini, Ramon said, and found them to be false. But it’s the nature of such profiling to gather everything thrown on the walls whether it sticks or not. Thus Rosellini’s file includes allegations he was the silent owner of Seattle bars, was in business with a prostitute, and that the Catholic governor lied to the Pope. None were proven. Still, the papal fib is on the record. “[An informant] recalls having heard that Rosellini, during a visit to Italy, had an audience with the Pope,” a report in the file states. “Rosellini’s wife, together with a political associate of Rosellini, were also at the Papal audience. This political associate, according to information [the informant] had received, thereafter had made the statement on one or more occasions, that Rosellini ‘lied even to the Pope’ in that, in presenting his wife to the Pope, he said, ‘And here is another good Catholic’ or words to that effect, whereas Mrs. Rosellini is not even Catholic.” (Emphasis added.) Mr. Rosellini’s Catholicism was a more serious issue when, during a mid-’60s interview, an FBI agent asked the governor’s archbishop about a confession the governor had made, which the archbishop readily revealed. “Thomas A. Connolly, Archbishop of Seattle, Washington, advised on May 21, 1965,” states an agent’s report of the interview as part of the White House background check, “that shortly after Albert D. Rosellini was elected Governor of the state of Washington in 1956, immediate relatives and close advisors to the Governor approached him and requested he counsel the governor concerning certain indiscretions with one of his secretaries.” Some state legislators, the archbishop said, were intending to use the indiscretions “in an attempt to force the Governor to pass certain legislation favorable to that group.” Connolly told the agent he beckoned Rosellini to his office and counseled him—that is, “You might more appropriately say that I called the Governor on the carpet, hit him over the head with a baseball bat, and told him to straighten out or he would suffer the obvious consequences.” By that, Connolly said, he meant he would “denounce the Governor from every Catholic church in the Archdiocese of Seattle and further, he would not sit at the table with the Governor at any social affair, nor, in fact, would he ever attend any function in the State of Washington in which he knew the Governor would be in attendance.” Connolly said the governor got the message and later called and thanked him for his intervention. Nevertheless, the talkative archbishop, who died in 1991, told the FBI that while he could support Rosellini for “certain executive-type positions” in the Johnson administration, he didn’t think he’d

the days of typewriters, land-line telephones, and reel-to-reel tape recorders. Today, massive government information-trolling is undertaken with supercomputers, satellites, and electronic intercepts—collecting financial histories, personal habits, Internet rumors, telephone metadata, and audio and video records. This “system of suspicionless surveillance,” as journalist Glenn Greenwald calls it, allows authorities from the FBI to local police to assemble sweeping collections of unsubstantiated claims and semi-truths about anyone. According to the American Civil Liberties Union, federal agencies, right down to your local firefighters, gather information that is widely shared through new institutions like Joint Terrorism Task Forces, fusion centers, and public/private partnerships. In other words, after you read about Al Rosellini’s wild and crazy file, you might want to check for your own federal or local dossiers. (To submit information requests, visit muckrock.com; to learn more about data collected on you, visit aclu.org/spy-files).

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» FROM PAGE 13 make much of a state judge, for example, because he was too politically indebted here. Rosellini’s romantic dalliances are likely the one demonstrably true claim in the FBI file. Numerous sources, many of them friendly, confirmed to the FBI that the father of five (his wife of 64 years, Ethel, died in 2002) had an affair with his “blonde bombshell” secretary, as she’s described in the file. She reportedly wanted Rosellini to leave his wife; instead, all agree, he left the secretary. The records also contain claims of Rosellini squiring other women in his younger married days. Those assignations make up some of the first entries in his file.

osellini had come to the FBI’s attention long before the White House asked for a background check, chosen in much the way that others fell into J. Edgar Hoover’s crosshairs in those days: as a suspected commie sympathizer. The FBI had begun an inquiry into his activities in the early 1950s, amid the rise of McCarthyism and the bureau’s quest for disloyal Americans. As Seattle’s historylink.org notes of the time: “Anticommunist agitation began early in Washington state under the lead-

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An FBI agent asked the governor’s archbishop about a confession the governor had made, which the archbishop readily revealed.

ership of State Representative Albert Canwell (1907–2002), and conservatives in both parties frustrated many left-of-center reforms and initiatives by associating them with Moscow. Among the casualties was Rosellini’s personal crusade to create a separate juvenile justice system and get minors out of adult prisons. Organized by UW Bothell students and alumni & Bothell United Methodist Church Rosellini was personally ‘red-baited’ by critics such as Ross Cunningham, powerful editorialist for The Seattle Times.” In November 1952—the year then-state senator Rosellini first ran for governor (and lost in the primary, a race ultimately won by incumbent 1916 Post Alley, Seattle, WA 98101 Arthur B. Langlie)—the Seattle bureau was Your gift to the All-Hands & Oxfam Organization will support the asked by Hoover’s office to gather a summary of disaster relief efforts to help those effected by the typhoon in “pertinent information” about Rosellini, including Philippines. Lets come together for a great cause. “all derogatory information of a nonsubversive 1916 Post Alley, Seattle, WA 98101 nature, as well as of a subversive nature.” No Your gift to the All-Hands & Oxfam Organization will support reason is the given in the file as to why Rosellini disaster relief efforts to help those effected by the typhoon in out or how he came to the agency’s was singled Philippines. Lets come together for a great cause. attention. But that was the case with many who Organized by UW Bothell students and alumni & Bothell United Methodist Church fell under the secret oversight of Hoover’s FBI, where dissent was seen as a sign of disloyalty. A month later, the Seattle bureau filed a ninepage response that shadowed Rosellini’s career back into the 1940s, suggesting the FBI had Organized by UW Bothell students and alumni & Bothell United Methodist Church kept earlier records on him that are not included in this file. The then-state senator—who had held the 33rd District seat in southeast Seattle for most of two decades—“has, in the past, supported the activities of some CP [Communist Party] fronts and has associated with known CP members in connection with his political activities as a state senator,” the bureau claimed. He also allegedly had “underworld connections with

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bootlegging and gambling interests” dating back through the ’40s. The file includes a 1952 letter on his senate stationary (provided by an FBI source) in which he stated he was sending $5 to a suspected American Communist Party member whose name has been deleted from the file. That person, the FBI said, had recently been arrested under the Smith Act, the 1940 federal law that banned advocating, or being a member of a group that advocated, the violent overthrow of the government. The file states Rosellini had also given $10 to another suspected subversive, and had once donated to the National Negro Congress. Nothing came of the loyalty inquiry (in fact the file depicts Rosellini as nothing more suspicious than a liberal Democrat). But the data-gathering continued as the FBI grew more interested in the company Rosellini kept, and legally represented. Then-King County Sheriff Harlan Callahan and former Seattle Police Chief of Detectives James Lawrence told the agency that Rosellini allegedly was a “fixer for individuals engaged in racket activities in Seattle” and “was using his political prestige” on the racketeers’ behalf. Several informants claimed they were directed to see the attorney and senator in order to open licensed bottle clubs and gambling joints, which were then operating privately under an oftenabused “tolerance policy” which flourished until a 1970s crackdown and two grand jury investigations led to corruption indictments of top police and city officials. (As an attorney in those days, Rosellini was making around $50,000 a year, much of it from representing applicants seeking liquor licenses, according to press reports.) The

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FBI also noted that Rosellini was holding crime hearings around the state even though he was “closely associated” with such crime figures as then-pinball and jukebox distributor Colacurcio, the future racketeer and strip-club owner. None of the informants reported obtaining any illegal “fixer” services from Rosellini, according to the file, and there is no indication of why the sheriff or other law-enforcement officials didn’t arrest Rosellini if he was breaking the law. Rosellini’s association with Colacurcio was no secret, having begun in 1942 when the 32-year-old private attorney defended 25-yearold Colacurcio on a statutory-rape charge, on which he was convicted. Colacurcio would go on to become one of the region’s more legendary organized-crime figures, repeatedly busted for tax skimming and other violations at his stripclub empire. Rosellini and Colacurcio were associated for more than a half-century, with Rosellini keeping a mostly safe, professional distance except for a bit of line-straddling during Strippergate in 2003. The ex-governor, then 93, quietly distributed campaign checks to City Council members as he lobbied for a parking-lot rezone sought by Frank Colacurcio Jr. at the family’s strip club, Rick’s, in Lake City. Frank Sr. and son Frankie ended up pleading guilty to illegally bundling those contributions—the Colacurcios and 36 of their family members, friends, and business associates gave council members almost $39,000 in donations—while the elderly Rosellini was allowed to skate. “There is no evidence of criminal wrongdoing” by Rosellini, is all King County

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Prosecutor Norm Maleng would say about it. In newspaper interviews, Rosellini would describe Colacurcio as a family acquaintance and client, saying the relationship had cost him at times. In particular, he cited the 1972 P-I article that ended his gubernatorial comeback bid. Written by executive editor Lou Guzzo and published without giving Rosellini a chance to respond, it claimed the candidate had made a phone call on behalf of one of Colacurcio’s brothers to transfer a liquor license from one club to another in Hawaii four years earlier. KING-TV called it a “baseless smear,” and discovered the story was planted by a Republican operative to aid Rosellini’s opponent, Dan Evans. But the tale sparked a bumper sticker, “We Don’t Need a Godfather” (The Godfather had just been released), and Rosellini claimed the story led to his defeat. Guzzo, who went on to work for conservative Democratic Gov. Dixy Lee Ray and later supported Republican gubernatorial candidate Dino Rossi, and who died earlier this year at 94, boasted that the story “finally got Rosellini out of politics once and for all.”

One entry, a memorandum from a D.C. FBI official to Hoover, says “The Seattle Times has been a friendly newspaper and SAC [Special Agent in Charge] Milnes and the Bureau enjoy cordial relations with several of this newspaper’s officials.” The information on the paper’s investigation appears to come from someone within the Times—the longtime “reliable” source (whose name has been deleted by FBI censors) “confirmed” the details, Milnes’ letter says, and provided specific and unpublished data gathered by reporters. In a separate memo from Milnes to Hoover, the source’s name and Times position is also deleted. But the blank space is followed by “page of The Seattle Times called me today . . . ”, suggesting the source was most likely someone from the paper’s editorial page—which had long been an enemy of Rosellini’s. In his 1997 book Rosellini, author Payton Smith says the paper’s animosity was rooted in the belief that Rosellini was, if not a communist, an aspiring socialist. A few days before the 1952 gubernatorial primary, a Times editorial called gubernatorial newbie Rosellini “the least desirable” of the Democratic candidates, and seemed to go out of its way to sink him: “He has waged an utterly irresponsible campaign. We wonder if many voters will be gullible enough to be taken in by Rosellini’s tactics.” That editorial, wrote author Smith, “started a feud with the Times and [editorial page editor Ross] Cunningham that lasted throughout Rosellini’s political career.” “This same informant,” Milnes wrote to Hoover in the April 1960 memo, “says that Rosellini has purchased considerable real estate, either in his own name or under a straw name, at the terminal ends of the contemplated floating bridge now under construction over Hood’s [sic] Canal in Washington. According to this informant, ‘The Seattle Times’ has not yet

» CONTINUED ON PAGE 16

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learly, had Rosellini’s FBI file fallen into his hands back then, Guzzo would have been orgasmic. “We Don’t Need a Fixer” would have made a memorable bumper sticker. Guzzo might have been even more delighted to see some of the next entries in the Rosellini file, starting with an April 1960 letter from the Seattle FBI bureau agent in charge, S.E. Milnes, directed to Hoover’s “personal attention.” It details what Guzzo’s competitor, the Times, had once been planning to write about the governor. A Times investigative team had “developed information concerning illegal activities of Rosellini, much of which is documented,” the letter states. Milnes informed Hoover that the team was being led by Ed Guthman, who won the Times’ first Pulitzer in 1950, though the agent didn’t mention to his commie-hunting director that Guthman’s prized story exonerated University of Washington professor Melvin Rader, who had been wrongly accused of being a communist. The paper had “absolute proof ” Rosellini had accepted money from highway contractors in return for state contracts, and “proof positive” that the governor took payoffs from a bank president in return for the bank’s business with the state. Documents and other findings about Liquor Board misdoings were being kept locked in a Times vault, the letter said. The paper had also learned Rosellini was using aliases to register at hotels and motels with “a number of different women.” The name of Milnes’ source is deleted from the file, which identify both The Spokane Chronicle, which folded in 1992, and the Times as newspapers “friendly” to the FBI at the time.

Using informants that included editors of The Seattle Times, the FBI compiled a 779-page file on Rosellini.

decided upon a course to take with respect to this information, whether to publish it and make it known to the public or, as an alternative, produce the facts before Rosellini and thus force him to remove himself from the Governor’s race.” One fact missing from the file: No such story ever ran. (And if the Times attempted to extort a campaign resignation from Rosellini, it didn’t work.) Seattle Times files show Guthman did write a 1960 “Times investigation” about how Rosellini spent political funds for apparent non-political expenses, including hotel rooms in Seattle (back in the days when such expenses were not required to be publicly reported to the state, as they are now). Guthman, who went on to become an aide to Bobby Kennedy and an editor at the Los Angeles Times and died in 2008, turned up a number of “irregularities” in Rosellini’s private political funds, including donations from top administration officials and hotel rooms for his use—all legal today when properly reported. In rebuttal, Rosellini accused the Times of using its news columns to promote his Republican opponent, and issued a denial published by the Times, filling most of a page of newsprint. The public apparently sided with the governor. Though Washington state voters favored Republican Richard Nixon over Democratic winner John F. Kennedy in 1960, Rosellini went on to win re-election against Republican challenger Lloyd Andrews by a narrow margin: 18,000 of 1.2 million votes cast. Nonetheless, when Rosellini came up for a possible White House appointment five years later, the unproved Times claims and a raft of other accusations were repeated in an FBI memo to the White House. Scoop Jackson wouldn’t make an unequivocal endorsement of Rosellini, the FBI said, although Sen. Magnuson—who as King County prosecutor had hired Rosellini right out of law school—did. Yet the FBI concluded that both senators were “reluctant to completely endorse Rosellini for a presidential appointment and have elected to dump the job of cleaning him up in the laps of the FBI.” The file includes a collage of rumored payoffs, such as $50,000 supposedly given to Rosellini by Dave Beck to pardon the convicted former Teamster president from a state prison conviction for grand larceny, and a claim that the governor offered a judgeship to powerful King County Prosecutor Charles O. Carroll if he would ease up on enforcement actions against liquor sales (Carroll told the FBI he’d hardly even talked to Rosellini since he became governor). Others told of allegedly illegal donations to Rosellini’s war chest in return for liquor licenses and state permits. Political opponents labeled him a crook, and one FBI source claimed Rosellini’s father John was once head of the state La Cosa Nostra, even though the Mafia in Washington state is thought never to have consisted of more than a few retired mobsters. John Rosellini did, in fact, serve a year at McNeil Island for smuggling drugs out of Mexico in 1927, but the file states he led a crime-free life thereafter as a liquor distributor. (Al Rosellini had said his father inspired him to go to law school, and that John’s background was why he began to represent

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» FROM PAGE 15 bar owners and distributors, including bringing about reforms to the state’s old Blue Laws, which restricted the sale of liquor.) Frank Colacurcio got a drop-in visit from the FBI, too, seeking his views on Rosellini. Colacurcio’s notoriety was already on the rise, his name having come up in connection with racketeering hearings being conducted in part by Bobby Kennedy. But Colacurcio was willing to chat, and said Rosellini had long been his family’s attorney. He hadn’t seen much of the governor in years, he said, and while he campaigned for him, “he denied any influence-peddling, graft, or campaign contributions in connection with the granting of liquor licenses,” the FBI reported. “Colacurcio was formerly engaged in the jukebox and vending-machine business in Seattle, Washington,” an agent noted. “He has FBI Number 3467500.” (While facing his eighth felony—for racketeering and prostitu-

fter making his final bid for public office in 1972, Rosellini ran a beer-distribution company and returned to his law practice as a political consultant, going to work every day until age 99. He drove a white Cadillac with a personalized license plate, “GOV ADR,” which was also his e-mail handle. He is remembered for his progressive politics, but also as someone who got away with something. What that was, exactly, wasn’t clear. In his book on Rosellini, author Smith opines, “I believe that if evidence of corruption had been available, local officials or the United States attorney would have brought charges. Certainly The Seattle Times and Ross Cunningham would have rushed into print any such information.” After Rosellini died on October 10, 2011, more than 600 mourners attended a funeral Mass. Said former Gov. Mike Lowry, “Al was just one of the nicest people you ever met. He was a very good governor and he was also a very good guy. And you don’t always get those two together.” He died a millionaire, and his will, on file at the King County Courthouse, shows he left most of his estate to his five grown children and 15 grandchildren. He had also designated that a quarter-million dollars go to Vivian Kal-

He is remembered for his progressive politics, but also as someone who got away with something. What that was, exactly, wasn’t clear. tion—and likely his seventh prison term, Colacurcio died in 2010 at age 93). FBI interviewees said they’d all heard the rumors of Rosellini payoffs and other reputed sins, but most didn’t think they were true—yet, almost to a person, they repeated them to agents. Sen. Magnuson said maybe it was time to get to the bottom of all that. He told an FBI interviewer that “he has never been able to verify any of these stories and on that basis does not believe them to be true. He stated frankly that he felt that the FBI investigation was definitely in order.” The claims should be either verified or refuted “so that Rosellini’s career would not be in jeopardy based strictly on gossip and rumor.” Though the agency churned out several long reports, they contained no proven allegations of corruption. Nonetheless, in July 1965, Milnes, the head of the Seattle bureau, addressed a memo to “Mr. Hoover” stating the bureau’s investigation “revealed quite clearly that Rosellini was a thorough scoundrel.” His basis for this? Triple hearsay, starting with the “page” informant at the Times. Milnes said the 1) Times source said that 2) Magnuson said that 3) Rosellini said he wanted the appointment and “was bringing a lot of pressure to bear on Senator Magnuson to get him a federal appointment. Simultaneously,” Milnes said the Times source said that Magnunson said, “the Internal Revenue Service was conducting an investigation into Rosellini’s financial activities.” The Times source “told me confidentially that Senator Magnuson had called him and told him that ‘We have got that thing killed here.’ He implied that Rosellini had withdrawn his interest in a federal appointment. Simultaneously the Internal Revenue Service had discontinued their investigation of Rosellini.” And so had the FBI. The file was closed not

faolu, his companion for the last six years of his life, but she had died six months earlier. In his senior years, Rosellini was his party’s respected elder statesman, and he mentored some of his gubernatorial successors, including Christine Gregoire and Gary Locke, now ambassador to China. In January 2010, Locke, then-Gov. Gregoire, and four other former governors, including Dan Evans, all showed up for Rosellini’s 100th birthday celebration at his retirement home on Seattle’s First Hill. By then, any political backstabbing was long forgiven and forgotten as Rosellini, suffering from a broken hip, rolled into the room in a wheelchair, sincerely telling the assembled, “Sorry for being so crippled.” Locke brought a happy-birthday letter from Barack and Michelle Obama; Republican Congressman Dave Reichert handed over a flag that had just flown over the nation’s Capitol; Gregoire declared an upcoming Al Rosellini Day. Others noted his legacies—the University of Washington School of Medicine and the 520 floating bridge (officially the Albert D. Rosellini Bridge), among them. I was there and chatted with him a bit, and dropped the word “Strippergate.” His eyes brightened. He hadn’t said much about the scandal, during or afterwards. “That was just politics,” he said, smiling. A friend stepped in to give Rosellini the chance to change the subject, but he waved him off. “Everybody—not everybody but many, on the opposition—looks for these things to criticize,” said the governor. “I’ve never been concerned about it, because things happen in the world— sometimes all hell breaks loose. That’s politics, and if you can’t take it, you should get out of it.” As the record shows, he stayed to the glorious end. There’s no indication he ever saw his file. E

randerson@seattleweekly.com

Seattle is one place with no shortage of arts and culture. As one of America’s besteducated cities, our brains seem to crave constant stimulation and music, theater, film, literature, art and dance are at the top of most of our lists.

Produced by the Ad Department

Here at Seattle Weekly, we got a little list together to get you going. Hardly encompassing the entirety of this richly invigorating metropolis, our list merely scratches the surface of delights this city has to offer. There’s always more to come, another new project to be debuted, and more new work to be seen. So go on, and GIVE ‘EM CULTURE! >> Brooklyn Benjestorf

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

As you stretch your imagination to find items that honor the uniqueness of the special people on your gift list, think about tapping into some of the city’s more obscure cultural offerings. We’ve quite a unique flavor here in the Emerald City, with micro scenes of rare talent emerging all the time. The burlesque community has taken root over the last few years along with cabaret and drag – all carving out their place in the mainstream. Graffiti and street artists have gained momentum, surfacing more and more in the fine art circuit and prestigious mural commissions around town. We also hold tight to our grunge and riot grrrl roots, with places like the EMP and the Zine Library at Richard Hugo House honoring the icons of our recent past and keeping them close to our hearts.

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

BELLEVUE SQUARE

18 seattleweekly-9-13.indd 1

9/17/13 2:15 PM

Toys by “Solace” Pop culture junkie and street artist, Sam “Solace” Wallis, taught himself how to sketch by imitating the art of cartoons and comics he grew up with. Today, he creates his own characters, complete with his own line of toys. Colorful, playful, and slightly deranged, these mini street art statues are perfect for that person on your list who’s still a kid at heart.

South Lake union

Solace Wonder solacewonder@gmail.com, 206-755-1845 squareup.com/market/solaces-wonderland $25 and up

breakfast • lunch • supper • brunch 1170 Republican St • 206.682.7632 RowhouSecafe.com

Book of Mormon Tickets This uproarious production brought to you by the creators of South Park is coming to the Paramount next year from July 22-August 10. Critics have been going bonkers, with the New York Times deeming the show “the best musical of the century,” making it a sure bet for anyone in your life that loves to laugh. The Paramount Theatre 911 Pine St, 206-682-1414 stgpresents.org/tickets $48.75 - $153.75 per ticket

cedergreencellars.com

A Tote Bag Full of Vinyl With a 20% off sale starting in December, Sub Pop Records’ merch store is a playground for any indie music fan. Stuff one of their new totes with a handful of records, perhaps including a Father John Misty LP or the split 7” with Low’s cover of Rihanna’s song, “Stay,” both of which the label are releasing on Black Friday as part of Record Store Day.

50 Breweries pouring more than 150 beers of the season. Art by Local Artists Running from November 23-30 this year, the Pratt Holiday Sale is the perfect place to pick up art, sculpture, and other items made by local artists. Part of the proceeds go toward funding Pratt Fine Arts Center, getting you a whole lot of do-gooder bang from your buck by shopping at this seasonal event. Pratt Fine Arts Center 1902 S Main St, 206-328-2200 www.pratt.org/event/2013_has Event is free, prices of art varies

Friday, December 6th Saturday, December 7th 5:00 PM - 9:00 PM

Session #1 Noon-4:00pm Session #2 5:30pm-9:30pm

NEW VENUE!

Hangar 30 at Warren G. Magnuson Park 7400 Sand Point Way NE, Seattle

Ticket information at

washingtonbeer.com

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

Sub Pop Records 2013 4th Ave, 206-441-8441 subpop.com/megamart $12 and up

M S TO

G L A S S A RT B Y L O C A L A RT I STS

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

PROMOTIONS NEWSLETTER

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

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SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

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Atomic Bombshells’ J’Adore Every year around Valentine’s Day, Seattle’s worldrenowned cabaret and burlesque troupe, the Atomic Bombshells, put on a lovey dovey little show at the Triple Door. Buy a block of tickets for you and all your friends for a fabulous post-holiday get together. The Triple Door 216 Union St, 206-838-4333 thetripledoor.net $22-25 per ticket Jennifer DeLeon

THE PERFECT HOLIDAY GIFT!

JAN 3-5, 2014

Singing Telegram Book local performer, Leeni, to surprise your bestie at work with a singing telegram customized with their favorite celebrity. With a bunch of different icons in her bag of tricks, including Bjork, Britney Spears, and George Bush, Leeni also takes requests, and will tailor the telegram to your buddy’s particular tastes. Live Wires feedback@live-wires.com, 206-526-5483 live-wires.com/celebrity/ramadan.shtml $75 and up

Doll Made from a Drawing For clever kiddos with wild imaginations, give them the gift of their own characters coming to life by requesting a kit from this creative company that makes plush dolls from their customers’ drawings. Orders take 2-3 weeks to process, so get some crayons in your child’s hand and get those puppies in the mail quickly!

FUNNIEST & MOST EXTRAORDINARY

EVENINGS OF MY LIFE!” Tickets to Shakespeare Performing on stages all around town both indoor and out, the upcoming 2014 season has such timehonored tales as Richard II and King Lear on the schedule. For anyone in your life with a love of classic literature, give the gift of the Bard of Avon. Seattle Shakespeare Company Seattle Center (305 Harrison St) 206-733-8222 seattleshakespeare.org $25 and up

-THE INDEPENDENT

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SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

“ONE OF THE

Create Your Own Critter info@createyourowncritter.com createyourowncritter.com $75

Passes to Timbrrr!

Membership to MOHAI

From the team that brings the summertime Timber! Outdoor Music Festival, Artist Home Presents is launching their first ever wintertime edition of the all-ages, indie music blowout. Located in Leavenworth, WA - a small, snowy, Bavarian paradise in the rural northwest - tickets to this destination event are a real treat for devoted music fans.

Offering incredible exhibits that explore Seattle in a rich all-encompassing way, the Museum of History and Industry is an invigorating destination for anyone with an inquisitive nature. Membership provides an all-access pass to Seattle’s past and includes extra special exclusive events, exhibit previews, and a ton of sweet discounts.

Timbrrr! Winter Music Festival kevin@timbermusicfest.com timbermusicfest.com $45 for single day ticket, $85 for weekend pass

Museum of History and Industry 860 Terry Ave N, 206-324-1126 mohai.org Annual membership $50 and up

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

Get Busy Livin’

5419 Ballard Ave nW seattle, WA 98107 206.783.0060

EVERYTHING FOR A NORDIC YULETIDE! GREAT GIFTS AND DECORATIONS PLUS GOURMET CUISINE 206-784-7020 // ScanSpecialties.com // 6719 15th Ave. NW

OLD-FASHIONED LUMBERYARD WITH OLD FASHIONED SERVICE SINCE 1930

2600 NW Market St • Seattle, WA 98107

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Project Bags Based out of Seattle and specializing in handmade, functional accessories, ChubbyCloud’s project bags are the perfect gift for the crafter in your life that likes to stay organized.These attractive little pouches are just big enough to hold the yarn, needles, and any other tidbits one may need on hand. ChubbyCloud ChubbyCloudShop@gmail.com etsy.com/shop/chubbycloud $19 and up

Opening Nights For a few bucks more than the price of a regular ticket, send you favorite theater geek to one of ArtsWest Opening Night Celebrations. In addition to a fabulous night of taking in a fantastic on-stage production, tickets include a post show soiree with the cast and crew, champagne, and dessert. ArtsWest 4711 California Ave SW, 206-938-0339 artswest.org $45 per ticket

A STRFKR NYE For your friend who’s always one step ahead of the music trends, set them out for a night on the town with two tickets to Neumos’ New Years Eve party. With a performance from locally beloved, Portlandbased electropop trio, STRFKR, the dance party will be outright insanity. Neumos 925 E Pike St, 206-709-9442 neumos.com/a-strfkr-nye $25 Advanced

After becoming well acquainted with the human face through the process of drawing more traditional portraits, Seattle artist, Mandilla, decided to practice omitting the face all together in order to focus on the other details that bring her subjects to life. The results are quite whimsical and masterfully capture the essence of each individual. Mandilla Mandilla.b@gmail.com ohmandilla.com/NO-FACE $200-250 for an 18X24 unframed portrait

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

A “No Face” Portrait

Michael Cepress Accessories

Clymer Gallery Prints Washington painter and illustrator, John Clymer, rose to fame throughout the middle of the century for his exquisitely executed rustic outdoors scenes depicting life in the historic Northwest. For fans of landscape art, Clymer’s namesake gallery in Ellensburg is holding a 20% off sale on prints and posters through December 31.

For the guy in your life who appreciates finely crafted design, spring for a bow tie, some lapel pins, or a scarf from local designer, Michael Cepress. Approaching his work with an impeccable eye for detail and a love of high quality materials, Cepress’ accessories are sure to impress. Michael Cepress info@michaelcepress.com, 206-334-7602 shop.michaelcepress.com $44 and up

The Clymer Museum & Gallery 416 North Pearl St, Ellensburg 509-962-6416 clymermuseum.org $290 and up

X-MAS SPECIALS!

SANTA

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

SHOPS HERE!

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Early December, dog photos with Santa!

Get your FOOTBALL FIX at Norm’s!

3516 Fremont Pl n | seattle 98103 206-588-2570 11am-2:30am every day

All games in HD Happy Hour Daily: 4pm - 7pm & Late Nite Fri & Sat 11pm-1am Bonus weekend HH: Sat & Sun 10am - 2pm Weekend Breakfast! Open at 8am 206-547-1417 • 460 N 36th St in the Heart of Fremont

The Bastyr Dispensary

Dance Membership Seattle’s most outstanding outlet for contemporary dance, Velocity’s classes and performances set a high standard for excellence. A low level membership gets you all sorts of discounts on things like classes, tickets, and studio rentals, and for just a bit more you can get meet and greet opportunities, reserved seats, and complimentary drinks. Velocity Dance Center 1621 12th Ave, 206-325-8773 velocitydancecenter.org $15 and up Tim Summers

20% off

December 2-7 Enjoy 20% oﬀ jewelry, clothing, body care, housewares, books, candles, natural health gifts and more at the Bastyr Center Dispensary!

Free Talk

Books Set in the PNW

Saturday, December 7

For the bibliophile on your list, get them a selection of quality literature set right here in Washington (and no, we’re not going to suggest Twilight). A few picks from various genres are Still Life With Woodpecker by Tom Robbins, Invisible Monsters by Chuck Palahniuk, The Diary of Ellen Rimbauer: My Life at Rose Red, and Will There Really Be A Morning by Frances Farmer.

“How to Make Healthy Holiday Snacks” 10:30 a.m. to noon Come starting at 9 a.m. for free samples of Dispensary products !

3670 Stone Way N., Seattle (inside Bastyr Center for Natural Health) Lecture.BastyrCenter.com • 206.834.4114

Elliot Bay Books 1521 10th Ave, 206-624-6600 elliottbaybook.com $8 and up

UW World Series

UW’s World Series offers an upper echelon performance experience for that person on your list that lives for high quality cultural exchange. Bringing in celebrated artists from all over the world, the series offers season-long subscriptions in World Dance, World Music and Theatre, President’s Piano, and International Chamber Music.

17 18

Town Hall Membership This community cultural center located on First Hill plays host to a rotating selection of events highlighting civics, science, and arts and culture. Low-level memberships include discounts, members-only presale offers, and priority seating, while upper-level membership buys free admissions and invitations to exclusive private events. Town Hall Seattle 1119 8th Ave, 206-652-4255 townhallseattle.org/membership $25 and up

1 2 3

ADVENT Starting 12/1 Collect 12 stamps of the 24 offered & receive a $50 gift card for the New Year! Collect all 24 and receive a $100 gift card!

Calendar!

2332 2nd Ave Seattle, WA 98121 206.956.8423 @robroyseattle

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

UW World Series at UW Meany Hall 4140 George Washington Ln NE 206-543-4880 uwworldseries.org $50 and up

15 14

Join the Efforts Join the Efforts to Help the Philippines

to Help the Philippin

FRIDAY, NOVEMBER 22, 2013 6:00 PM - 1:00 am

carhartt wear it for life

Silent Auction: 6:30 - 9:30 pm

buy it at federal army & Navy SurpluS

kells IRISH restaurant & pub 1916 Post Alley, Seattle, WA 98101

Your gift to the All-Hands & Oxfam Organization will support the disaster relief efforts to help those effected by the typhoon in Philippines. Lets come together for a great cause.

2112 firSt ave., Seattle • gr8gear.com • 206.443.1818

The giftin’ is good in

FRIDAY, NOVEMBER 22, 2013 6:00 PM - 1:00 am NOVEMBER 22, 20 FRIDAY,

Organized by UW Bothell students and alumni & Bothell United Methodist Church

Silent Auction: 6:30 - 9:30 pm

6:00 PM -&1:00 am kells IRISH restaurant pub Silent Auction: 6:30 - 9:30 pm 1916 Post Alley, Seattle, WA 98101

kells IRISH restaurant & p

Your gift to the All-Hands & Oxfam Organization will support the disaster relief efforts to help those effected by the typhoon in Philippines. Lets come together for a great cause.

1916 Post Alley, Seattle, WA 98101

PHINNEYWOOD

Your gift to the All-Hands & Oxfam Organization will support t disaster relief efforts to help those effected by the typhoon in Philippines. Lets come together for a great cause.

Organized by UW Bothell students and alumni & Bothell United Methodist Church

Organized by UW Bothell students and alumni & Bothell United Methodist C

A-1 PIANO

SALES RENTALS MOVING

2013 33rd annual PNA

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

Our rental rates start as low as

WINTER FESTIVAL and crafts fair

SATURDAY AND SUNDAY DECEMBER 7 & 8 Phinney Center, 6532 Phinney Ave N phinneycenter.org

a month

COME IN TODAY

to see how easy it is to have a piano in your home Showroom: 7020 Greenwood Ave. N. 206.783.7055

Piano Moving/Storage: 7000 Greenwood Ave. N. 206.782.4592

A-1PIANOS.COM Email: Info@a-1pianos.com

Join us on

Spinets • Consoles • Studios • Uprights • Grand Pianos

FUN, EDUCATIONAL & CREATIVE Seattle Weekly winner for Best Toy Store TOPTENTOYS.COM Greenwood: 124 N 85th St (206) 782-0098 •Downtown @ Paciﬁc Place (206) 623-1370

The perfect addition to any stocking.

Jazz Alley Gift Card For a romantic and classy date night, get a gift certificate from Jazz Alley for dinner and a show. A great idea for new parents who don’t get out of the house much - include a promise to watch their kids, or pay for the sitter if babysitting isn’t your bag. Dimitrou’s Jazz Alley 2010 5th Ave, 206-441-9729 jazzalley.com $150-200 for dinner and a show for two

Flex Pass 4 Part For the person on your list who has a love affair with words, the Flex Pass 4 Part is a wonderfully versatile option. Essentially translating into four tickets, the Flex Pass allows for the option of using it at four separate events or at one event for four people. Seattle Arts & Lectures 205 S Findlay St, 206-621-2230 lectures.org $59 general admission, $139 patron seating Downtown Seattle • Ballard • Bellevue Square

www.KuKuRuZa.com

Time in the Darkroom For the shutterbug on your holiday list, get them a few hours in the darkroom at this Capitol Hill photography school and studio. Available to even the most amateur of photographers after a brief orientation, the facility is open daily and accessible by reservation. Photo Center NW 900 12th Ave, 206-720-7222 pcnw.org $12 per hour

Daniel Sheehan

Taught by Ron Reid at North Seattle Community College, this beginning comedy course is a great way to give the comedian in your life a shot at stand-up. Culminating in a performance at Laughs Comedy Spot, students will learn technique, presentation skills, and how to tap into their uniquely funny sense of humor. NSCC / Laughs Comedy Spot 9600 College Way N / 12099 124th Ave NE, Kirkland classesandworkshops.com/acting-classes/ stand-up-comedy $150 general, $145 UW students

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

Stand-Up Comedy Classes

Life Drawing Taught by accomplished local artist, Jamie Bollenbach, these drop in studio classes are held every Thursday evening at Daniel Smith’s Seattle location. Focusing on basic drawing principles and vocabulary, this course also provides an encouraging space for artists to sketch with a live model present.

Send the tiny dancer in your life to train with the best and the brightest in highly esteemed classes from Pacific Northwest Ballet. For students 13 and older, the company’s respected Open Program offers drop-in classes taught by nationally acclaimed faculty for dancers of all levels. Pacific Northwest Ballet 301 Mercer St, 206-441-2435 pnb.org/pnbschool/classes $16 per class, discounts for PNB subscribers

Pike Place Market • Delicious artisan chocolate • Chocolate lotions and lip balms • Gift sets 425-243-2089

indichocolate.com

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

Find us down under in Pike Place Market

1902 Post Alley (in the Pike Place Market) • 206.634.0580

Rex Tranter

Daniel Smith Arts Store 4150 1st Ave S, 800-426-6740 danielsmith.com $15 per class, $60 for 5 class card

Open Program Ballet

THIS HOLIDAY SEASON, GIVE YOUR LOVED ONES EXPERIENCES AT ECA! Purchase tickets to 2013–2014 ECA Performances or ECA Gift Certificates through the ECA Box Office!

Theater Camp If you’ve got a kid that’s always hamming it up, send them to Taproot Theater’s acting camp over midwinter break this year. With class levels starting at K-1st, Seattle’s largest mid-size theater company’s one-week course is designed to enhance your child’s abilities in dramatic storytelling.

Call 425.275.9595 or stop by 410 Fourth Avenue North, Edmonds.

Taproot Theater Company 204 N 85th St, 206-781-9707 taproottheatre.org $175 and up

ec4arts.org | 425.275.9595 410FOURTHAVENUENORTH EDMONDSWA98020

Burlesque Dance Classes

POC Photography

Run by some of the best burlesque, dancers in the city, Miss Indigo Blue’s Academy of Burlesque teaches students how to tease with technique. Class offerings range from Bump and Grind, Burlesque 101, Hula, Ballet for Burlesque, and a Boylesque class, for that girl or guy who loves to get down with their bad self. Academy of Burlesque 915 E Pine St, 206-47-TWIRL academyofburlesque.com $50 and up

TRAIPSE BENGALS

Glassblowing Class Founded in 1991 by Cliff Goodman, this spacious downtown studio hosts classes requiring a variety of levels of skill and commitment. With six-week sessions, weekend workshops, private lessons, and group classes, students will use cutting-edge equipment to create their own dazzling pieces of glass art.

Hugo House Writing Class In 1996, three women sought to create a communal meeting space for writers and readers to explore their ideas. Located next to Cal Anderson Park, Richard Hugo House offers classes for literary types looking to hone their craft, with courses for developing written pieces, reading seminars, and classes on the business of getting published. Richard Hugo House 1634 11th Ave, 206-322-7030 hugohouse.org $50 and up, gift certificates available

Living room Adventures… 206-422-4370 www.seattlebengals.com

TICA Outstanding Cattery TIBCS Breeder of Distinction 2011—2013

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

Corey Thompson

Seattle Glassblowing Studio 2227 5th Ave, 206-448-2181 seattleglassblowing.com $150 and up

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

USB Typewriters

Neo Retro Cameras

Created by computer engineer, Jack Zylkin, analog meets digital with these modified typewriters and conversion kits. The kits can customize most antique typewriters into keyboards for a tablet, and the jerry-rigged computer docks can be attached to most devices and allow for the ability to type on paper while saving your work to disk.

A favorite among young creative types who want to experiment in the world of film photography, Lomography has an extensive line of plastic cameras that achieve the look that Instagram filters are trying to emulate. Used alone or with any of their awesome accessories, these things are a fun addition to any photographer’s toolkit.

USB Typewriter jack@usbtypewriter.com usbtypewriter.com $99 for the kits, $699 and up for computer stands

Glazers 430 8th Ave N, 206-624-1100 glazerscamera.com $35 and up

iPhone Amplifier

Pocket Synth

A gorgeous and innovative design for smartphone loudspeakers, these Change the Record amplifiers use recycled records to further project the sound. For those on your list who listen to music everywhere they go or for those who appreciate beauty in simplicity, this device requires no electricity so all you’ve got to do is crank up the jams.

This mini retro stylophone pocket synth controlled by a stylus pen by Think Geek is the perfect present for musicians and producers. With a slick, throwback design, vintage organ sounds, and pitch-bend and vibrato effects, this pint-sized gadget can be plugged into a pair of ear buds for endless on-thego entertainment.

Paul Cocksedge Shop info@paulcocksedgeshop.com paulcocksedge.co.uk $51.90 plus shipping and handling

Amazon amazon.com (search “ThinkGeek synth”) $20.99

Local Insurance Professionals with National Brokerage Power

6055 California Ave SW Seattle, WA 98136 • (206) 932-2500 www.nwinsgroup.com

GIVE ‘EM CULTURE

• Hair Weaving • Extensions • 100% Virgin Human Hair • All hair types are welcome

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Sheila “Ms. Denight” Triplett Your Personal Hair Stylist

Inside Pinky’s Style Crafters Salon

College student discounts

HairbySheilaTriplett.com

Tours available in Seattle, Woodinville, Eastside, North of Seattle and South of Seattle.

ifting a thoughtful gift card or tickets, as well intentioned as one may be, can sometimes fall flat when the recipient is opening their, um, envelope with a bow. It’s over quickly without the build-up of anticipation that comes with the slower reveal of an item boxed and wrapped.

Next Week:

pugetsoundbrewerytours.com

206.384.3637

Buy, Sell & Barter age Stereo

Records, Guitars & Vint

>> Brooklyn Benjestorf

Black Friday’s Buy local Guide!

op, Fair prices.

sh Good selection, Fun

We pay more for your vinyl Lots of punk, wave and alt Closed Monday • Tue-Fri 1-8 • Sat 11-8 • Sun 11-7 9632 16th Ave SW, White Center, WA

In beautiful downtown White Center

(206) 432-9537

follow our facebook for New Arrival Updates!

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

Gifting cultural gifts doesn’t mean having to sacrifice the pizzazz of something tangible. You can easily jazz things up just by attaching the gift cards or tickets to another smaller present. Plush toys are a great option for children, posing the toy so that it’s holding the no nonsense item in its paws (adorable!). Wallets and coin purses work well for grown ups. You can also slip those babies into the top of a box of chocolates making for a seriously satisfying twofer. Stick ‘em in a mug, travel or otherwise, or

a fancy pants water bottle, or even a fun beer coozie. Use the things to bookmark your favorite passage or picture in a cute coffee table book such as Lil Bub’s Lil Book or All My Friends Are Dead (available from modcloth.com). Stuff them into a silly pair of socks. For teens or college kids, stick tickets onto a magnetized dry erase board with a couple of kitchy magnets. Wrap them up in a winter scarf. Show them off in a nice frame. Press gift cards into the front of an attractive journal. Even placing them in a holiday card can be more exciting when attached to something else, especially if it’s fairly frivolous. For music fans, tie the card to a harmonica or a kazoo. For visual artists, it could be a small box of colored pencils. Once you get the wheels turning, the possibilities are limitless. You’re no bum!

order now

16,500 FANS AND COUNTING

Winter Happy Hours Daily 4pm - Close 7 Days a Week

2 Courses for $20 at Cafe Ponti

facebook.com/seattleweekly

Located on the Ship Canal near the Fremont Bridge 3014 3RD AVE N SEATTLE | 206-284-3000 | www.pontigrill.com

fresh natural turkey

for Wethanksgiving Ship We Ship

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Wood fired pizza with quality, fresh ingredients

206-402-3784 | 4520 California Ave SW | Pizzeriacredo.com W W W. S E AT T L E W E E K LY. C O M / S I G N U P

Juicy BBQ and all the sweet and savory fixins!

DINING

Brisket, Jerk Chicken, Baby Back Ribs, Hot Links, Mac & Cheese, Collard Greens, Willie’s Beans, Yams, Cornbread, Pies and Cakes

NEWSLETTER

Also featuring daily Soul Food specials: Catfish, Oxtail, Porkchops, Chitlins and more!

3427 Rainier Ave S. • Seattle WA 98144 •(206) 722-3229

www.williestasteofsoulseattle.com

NOW FEATURING HEAVEN SENT FRIED CHICKEN!

DI NI NG

The inside scoop on openings, hotspots and offers.

W E E K LY

M US

BEERS

ON DRAFT

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

KEGS TO GO

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food&drink On a Whim

When he’s not playing keyboards for The Allen Stone Band, Greg Ehrlich is becoming a maestro in the kitchen. With a few months off the road, he’s testing his recipes in public. BY NICOLE SPRINKLE

SW: So according to your website, it would seem that 8 was a particularly pivotal age for you. You took your first piano lessons and read your first cookbook—two pursuits you’re still immersed in. What was that cookbook?

So your mom encouraged your cooking?

Yes, definitely. My mom and my grandmother are both great home cooks, and really fostered that love. I saw a picture of myself when I was 4 or 5 with a Kitchen-Aid mixer. I was making dinner for the family by the time I was 8 or 9. I’d make pasta with way too much garlic in it, or “Greg’s Spectacular Chicken Pasta.” And then the cooking tapered off?

Once you get serious about food, there’s not a lot of opportunities for education unless you’re working in a restaurant or going to culinary school. So I just read a lot of cookbooks, went to restaurants, and tried to chat with the chefs. Four years ago, I was still at a sales job, but started going to Chiso sushi restaurant in Fremont. I was always asking the chef questions. One day he said: “Why don’t you just work here and I’ll teach you?” So that’s what I did two nights a week, and that’s where I met Dan [Phan], who was managing

Speaking of the road, I understand you cook for the band and have a pretty tricked-out roadcase?

Do your band members eat out with you?

Our guitarist is really into food too, so we’ll go out together. Allen is more of a chickennuggets guy.

What about when you’re home? Any favorite restaurants in Seattle?

Yeah, fast food gets old really quick on the road. I started bringing a crockpot with me, but eventually I had a roadcase built that can store a stand mixer, a counter-top oven, and a blender. The lid pops off and it turns into a table. Cutting boards pop out. I call it the “Taste Case.”

Chiso’s, obviously. I love Portage Bay for their classic brunch, and The Walrus and the Carpenter. I recently went to Stoneburner and was blown away by that.

I’ve done pan-seared trout with blueberry reduction and roast chicken. We’ll make lots of salads, where we go to Whole Foods or Trader Joe’s for ingredients. Before I got the Taste Case, I’d bring an immersion blender in my suitcase, and we’d make vinaigrettes. I also make my version of Paseo’s Cuban pork sandwich, which is a big hit with the band.

For the longest time I thought I wanted to run a restaurant when I retire. But I talk to so many people in the industry who are so burned out. I really love this and I’m passionate about it, so maybe it’s in my career sooner than later. But at the same time I love the band, and I’m 100 percent with Allen. These next few months off [from touring and recording] are kind of an opportunity to see if a path will naturally work itself out.

Wow. What kind of things do you make on the road?

Paseo’s legendary pork sandwich? How does yours stack up? (See Patrick Hutchison’s “The Secret Life of Sandwiches,” SW, Nov. 6)

I’ve got to give those guys mad props. There’s no sandwich like that in the world, but mine is pretty damn good. I don’t have a way to roast pork on the road, so I braise it in a crockpot and use a marinade. I also make crockpot cookies. You just put the dough on the bottom and let it go for eight hours. What are some of the band’s favorites besides the Cuban?

Polled the band, and the go-to meal I’ve made a few times on the road is pretty elementary but . . . taco night. Like I said, elementary, but when we’re missing home and fast food is often the alternative, it hits the spot. I’m surprised you have the energy to cook during all the touring. Isn’t it exhausting?

Yeah, but it’s a taste of home. Touring also gives me the opportunity to eat out a lot and try new things. We were in Tokyo in the spring, and they had to drag me back on the plane.

Parfait Organic Artisan Ice Cream launched its brick-and-mortar store next to Skillet Diner on the Greenfire Campus in Ballard. If you have room for an ice-cream sandwich or a Parisian hot chocolate after downing, say, a Skillet burger and poutine, you now know where to go. Hours are noon–11 p.m. daily. Juicebox officially opened its doors to the breakfast, lunch, and juice-detox crowd this week. In addition to fresh-pressed juices and smoothies, its rotating menu includes soups, sandwiches on homemade flatbread, and roasted-pumpkin oatmeal. The space on 12th Avenue on Capitol Hill is open 8 a.m.– 4 p.m. Mon.–Fri. and 10 a.m.–4 p.m. on the weekend.

Left: Ehrlich at his first pop-up. Top right: a kitchen for the road. Bottom right: Greg on the organ.

the bar there. I had never worked in a restaurant kitchen, so Hiro taught me knife skills, maki and roll station, and general volume production.

BY SARA BILLUPS

Given the success of the band and the relentless touring schedule, do you foresee ever turning your food foray into a full-time career? It seems impossible that you could do both.

Lucky Capitol Hill. The 15th Avenue storefront that has housed bakeries for almost eight decades will be the new brick-and-mortar home of nuflours. The gluten-free farmers market vendor and wholesaler (formerly known as d:floured) will launch in the space most recently occupied by North Hill Bakery. Renovations begin in early December, with opening day scheduled for spring 2014. Bierhalle and brathaus Altstadt has launched in Pioneer Square. The latest venture from Hitchcock chef Brendan McGill features housemade sausage, frites, and kraut. Hours are 11 a.m.–11 p.m. daily. Ballard Annex Oyster House’s sailor-inspired watering hole, GROG, has opened its doors. In addition to an ever-changing list of six to eight small plates and nautically named cocktails, the drink list for the bar at the back of BAOH includes rotating hot and cold punch bowls, or “grog.” See our review of GROG at seattleweekly.com/voracious.

Temperature Check » From Christina mCFadden,

server at the Walrus and the Carpenter:

So you’re going to do more pop-ups?

Yes, the plan is to do them every Tuesday night at Bloom until April. How did you hook up with Bloom?

Dan and I had been thinking about doing a pop-up for a while. So he sent Jason Harris at Bloom an e-mail two or three weeks ago. Jason said he was into it, and three hours later we were at Bloom talking it all out. So now that you have two pop-ups under your belt, how do you feel about cooking in a restaurant?

It was the first time I’ve ever done line cooking outside my home, much less cooking multiple courses for 26 people. It was my first ticketed event open to the public, and we sold out in under a minute. I learned a tremendous amount, and overall am pretty happy with how it went. But I’m really excited to tweak and tighten things up when I do it again. E

nsprinkle@seattleweekly.com

For more on Greg and Whim, see gregehrlich.com.

» CONTINUED ON PAGE PB

’90s R&B playing in the dining room. Even if you don’t want to admit it, we all know the words to TLC’s “Waterfalls.” Whether I’m a member of the staff or a diner, I can’t help but dance.

Every restaurant having a charcuterie program. I love meat and am all in favor of making things in-house—but only as long as it tastes good and I don’t leave the table worried about some foodborne illness.

“Local.” Even national fast-food chains are on board. This should be a given, not a marketing tool.

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

Ehrlich: It was an essential pasta book, a value-bin purchase at an outlet mall that I bought for, like, $3. It was about how to make your own pasta, which I loved. It looks like an 8-year-old cooked out of it . . . I think there’s dough still stuck in it. My mom was fine with me mixing and making my own pasta.

PHOTOS BY JASON TANG PHOTOGRAPHY

n June 2011, The Allen Stone Band, Seattle’s wildly successful retro-soul outfit, got their first offer to tour with Nikka Costa. Touring had been a lifelong dream for keyboardist Greg Ehrlich. But he’d also been pursuing another of his passions: cooking. While doing the daily grind at a stressful sales job, he’d been working two nights a week under chef Hirohiko at Chiso, a sushi restaurant in Fremont. But he ended his time there to pursue the road. In the two years since the band started touring, they’ve appeared on Ellen and Late Night With Jimmy Fallon and have received accolades from national media like The New York Times, USA Today, and NPR. They recently sold out several shows at the Paramount, and were one of the highlights of this year’s Bumbershoot. Now, with a few months off, Ehrlich is back in the kitchen, doing his first ticketed pop-up restaurants, dubbed Whim, at Bloom in Ballard with Dan Phan, a friend and cook at Le Pichet. I went to his first one two weeks ago, and ate remarkably good food paired with local wines and beers—braised shortrib ravioli and sockeye salmon with wild rice, Satsuma orange, fennel, Thai basil, and a wonderfully smoky red-pepper purée. A couple weeks before the pop-up, as he boarded a plane to New Orleans for the band’s last show until April, Ehrlich talked to me about cooking, music, and why Paseo’s Cuban pork sandwich is the bomb.

FoodNews

food&drink» From Scotland to Seattle: Westland Distillery’s Bold Single-Malt

Japanese Grill & Sushi Bar

ingle-malt whiskey. For the dedicated whiskey drinker, it evokes the same reverence as a Bordeaux or Burgundy does for a wine lover. Long thought to be the sole domain of Scotland, distilleries throughout the world are challenging the notion that a great single-malt must come from one country, and Seattle’s Westland Distillery is the latest to take up the charge. The moment I walked BY ZACH GEBALLE into their SoDo location, I had a good feeling. The slightly malty aroma that greeted me told me that I was in the right place, and the exposed wood, polished metals, and complicated custom-made equipment also showed that there’s plenty of money behind the project—which is good when you’re talking

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Westland instead is aging some of their single-malt in new American oak, with the goal of creating a scotch with a bit of bourbon in its genes.

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barley to show through, the decisions made in every step of the process—the sourcing of the barley and the specific blend used; the way it’s malted; the yeast used in fermentation; the way it’s distilled and aged—show through in the finished product in a dramatic way. That’s no easy task. To most people, American whiskey is synonymous with bourbon, which has a distinct flavor profile: rich and sweet. Even with the growth of the rye-whiskey industry, bourbon still dominates both production and sales. Singlemalts, by comparison, are ephemeral, delicate, and expensive. Master distiller Matt Hofmann is confident, though, that through a marriage of local ingredients, American ingenuity, and Scottish techniques, Westland can create a unique spirit that bridges the gap between classic American whiskey and scotch. That starts by doing something almost unknown in Scotland: aging in new oak. Most scotch is aged in used oak barrels, which allow the spirit to mellow and develop without imparting all that much flavor. Westland instead is aging some of their single-malt in new American oak, with the goal of creating a scotch with a bit of bourbon in its genes. The local influence in the spirit is in part mandated by a Washington law that requires that all liquors distilled in the state must use at least 51 percent local ingredients. That can create some challenges, according to Hofmann, since there’s just one producer of malt in the state. That said, it’s not only the government mandate that inspires them to use local produce. “We want to explore the terroir of Washington,” Hofmann says. “That’s why we’ve done so much experimenting with malts and yeasts, to be able to express that.” That said, the Washington influence goes beyond the starting ingredients. Filled barrels of whiskey are warehoused in Hoquiam, Hofmann’s childhood home. The climate there is well-suited to aging single-malt: wet, cool, and foggy, just like Scotland.

about a years-long build-up just to release the first bottle of whiskey. Westland’s space itself is impressive: Prior to being a distillery, it was used to manufacture gantry cranes and other large metal objects. In a curious bit of local trivia, the roof of Safeco Field was built there. Today’s undertaking is no less ambitious: to produce a single-malt whiskey that can stand shoulder to shoulder with single-malts from Scotland and Japan and yet also be uniquely American. Making a great single-malt whiskey is different than making almost any other spirit. In fact, in some ways it has more in common with winemaking than with bourbon-making. Because the goal is to allow the natural flavors of the malted

used in Scotland and to invest a lot of money, but the proof is in the glass. The owners and I sat down to taste their first bottling with an interesting mix of hope and fear in the air. They’re obviously very proud of what they’ve created, but they also know that trying to produce a new spirit is a challenge. I’ll admit I’m not a scotch expert. An enthusiastic amateur, maybe. So this is going to be a somewhat unverified claim: No scotch on the market is exactly comparable to Westland’s single-malt. It has the bright acidity and light floral notes that often epitomize lighter scotches, but the aging in new American oak gives it a rich, velvety texture and a smoother finish than most of them. Essentially, it stakes its own claim in the wide world of whiskey, and is well worth a try if you’re a scotch fan or just feel like experimenting. The distillery is open to the public 11 a.m.–6 p.m. Tues.–Sat., and is well-equipped to handle tastings. E

thebarcode@seattleweekly.com

arts&culture

Tell Me a Story Three disparate artists explore narrative art at BAM.

ThisWeek’s PickList

BY BRIAN MILLER

WEDNESDAY, NOV. 20

hen you feel like reading, you go to the library. Museums, on the other hand, are supposed to be for looking, but Bellevue

Arts Museum’s Telling Tales: Narrative Works

by Nate Steigenga, Cappy Thompson, and Anna Torma somewhat confounds that expectation.

Still drawing on the walls

Hungarian-Canadian artist Torma is the outsider

without clerical supervision, and you’ll find Hindu deities, Buddhist blossoms, and biographical snippets from her life—dogs and husbands, the struggle to have kids, and so forth. Most of Thompson’s work isn’t actually transparent (unlike stained glass), but painted on glass in a flat, storybook style. Instead of “reading” her scenes from left to right, you can circle

TRAVER GALLERY

An interior detail of Araluce’s The Longest Hours.

in this show. She weaves large textile installations, almost like quilts, that—like Thompson’s art—are full of personal themes and life details. Sometimes she even incorporates her children’s drawings in her dangling, woven displays. In examining them, there’s a feeling of voyeurism, like they’ve just been grabbed from the family linen closet. More than in Thompson’s or Steigenga’s work, there is some actual reading to be done here. (There’s even some children’s math homework, too!) In her weaving we read, “One spring day, a pig and a mole and a frog met in the woods”; “I will not talk”; and “Who, may I ask, is the beast?” These phrases are like the beginnings of fairy tales; one also feels the influence of folk art and Marc Chagall. And we see bears, monsters, and Adam and Eve—motifs from the collective unconscious that also appear in the Thompson and Steigenga galleries. Indeed it’s likely that

A detail from Torma’s Rainy Day.

all three artists, as children, had the same stories read to them at bedtime—the brothers Grimm, Ovid, and Dr. Seuss. Years later, those tales are interpolated into their adult lives.

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Not part of the show but a shadowy cohort in an adjacent BAM gallery is Rick Araluce: The Minutes, the Hours, the Days (through Feb. 2).

Six by Sondheim

The local scenic designer for Seattle Opera specializes in fooling and guiding the eye, creating space and depth where there is none, suggesting opulence from humble materials. In a half-dozen installations, there’s a penny arcade/trompe l’oeil effect, as Araluce forces you to peer through keyholes and doorways, to bend low and look through a heating grate, to discern the hidden worlds within. (Recall the looking-through-theradiator shot in Eraserhead.) If the three artists show in Telling Tales create stories, Araluce creates mystery. He suggests absent drama, the proscenium without the play. Sound and light effects also give the illusion of depth and scale in what are mostly shoebox-sized theater spaces, numbering a half-dozen pieces (five newly created for BAM). If I prefer his work to that of the three artists above, that’s because it extends further off the page—away from text or tale and into the imagination. E

James Lapine’s brisk walk through the life and work of Stephen Sondheim is loosely structured around and through six of his songs—from “Something’s Coming” from West Side Story, his breakthrough, to “Sunday” from Sunday in the Park With George, his credo/love letter to art and the art-making life. The doc is mostly clips from past interviews, going back to Mike Douglas,

bmiller@seattleweekly.com

BELLEVUE ARTS MUSEUM 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $7–$10. 11 a.m.–5 p.m. Tues.–Sun.

Sondheim in repose.

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

shortly before the show’s opening was young artist Steigenga, whose intricate little collage scenes have been shown at Davidson Galleries on the other side of the lake. He often uses cheap found scraps—linen, wallpaper, drawer-liner paper—and cuts and tiles them into textured, cartoon-like tableaux. Everything in his gallery at BAM is new, created for the show, in an installation called The Illustrated History of the Beginning of Time. “I just decided to make up a religion,” says Steigenga, referring to several scenes of “these weird masked luchador figures on a safari.” There’s a whimsical B-movie aspect to these small scenes, which Steigenga extends out of their frames by drawing on the walls. It’s folk art meets sci-fi, with just a hint of Wes Anderson twee. His small figures are given a texture like fish scales; there’s a bas relief effect when you view them closely from the side. While Thompson’s visual lexicon casts back through the centuries, Steigenga’s extends through the recent history of monster-movie matinees.

DAVID ZSAKO/MINT MUSEUM

(Curated by Stefano Catalani, the show runs through Jan. 19.) Two of the three artists are locals, and both were onsite to discuss their work during a press visit last month. Trained at Evergreen and Pilchuck, Thompson now works in Seattle, using medieval glass-painting techniques to render allegorical scenes that borrow from several religious traditions. At first glance, the works are like the stained glass in an old church, with saints and donkeys and Old Testament figures. Back when the Bible was illuminated for a largely illiterate public, its parables were rendered as pictographs that the priests might explain in their sermons. Here, Thompson invites you to look more closely,

So what does the author of Every Day Is Election Day: A Woman’s Guide to Winning Any Office, From the PTA to the White House (Chicago Review Press, $17.95) think about our state’s success in electing the likes of Cantwell, Murray, and Gregoire? “Washington is among the leaders in the representation of women in politically powerful legislative and executive posts,” says Sive. “That is atypical, notable, and commendable. By contrast, say, Illinois has never had a woman governor.” (Sive teaches political science in Chicago.) Can Hillary win in 2014? “Yes, if she keeps the big states President Obama won: New York, Florida, California, and Ohio (all have many African-American and Jewish voters, good for Dems). And if she does as well acrossthe-board as Obama did among women, a likely scenario.” Would a Hillary-versus-Elizabeth Warren primary be good or bad for women (and voters in general)? “The more women run credibly for important political offices—say, the presidency—the more the point is proven that women can run, win, and govern at the highest levels. That’s the biggest future prize for women’s equality. If this point is proven, odds are that we increase the number of women in such jobs . . . another big win for equal justice.” Does Wendy Davis have a shot in Texas? “Yes, since she is a compelling figure, will run a good campaign, and has a clear issue agenda for Texans to consider, the latter providing clear contrasts with prospective Republican leadership.” Town Hall,

around a glass vessel, following these mini-narratives in a continuous cycle of life and death. Mythical and folkloric figures abound in Thompson’s very personal mythology. The works are, as they say, spiritual but not religious, comprising the diary of a pantheistic seeker.

HBO

Rebecca Sive

» CONTINUED ON PAGE 36 35

Starring Jerick Hoffer aka Jinkx Monsoon

arts&culture» Pick List » FROM PAGE 35

typhoons, ocean acidification, Miley Cyrus, etc.). Whether it all ends with a bang or a whimper is the topic for Radiolab’s intrepid pop scientists Jad Abumrad and Robert Krulwich, who’ll consider the notion of endings in this live stage show. If you haven’t checked out the beloved podcast/ NPR show, you should: It does for science what This American Life does for quirky Americana. Each episode sets up a loose theme and dives in, lending a narrative flair to complex scientific issues so that regular Joe Schmoes can wrap their heads around ideas like time travel and artificial intelligence. They’ve even got an episode all about sperm. If you’ve ever wondered how ducks inseminate one another, Radiolab is your kind of show. Reggie Watts will join this leg of the tour, lending his impeccable beat-boxing and comedy skills to the night’s fatalist theme. Brooklyn drone guitarist Noveller will provide an ominous live soundtrack to all the end-times good cheer.

David Frost, and beyond. There are few talking heads other than Sondheim himself, and none needed with a man this famously, absorbingly articulate. (One hugely welcome participant: Glynis Johns, for whom Sondheim lovingly tailored “Send In the Clowns,” reminisces about its genesis.) The rest is performances: these six songs in full and bits of plenty of others, either footage of the original casts (if you remember Dean Jones mainly from those Disney Love Bug movies, you may be startled to hear him set “Being Alive” on fire) or newly, imaginatively staged scenes (starring Audra McDonald and America Ferrera, among others). In one of these, Sondheim himself performs, playing a crusty theatrical producer; this and a clip of him coaching a singer through a number from Sweeney Todd suggest he could easily have been an equally successful actor or director. (And if this preview screening is full, the doc debuts Dec. 9 on HBO.) SIFF Cinema Uptown, 511

The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $32–$146. 8 p.m. (Repeats Fri.) KELTON SEARS

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Round like the ball, round like the target, round like the photographer’s lens. No wonder that local photojournalist Layton—who used to shoot for the old P-I and continues to be an active national freelancer—chose to focus on basketball for her new book hoop: the american dream (powerHouse, $40). Her 100-odd images are chosen not only to reflect the graphic appeal of the sport (lines and arcs and passing lanes, etc.), but the hardwood as a social space. Locations are as august as the White House, where Obama practices his pump-fakes, and as humble as Rucker Park in Harlem, where future NBA stars honed their skills. Layton also gives us the old asphalt and iron rims for athletes including Shaquille O’Neal, Larry Bird, LeBron James, and former Sonics great Gary Payton, along with their recollections of those courts. These are portraits of places, not people; you could call them playgrounds, but they’re also proving grounds for the soul. University Book Store, 4326 University

NWFF scored a nice little coup in September with Marker’s Le Joli Mai, the French filmmaker’s rarely seen 1963 documentary essay about a fast-changing Paris. It’s back tonight to begin this short retrospective, which is augmented by two companion works from other filmmakers (To Chris Marker, an Unsent Letter and Far From Afghanistan). Le Joli Mai is long and talky; Marker, who died last year, wrote the narration read by Yves Montand and Simone Signoret. (Montand also sings a charming intermission song, which gives the film its title.) But the black-and-white movie is also a lovely time capsule of its day, a kind of postcard infused with politics. Another rarity is Marker’s short about a textile factory strike, À Bientôt, J’espère (7 & 9 p.m. Sun.). Although his best-known work, the 1962 time-travel short La Jetée, isn’t being screened, the 1967 anthology film Far From Vietnam (7 & 9 p.m. Sat.) probably had an equal or greater impact in France. Marker gathered fellow directors Jean-Luc Godard, Joris Ivens, William Klein, Claude Lelouch, Alain Resnais, and Agnés Varda for the project, with their episodes both documentary and fictional—though all, clearly, opposed to the war. The omnibus ran only one week in New York during 1968 and never made it onto video; as a result, the agitprop and archival footage may seem more than 46 years old. You’ll see archival snippets of LBJ and Hubert Humphrey, Castro and Ho Chi Minh, and Klein’s account of an American Quaker who self-immolated in front of Secretary of Defense Robert McNamara’s office in 1965.

» CONTINUED ON PAGE 37

Way N.E., 634-3400, bookstore.washington.edu. Free. 7 p.m. BRIAN MILLER

THURSDAY, NOV. 21

Radiolab Live: Apocalyptical

We made it through Dec. 21, 2012 without the Earth igniting into a fiery ball. Take that, Nostradamus! But let’s get real: If you squint just right, you can see the apocalypse slowly happening all around us (climate change, floods and

ICARUS FILMS

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

Robin Layton

ROBIN LAYTON

One of Layton’s images from hoop.

Chris Marker’s Revolutionary Cinema

Far From Vietnam

(11/19) Inside Art Local Artists on Imagery & Art (11/19)SeattleArts&Lecturespresents An Evening with Madhur Jaffrey

Forum, 1515 12th Ave., 267-5380, nwfilmforum. org. $6–$10. 7 p.m. BRIAN MILLER

John Hodgman

(11/21) Uri Gneezy The Hidden Power of the Economics of Everyday Life (11/21)AnnPatchettwithNancyPearl ‘This is the Story of a Happy Marriage’ (11/22) JP Jofre Hard Tango Chamber Band (11/23) Puget Sound Symphony Orchstra (11/24) Seattle Public Library Clay Jenkinson A Portrayal of Theodore Roosevelt November 25

BARBARA MCCANN

The Path to Safe Streets Zizek won’t shut up. TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

WWW.TOWNHALLSEATTLE.ORG The Pervert’s Guide to Ideology

MARK BAUMGARTEN

Daniel Menaker

KATHERINE BOUTON

St. (Seattle Center), 324-9996, siff.net. $6–$11. Call for showtimes. BRIAN MILLER

Making audiences smile for 38 years!

Nov 29-Dec 29

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

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

Writers’ memoirs about their time at The New Yorker make other writers sick with envy, and this one is no different. Yet I find it impossible to hold Menaker’s My Mistake (Houghton Mifflin, $24) against him. He’s too modest about his quartercentury at that magazine and his subsequent adventures in the New York publishing world (where I also once toiled). He’s unsentimental and always specific, never inflating his anecdotes into grand historical pronouncements (qualities I try to drill into all freelancers). He takes the quirks of William Shawn and Pauline Kael in stride; and when Tina Brown finally arrives to show him the door, he leaves without complaint. Though he also wrote fiction and humor pieces for The New Yorker, Menaker is foremost an editor, a shaper of unruly

Slavoj Žižek, that cheerful Slovenian philosopher, loves movies. And he loves being in movies; this is his third documentary to date (after Žižek! and The Pervert’s Guide to Cinema). Sooner or later, they’re going to give him his own TV channel, like Oprah. There’s no danger of him ever running out of things to say. Here, the perpetually rumpled ruminator wanders in and out of movie sets that match the clips he uses to illustrate his 134-minute lecture. Thus we have scenes from The Sound of Music, A Clockwork Orange, Taxi Driver, The Searchers, Jaws, etc. I’m not sure they’re necessary to prove Žižek’s rambling thesis, but the alternative is a chalkboard. “We need this fiction of a big other,” says Žižek of Spielberg’s shark. And yet, “There is no big other”—i.e., the mechanical shark is a construct, like ideology itself. That philosophical, religious, and political systems are man-made projections is, prima facie, an uncontroversial and even obvious statement. But in citing John Carpenter’s 1988 They Live!, Žižek asks us to consider the structural gap between image (ideology) and its latent source (Hollywood, the ruling power, what have you). In They Live!, Roddy Piper famously finds a pair of sunglasses that reveal how Earth has been overrun by aliens. Consumerism and wage slavery keep us peons in place. Part of what makes Hollywood so great—and Žižek certainly admits to being a fan—is the passive, comfychair spectatorship it encourages, the enveloping dream world that lulls you into the suspension of disbelief. And yet as Piper discovers with his truth-seeing glasses, “Freedom hurts,” per Žižek. Still, we look forward to future Pervert’s Guides to sports, food, and sex. Žižek isn’t done talking yet. (Through Sun.) SIFF Film Center, 305 Harrison

St., 877-784-4849, stgpresents.org. $30. 8 p.m.

Menaker hasn’t put down his pen.

(11/20) Rebecca Sive AWoman’sGuidetoWinningAnyOffice

1521 10th Ave., 624-6600, elliottbaybook.com. Free. 7 p.m. BRIAN MILLER

THEPERVERTSGUIDE.COM

So much has happened to Hodgman since the humorist entered America’s collective consciousness as the condescending, hapless personification of a PC for Apple’s “Get a Mac” campaign. He became a regular contributor to annals including This American Life, The New York Times, and The Daily Show, lending each an air of bemused Yalie intellectualism that’s both real and a total put-on. In the latter mode, Hodgman has continued with his “I’m a PC” persona, often reveling in obsolescence —whether the fleeting cultural currency of literature or the absurdity of aristocratic panache. Unlike in those early commercials, though, his humor doesn’t depend on the ultimate failure of his character, but on his refusal to entertain the idea that he might possibly be wrong about anything. This is the genius behind his Complete World Knowledge trilogy of books, which are filled with made-up facts (Hodgman’s specialty) and the assumed authority he brings to his weekly Judge John Hodgman podcast. Since he’s not a stand-up comedian, tonight’s appearance should be wide-ranging and droll: Hodgman has a depth of real and imagined knowledge on comic books, food, Battlestar Galactica, etc. And he’ll deliver his remarks with great certainty and great comic timing. Also on the bill: musician and SW contributor John Roderick. The Neptune, 1303 N.E. 45th

(11/20) Ignite Seattle!

prose. That’s what he does with his baby-boomer life experience, too, in a mostly chronological progression from his red-diaper years in Greenwich Village (when the FBI comes knocking to investigate his father) to a recent battle with cancer. Menaker knows his life isn’t important enough to justify much more than 200 pages, hence the book’s asperity and economy of words. Speaking of which, he reels off a useful New Yorker staff guide to words their boss, ever Mr. Shawn, despised: “Locating his gadget at the urinal, Tom Wolfe saw a photo of the intriguing, balding tycoon.” Elliott Bay Book Co.,

What Marker and company couldn’t know is that the war would drag on until 1975—its span now eclipsed, of course, by the U.S. conflict in Afghanistan. (Through Mon.) Northwest Film

arts&culture» Stage

Opening Nights

arts&culture» Performance

PLes Misérables VILLAGE THEATRE, 303 FRONT ST. N. (ISSAQUAH), 425-392-2202, VILLAGETHEATRE. ORG. $33–$68. RUNS TUES.–SUN THROUGH JAN. 5, THEN AT EVERETT PERFORMING ARTS CENTER, JAN. 10–FEB. 2.

AUNT DOTTIE’S SING-ALONG CABARET This campy

SEATTLE PUBLIC THEATER AT THE BATHHOUSE, 7312 W. GREEN LAKE AVE. N., 800-838-3006, THEHABITCOMEDY.COM. $19. 8 P.M. FRI.–SUN. ENDS DEC. 1.

MARK KITAOKA

Stone’s Valjean during a low, tuneful moment.

What do TV cop shows, zombies, the League of Justice, jumpsuits, and the Founding Fathers have in common? Nothing, yet that’s the challenge for this fun, zany sketch-comedy show. Its six writer/performers create a rough through-line that brings disparate skits not into harmonic convergence, but a kind of parallel burning of the fuse. Successive vignettes are swiftly interrupted, with costumes concealed by those handy gray jumpsuits, then resumed again. The Habit was formed at the UW in the mid-’90s, though the troupe is now scattered around the U.S. (They are Ryan Dobosh, John Osebold, Jeff Schell, Mark Siano, David Swidler, and Luke Thayer. The very able Montana von Fliss was a sub on the night I attended.) What they preserve is a kind of collective muscle memory, the desire to push a gag further than the vaudeville laugh. Early in the show, two guys enact a bizarre conversation of lewd hand gestures and pelvic thrusts; later they add dialogue that makes it a (near-) harmless sidewalk encounter. The priapic figure of Detective Crash Jackson, an über-cop extraordinaire who enters to his own

JOHN CORNICELLO

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

Stage OPENINGS & EVENTS

PThe Habit 13

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

Wait, no Sandra Bullock jokes? The Habiteers prepare for liftoff.

fog machine and theme song (Ted Nugent’s “Stranglehold”), humiliates his colleagues before getting his just deserts. Poor, disrespected Aquaman suffers the gibes and pranks of his colleagues (Superman, Batman, Wonder Woman, etc.), but finally . . . no, let’s not give anything away. The topical bits can feel like a concession to headlines and audience sympathies. (Drafting the Second Amendment, Jefferson scoffs at the notion of “automated muskets,” while Franklin despairs at their inability to agree on the Bill of Rights: “This isn’t candle science!”) Yet amid all the cheesy ’80s musical segues, what The Habit really nails is the everyday slapstick of social misunderstandings and faux pas—how we constantly say and do the wrong things, then desperately try to dig ourselves out. The show never underestimates the power of silliness, but it’s also grounded in hurt feelings (see: Aquaman) and a bit of heart. BRIAN MILLER

There are very few famous reviews in the annals of journalism. One is the 1978 Rolling Stone capsule rave for Bruce Springsteen’s Darkness on the Edge of Town. It read simply: “Springsteen aims for moon and stars, hits moon and stars.” I could say the same of this miraculous chamber production of Les Misérables. Director Steve Tomkins and company have created what has to be the best-ever pocket-size rendering of the 1985 smash musical; you’re not likely to see it done this well—or so intimately—ever again. As in Victor Hugo’s 1862 class-struggle novel of revenge, retribution, and redemption, French parolee Jean Valjean (onetime Seattleite Greg Stone, now a Broadway mainstay) is pursued by inspector Javert (Eric Polani Jensen) while seeking to regain the good name he lost after stealing bread to feed a starving child. Also assisting Valjean’s salvation are Fantine (Beth DeVries), who tasks Valjean on her deathbed to care for her daughter, Cosette (Alexandra Zorn); would-be revolutionaries Enjolras (Steve Czarnecki) and Marius (Matthew Kacergis), who falls for the adult Cosette at first sight; and a riotous pair of comic foils who seek to undo Valjean at every turn, the treacherous Thénardiers (Kate Jaeger and Nick DeSantis). For once, the crucial child roles aren’t cutesy moppets, but fully realized, threedimensional characters: Victoria Ames Smith as the young Cosette and Josh Feinsilber as the street urchin Gavroche. To complement his sure-footed cast, Tomkins has a brilliant musical general in the pit, R.J. Tancioco, who captures every nuance of ClaudeMichel Schönberg’s score. Scott Fyfe’s sets come in a dizzying array—sometimes minimalist marvels, other times dense with detail. The redoubtable Tom Sturge lights them in rich patinas ranging from umber to somber browns and shadowgathering violets. Add to all that Cynthia Savage’s costumes—from prison rags to gaudy prostitute regalia to upper-crust finery—and you have a singular achievement in regional theater. Not a loose stitch has been left to chance in the three-hour staging (with intermission). This little Les Miz aspires to be as great as any production of the show ever mounted, and it’s better than any I’ve ever seen, ever. KEVIN PHINNEY E

stage@seattleweekly.com

send-up stars an actual biological woman and not a drag queen, and is billed as “appropriate for all ages.” Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, rentoncivictheater.org. $10–$15. 3 p.m. Sun., Nov. 24. THE BUCKAROOS A “Thanksgiving Eve Special” from this Chippendales spoof. The Triple Door, 216 Union St., 8384333, thetripledoor.net. $25–$30. 7 & 10 p.m. Wed., Nov. 27. FAMILY AFFAIR Jennifer Jasper’s “sick, hilarious, and ultimately relatable” monthly cabaret on the theme of family. JewelBox/Rendezvous, 2322 Second Ave., jenniferjasper performs.com. $10. 7:30 p.m. Wed., Nov. 13. JOHN HODGMAN SEE THE PICK LIST, PAGE 37. THE HOUND OF THE BASKERVILLES David Pichette and R. Hamilton Wright adapted this Sherlock Holmes tale. Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$80. Opens Nov. 20. 7:30 p.m. Wed.–Sun., plus some 2 p.m. matinees Wed., Sat., Sun.; see seattlerep.org for exact schedule. Ends Dec. 15. LE CLUB NOEL Candace and Sam Vance’s new holiday play is set in a 1930s cabaret in Paris. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. Previews Nov. 22, 23, 27; opens Nov. 29. 7:30 p.m. Wed.– Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Dec. 28. PETER PAN The Stone Soup Youth Conservatory presents the classic tale. Stone Soup Downstage, 4029 Stone Way, 800-838-3006, stonesouptheatre.org. $14. 6 p.m. Thurs., Nov. 21–Fri., Nov. 22; 2 & 5 p.m. Sat., Nov. 23–Sun., Nov. 24. TEATRO ZINZANNI: BIG NIGHT A special 15thanniversary gala, with a menu curated by Seattle’s top chefs. Teatro ZinZanni, 222 Mercer St., 802-0015, dreams. zinzanni.org/bignight. $150. 6:30 p.m. Thurs., Nov. 21. ‘TWAS THE NIGHT... Clement C. Moore’s poem gets sent up. Studio East, 11730 118th Ave. N.E. #100, Kirkland, 425820-1800, studio-east.org. $14. Opens Nov. 22. 7 p.m. Fri.; 11 a.m., 2 p.m., & 5 p.m. Sat.–Sun. Ends Dec. 15.

CURRENT RUNS

BLAK CLOUD The Crucible meets improv. Wing-It

Productions, 5510 University Way N.E., jetcityimprov.com. $12–$15. 8 p.m. Thurs.–Fri. Ends Nov. 22.

BUBBLES IN THE WINE: LAWRENCE WELK IMPROVISED! A salute to Strasburg, N.D.’s greatest TV

musician. Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15. 8:30 p.m. Fri.–Sat. Ends Nov. 23. BUCKSHOT Macha Monkey premieres Courtney Meaker’s play about family and the past. Cornish Playhouse at Seattle Center, 860-2970, machamonkey.org. $12–$20. 8 p.m. Thurs.–Sat. Ends Nov. 23. CAFE NORDO Equal parts meet-and-greet, nightclub, and gustatory exploration—a didactic-gastronomic tour through the life of a chicken named Henrietta, punctuated with high-flung prose to illuminate each course. The meal is the main event, and it does not disappoint. KEVIN PHINNEY Washington Hall, 153 14th Ave., cafenordo.com. $65–$90. 7:30 p.m. Thurs.–Sun. Ends Nov. 24. CLARA The life of Clara Schumann: pianist, mother, wife of one great composer and crush of another. Eclectic Theater, 1214 10th Ave., 679-3271, brownpapertickets.com. $12–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Nov. 24. THE FIFTH OF JULY Lanford Wilson’s dramedy explores the legacy of Vietnam. Meany Studio Theater, UW campus, 543-4880, depts.washington.edu/uwdrama. $10–$20. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Nov. 24. FLOYD COLLINS Adam Guettel’s musical about a media sensation in radio’s early days. Richard Hugo House, 1634 11th Ave., 800-838-3006, seattlestageright.org, hugohouse. org. $15–$20. 7:30 p.m. Thurs.–Sat. Ends Nov. 23. FULL SPECTRUM This show from Cirrus Circus, SANCA’s youth troupe, includes the triple trapeze, aerial contortion, and more. School of Acrobatics and New Circus Arts (SANCA), 674 S. Orcas St., 800-838-3006, sancaseattle.org. $10–$20.7 p.m. Fri., 3 & 7 p.m. Sat. Ends Nov. 23. THE HABIT 13 SEE REVIEW, THIS PAGE. HARVEY Mary Chase’s is-he-crazy-or-is-he-not comedy. Shorecrest Performing Arts Center, 15343 25th Ave. N.E., 800-838-3006, brownpapertickets.com. $10–$12. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Nov. 24.

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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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THE HOBBIT YTN presents Tolkien. Youth Theatre

Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x109, youththeatre.org. $13–$17. 7 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends Nov. 24. JESUS’ SON Jeff Schwager’s adaptation of Denis Johnson’s 1992 story collection boldly forces a narrative on its vignettes by having one actor play the role of the narrator throughout. The result is a memory play that jolts from one bad situation to another. Johnson’s 11 stories are loosely linked by a few themes—rampant drug use and bad decisions chief among them—and the brutally honest perspective of Fuckhead (Scott Ward Abernethy), who speaks in Johnson’s lucid barroom poetry. Fuckhead’s search for meaning is meandering and foggy, yet the collected tales do create a sense of story and culminate in a few startling moments of grace. West of Lenin’s black-box space features a bar and $4 PBRs, with live music from guitarist Owen Ross and multi-instrumentalist/vocalist Annie Jantzer. The duo plays a key role in the production, performing background music throughout and giving Jesus’ Son a sense of place, in time at least, by playing old rock songs like “Cowgirl in the Sand” and “Bird on a Wire.” Josh Aaseng directs the show, expanded from last fall’s staging, for Book-It’s traveling Circumbendibus program. MARK BAUMGARTEN West of Lenin, 203 N. 36th St., book-it.org. $22. 7:30 p.m. Wed.–Sun. Ends Nov. 24. LES MISÉRABLES SEE REVIEW, THIS PAGE. RED LIGHT WINTER Adam Rapp’s 2005 drama of the selfish choices people make when they think no one’s looking. At the bottom of the heap is Matt (Richard Nguyen Sloniker), a suicidal “emerging” playwright. During a trip to the sex salons of Amsterdam, his former college roomie Davis (Tim Gouran) returns to their hostel with hooker Christina (Mariel Neto). Act II begins in New York a year later; Christina shows up, nothing like what she originally represented herself to be. Desdemona Chiang directs this maelstrom-inminiature with near-balletic grace. KEVIN PHINNEY ACT Theatre, 700 Union St., 292-7676, azotheatre.org. $25–$30. Runs Thurs.–Sun.; see acttheatre.org for exact schedule. Ends Nov. 24. ROPE English playwright Hamilton wrote Rope in 1929, based on the 1924 Leopold and Loeb murder, and it’s a dull product of its time. Two upper-crust collegians strangle an Oxford classmate for sport. Wyndham (Jaryl Draper) evinces a cool braggadocio that barely conceals his homicidal bloodlust, while Charles (Geoff Finney) veers madly between conniving stealth and the shivering, wild-eyed terror of a mistreated chihuahua. Justin Ison’s stultifying direction and Hamilton’s endlessly meandering text make this Rope very slack—death by filibuster. KEVIN PHINNEY The Ballard Underground, 2220 N.W. Market St., ghostlighttheatricals.org. $12–$15. 7:30 p.m. Thurs.–Sat. Ends Nov. 23. SEX DRUGS DEATH DISCO Vincent Kovar’s play about ‘90s club promoter Michael Alig. Re-bar, 1114 Howell St., 800-838-3006, brownpapertickets.com. $15. 7:30 p.m. Fri.–Sat. Ends Nov. 23.

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

sexual chef Caesar. Slinky Dreya Weber, equally skilled as an aerialist and singer, plays a resurrected Cleopatra. You pay a lot more at TZZ than you might for a show at Re-Bar or the Pink Door—though you’re not just buying dinner and a show, but a lavish evening-length party. Teatro ZinZanni, 222 Mercer St., 802-0015. $108 and up. Runs Wed.–Sun.; see dreams.zinzanni.org for exact schedule. Ends Jan. 26.

TEATRO ZINZANNI: TAMBOURINE SUBMARINE

Recess Monkey stars in TZ’s nautical-themed family show. Teatro ZinZanni, 222 Mercer St., 802-0015. $19–$25. Runs 11 a.m. selected Sat. & Sun.; see dreams. zinzanni.org for exact schedule. Ends Dec. 15. 25 SAINTS “You’re disposable people,” a corrupt sheriff tells a pair of West Virginia meth dealers in the tensest of many tense scenes in this suspenseful stage thriller, skillfully directed by Desdemona Chiang. Charlie (a very fine Tim Gouran) lives for Sammy (Libby Barnard), his missing brother’s girlfriend; the two hold a deputy hostage in a rural cabin, aided by Charlie’s best friend/meth colleague Tuck (Richard Nguyen Sloniker). Even for viewers who loved Breaking Bad, the material can make you uncomfortable—like watching beetles trying to save themselves from drowning in vinegar. But you care about these characters, among whom motives are crossed as to who will flee and who will be ensnared by One Last Score. MARGARET FRIEDMAN ACT Theatre, 700 Union St., 2927676, azotheatre.org. $25–$30. Runs Thurs.–Sun., see acttheatre.org for exact schedule. Ends Nov. 24. UNFOUND FOSSILS Christopher Bailey’s thriller based on the “Zodiac” serial murders. Second Story Repertory Theatre, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $22–$27. 8 p.m. Thurs., Nov. 21–Fri., Nov. 22, 2 & 8 p.m. Sat., Nov. 23, 2 p.m. Sun., Nov. 24.

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W E E K LY

THE WAY OF ALL FISH/I CAN’T REMEMBER ANYTHING Comic one-acts by Elaine May and Arthur

Miller. Trinity Episcopal Church, 609 Eighth Ave., 800838-3006, theatre912.com. Pay what you will. 8. 7:30 p.m. Fri.–Sat., 2 p.m. Sun. Ends Nov. 24.

Dance

SHOWING OUT: CONTEMPORARY BLACK DANCE

An omnibus curated by choreographer Donald Byrd. Spectrum Dance Theater at Madrona Dance Studio, 800 Lake Washington Blvd., cdforum.org. $5–$10. 6 & 8:30 p.m. Sat., Nov. 23.

FILM

Classical, Etc.

• SCRAPE Music by Jim Knapp from this new-music string

orchestra. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 8 p.m. Thurs., Nov. 21. SEATTLE SYMPHONY As conductor Hans von Bulow once snarked, Verdi’s lapel-grabbing Requiem feels like “an opera in church vestments.” He later retracted, but the piece is decidedly dramatic. Ludovic Morlot conducts. Benaroya Hall, 200 University St., 215-4747, seattle symphony.org. $19 and up. 7:30 p.m. Thurs., Nov. 21, 8 p.m. Sat., Nov. 23, 2 p.m. Sun., Nov. 24. SPACE WEATHER LISTENING BOOTH John Teske and Nat Evans’ installation, which transforms Aurora Borealis data into sound, opens. (A performance with live musicians is scheduled for Dec. 6.) Interstitial Theatre, 1701 First Ave. S., johnteskemusic.com. 6 p.m. Fri., Nov. 22. INVERTED SPACE UW’s new-music ensemble plays Boulez, Varese, and more. Jones Playhouse Theatre, 4045 University Way N.E., 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Fri., Nov. 22. SEATTLE MODERN ORCHESTRA The premiere of Tom Baker’s Shendos No. 12—a graphic score for improvisation—plus music by Earle Brown, Stockhausen, and Bussotti. Chapel Performance Space, 4649 Sunnyside Ave. N., 800-838-3006, seattlemodernorchestra.org. $10–$20. 8 p.m. Fri., Nov. 22.

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The Philosopher Behind the Photos Certain big names emerged among postwar American street photographers. Saul Leiter wasn’t one of them. He moved to New York in

THEFUSSYEYE BY BRIAN MILLER

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

HARD TANGO CHAMBER BAND Bandoneon player JP

Jofre and his ensemble. Town Hall, 1119 Eighth Ave., 6524255, townhallseattle.org. 8 p.m. Fri., Nov. 22. THE ESOTERICS Benjamin Britten’s complete choral works in two weekends: secular now, sacred Dec. 6–8. Eric Banks conducts. See theesoterics.org for full venue info. $10–$20. 7 p.m. Fri., Nov. 22, 8 p.m. Sat., Nov. 23, 2 p.m. Sun., Nov. 24. PUGET SOUND SYMPHONY To open their season, Brahms, Ravel, and Wagner. Town Hall, 1119 Eighth Ave., psso.org. $5–$11. 7:30 p.m. Sat., Nov. 23. BAINBRIDGE SYMPHONY Music from opera: Bizet, Nielsen, Weber, and plenty more. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. $16–$19. 7:30 p.m. Sat., Nov. 23, 3 p.m. Sun., Nov. 24. SEATTLE PEACE CHORUS Music by director Frederick N. West, plus Chilean folk music. Green Lake United Methodist Church, 6415 First Ave. N.E., 800-838-3006, seattlepeacechorus.org. $18–$25. 7:30 p.m. Sat., Nov. 23, 3 p.m. Sun., Nov. 24. PHILHARMONIA NORTHWEST San Francisco bassist/ composer David Arend wrote his Three Sheets to the Wind, premiered here, for himself and Seattle saxophonist Michael Brockman. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., 800-838-3006, philharmonianw.org. $15–$20. 2:30 p.m. Sun., Nov. 24. SEATTLE BACH CHOIR Bernstein’s Chichester Psalms, plus Bach and Britten. Trinity Episcopal Church, 609 Eighth Ave. $15–$18. 3 p.m. Sun., Nov. 24. AUBURN SYMPHONY Chamber music (Beethoven, Dvorak, Schumann) from ASO players. St. Matthew Episcopal Church, 123 L St. N.E., Auburn, 253-887-7777, auburnsymphony.org. $10–$17. 4 p.m. Sun., Nov. 24. MARJA KAISLA Sibelius and other Finnish music from this pianist. Cornish College/PONCHO Concert Hall, 710 E. Roy St. cornish.edu. $10–$20. 7 p.m. Sun., Nov. 24. BYRON SCHENKMAN & FRIENDS With longtime colleague Ingrid Matthews, Bach sonatas for violin and keyboard. Benaroya Recital Hall, Third Ave. and Union St., byronschenkman.com. $10–$42 7 p.m. Sun., Nov. 24.

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HA P P Y HOUR

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A R T S A ND ENTER TA I NM ENT ARTS & ENTERTAINMENT NEWSLETTER Find out about upcoming performances, exhibitions, openings and special events.

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face, so he can chat with his subjects. There’s no program or agenda to his art. Speaking of his cluttered apartment, he says, “There’s a certain kind of charm and comfort to disorder. To know everything is not good.” The same applies to his art. The son of a rabbi, Leiter invests his images with a kind of numinous mystery. What’s he after? What’s he trying to capture? The avuncular artist is vague to the point of Zen. “My photographs are meant to tickle your left ear,” he says, and leaves it at that. Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilm forum.org. $6–$10. 7 & 9 p.m. Mon., Nov. 25– Wed., Nov. 27.

CHRIS ISAAK Who could forget Isaak’s rockin’ hits of the 80’s and 90’s such as Wicked Game? Join us this holiday season to witness the wonder of this Grammy-nominated star.

FRIDAY, DECEMBER 6, 2013 DINNER 6:30 PM / SHOW 8 PM

BREMERTOn’s

ADMIRAL THEATRE Only five blocks from the ferry!

Sponsored by Rick & Leslie Krueger

TICKETS

www.admiraltheatre.org 360.373.6743 515 Pacific Ave = Bremerton

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

the mid-’40s, began shooting urban scenes in black-and-white, and transitioned in the ’50s to color—then considered the lowly province of Look and LIFE and fashion mags. No serious photographer would be caught dead shooting the stuff. Yet Leiter persisted, and Steidl’s 2008 publication of his Early Color suddenly put him in the pantheon with William Eggleston, Robert Frank, and Gary Winogrand. English filmmaker Tomas Leach became a fan (as did I), and he’s created an intimate documentary portrait of the now-90-year-old artist, In No Great Hurry. The doc includes a generous selection of Leiter’s work, in which awnings, umbrellas, and women’s dresses become smears of color, often shot through damp windows and cropped in-frame by the city’s architecture and street furniture. But, in 13 chapters, what Leiter mainly does is discourse on his patient method. “The real world has more to do with what is hidden,” he says. He doesn’t hunt for crisp, decisive moments or definitive character portraits. Indeed, as Leach follows him through the Greenwich Village blocks where he’s lived for six decades, Leiter has a wandering aesthetic. He keeps the viewfinder far from his

MUSIC

D I N I NG

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“a MasTerful filM aBOuT COurage and hOpe.” “a real OsCar COnTender”. Steven Weintraub, COLLIDER.COM ®

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SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

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arts&culture» Film

Opening ThisWeek

Taking their time: Seydoux (left) and Exarchopoulos.

for the holidays. Its clichés have been weirdly and sometimes compellingly translated—and mistranslated—into another culture. Why are these Belgians so drawn to the doleful spirituals and hymns of Appalachia? Both are small regions accustomed to hardship, squeezed by history, ghost-haunted and sad. And in response, what can you do but sing? BRIAN MILLER

PBlue Is the Warmest Color OPENS FRI., NOV. 22 AT HARVARD EXIT AND SUNDANCE. RATED NC-17. 179 MINUTES.

Delivery Man

was I aware—per the movie’s press kit—that it’s since been translated into 30 languages and sold eight million copies. That’s because I don’t have kids. This film is also meant for children, and parents can safely drop them off for a matinee, candy money in hand, since there are no gas chambers or mass graves to give them nightmares. And though The Book Thief is a laughably trite historical exercise by adult standards, kids have to start learning about the Holocaust at some point, right? Our orphaned German heroine is Liesel (Sophie Nélisse), aged 11 when sent to live with a childless couple—kindly Hans (Geoffrey Rush) and sour Rosa (Emily Watson). It’s 1938, and you know what follows: the Nuremberg Rally, Jesse Owens at the Olympics, Kristallnacht, the roundup of the Jews, the Anschluss, and the Allied bombing raids that kill German civilians and combatants alike. Liesel understands little of this at first because she’s illiterate, which has something to do with her dead Communist parents, which is never explained. (I thought the Reds loved books.) But Hans helps teach her to read, as does a handsome Jewish lad hiding in their basement (Ben Schnetzer), and there’s even a cute boy next door (Nico Liersch) with a crush on Liesel. Her adventures are tame; the entire movie is so tame, in fact, that I’d strip the 13 off the PG above. In one writerly flourish, the movie is given posh narration by Death himself.

The Book Thief It’s the Holocaust, so it must be Christmastime again. I had never heard of Australian writer Markus Zusak’s 2005 novel The Book Thief, nor

JULES HEATH

OPENS FRI., NOV. 22 AT LINCOLN SQUARE AND OTHER THEATERS. RATED PG-13. 125 MINUTES.

Nélisse as our bookish heroine.

Not only is he British, but Death apparently went to Oxford. Don’t believe me? Steal the book. BRIAN MILLER

The Broken Circle Breakdown OPENS FRI., NOV. 22 AT VARSITY. NOT RATED. 110 MINUTES.

If there really are bluegrass bands in Belgium, their stories are unlikely to be as eventful as this one. And the ups and downs of any given marriage are unlikely to be as tuneful as the saga of Didier and Elise. What they achieve and endure over a half-dozen years is packed with romance, music, and tragedy—as if distilled from a dozen Appalachian folk songs. There’s something both melodramatic and archetypical about this unwieldy tearjerker, which originated as a musical stage show co-written by and also starring Johan Heldenbergh as Didier. The movie begins with a pure, frontal Carter Family blast of “Will the Circle Be Unbroken.” This isn’t realism, but something heightened by the music, like a church service. Here I’ll note that Heldenbergh does his own singing, most of the band is real, and the astonishing Veerle Baetens lends her real voice to Elise’s singing, too. An impetuous tattoo artist, Elise falls instantly for the calm, ursine Didier, moves to his farm (he’s a Flemish “kuu-boy”), and soon joins his band. Baetens has sung in Belgian stage roles, and obviously studied hard to get that Partonesque twang in her voice. This is a band you would pay to see on tour. Director Felix van Groeningen has given a strenuously elliptical edit to the originally straightforward stage tale, also freighting it with camera effects. This can be jarring, as cheerful campfire sing-alongs give way to teary hospital scenes years later; then we loop back to how Elise and Didier first met, the subsequent birth of a child, an ambulance speeding ominously through the rain, etc. As the movie wears on none too subtlely, the music darkens from giddy love songs to aching ballads. The effect is a bit like Once, if that musical couple had stayed together for the long, difficult business of maintaining a marriage. And while Elise and Didier have a close emotional harmony on stage, he’s a bit of an atheist crank. She in turn has a dark kind of faith, a belief that God takes away as much as He grants. “It was too wonderful to be true,” says Elise of their early marriage. “Life isn’t that generous. It betrays you.” That bleak assessment keeps Broken Circle from being just another contrived, jolly songfest

Could someone please come and save Vince Vaughn’s career from itself? There was a time when he could glide into a movie and rip it up, either as a comic blabbermouth or an edgily unpredictable straight actor. He still talks a lot in movies, but like Nicolas Cage, he’s let go of the scary originality and been absorbed into a tame industry that burps out the likes of Fred Claus and The Dilemma. Case in point: Delivery Man, a comedy of the heartwarming variety, in which Vaughn labors hard to etch a few signature moments around a farfetched sitcom plot. Said plot comes from writer/director Ken Scott, remaking his 2011 French-Canadian film Starbuck (seen here in April). Vaughn plays an irresponsible schlub, David Wozniak, who drives

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OPENS FRI., NOV. 22 AT KIRKLAND PARKPLACE AND OTHER THEATERS. RATED PG-13. 103 MINUTES.

Vaughn could do better.

the truck for his family’s butcher shop. Somehow—and this part remains fuzzy and forced throughout the story—David has gotten 80 grand in debt with some loan sharks. His distant past is about to catch up with him, too: In his 20s, he was a frequent donor at a fertility clinic, and now 142 or so of his biological offspring are suing the clinic to find out the donor’s identity. This setup is rife with easy solutions to the central problem, all of which are ignored as David enlists his buddy (funny Chris Pratt) as his legal representative and tries to keep his estranged and pregnant girlfriend (Cobie Smulders, from How I Met Your Mother) from learning the truth about his potency. The movie’s failure to ignite is especially annoying because it blithely ignores the authentic issues of uncertain parentage while pretending to address them. Yeesh. Vaughn is a natural fit for the man-child character, and he’s an established master at the art of conversational backpedaling. He has at least one classic line reading: “Congratulations, darling,” which comes at the end of a long pause, delivered in a superbly Vaughnian deadpan. And there’s the irony of Delivery Man: Vince Vaughn actually is a guy who can deliver, as Swingers spectacularly proved at the beginning of his career.

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

Blue Is the Warmest Color is, on one hand, a threehour lesbian love story about two Frenchwomen of different classes, partially set in the art world, with a certain amount of NC-17-rated sex. Alternate summary: This is a love story. I prefer the latter description. Abdellatif Kechiche’s film, which won the top prize at Cannes earlier this year, is rooted in the specifics of its situation, but is universal in ways that make it belong to everybody. Our main character is Adèle, played by the splendid Adèle Exarchopoulos. She begins as a high-school student and grows up during a halfdozen years, mostly involving her relationship with Emma (Léa Seydoux). Emma is a dashing figure, artsy and experienced, with upper-class parents and intellectual friends. It’s a lot to handle for Adèle, who comes from humbler origins and really just wants to teach grade-school kids. As the bedroom scenes suggest, there is a strong physical connection here, but the movie is about much more than that—why any given love affair might thrive and/or founder. None of which really indicates Blue’s gorgeous, inquisitive flow. We need those three hours to live in Adèle’s world and know its contours. (Kechiche’s previous high point, The Secret of the Grain, similarly encouraged our immersion in a time and place.) Blue’s length also allows the sex scenes to take their proper role in Adèle’s world: Their duration shows us how much they matter, but they don’t actually take up that much time when folded into the larger dish. And why shouldn’t a movie about a relationship include a healthy amount of sex? The rightness of the lovemaking here reminds us how many love stories are lying by not including the heavy-breathing nitty-gritty. Blue has caught some flak since Cannes for its 52-year-old male director’s presumption to make a film about women in love. If I weren’t bored to tears by the triviality of this issue, I might point out that the movie itself (based on a recent graphic novel by Julie Maroh and on Pierre de Marivaux’s 18th-century novel La vie de Marianne) repeatedly raises the question of how difficult it is to understand another person—including a long dinner-party scene in which some pompous males spout off about the essence of womankind. Emma herself is an artist trying to capture Adèle as her subject, rendering her in a series of canvases that her inexperienced model doesn’t entirely understand. “It’s me and it isn’t me,” says a puzzled Adèle when she sees herself as a painting. She doesn’t know who she is yet, but her exit from the film’s strong final sequence suggests she is ready to slip the frames others have put around her—including the movie itself. ROBERT HORTON

» CONTINUED ON PAGE 42 41

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SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

Gus Van Sant was not wrong to cast Vaughn in the Psycho remake, either. Let’s set that dangerous person loose again. ROBERT HORTON

The Hunger Games: Catching Fire

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Again, Lawrence commits deeply to her role.

NO PURCHASE NECESSARY. Limit one (1) admit-two pass per person. This film is rated PG. Must be 13 years of age or older to receive pass. Employees of all promotional partners and their agencies are not eligible. Void where restricted or prohibited by law. Seating is available on a firstcome, first-served basis. Refer to screening pass for further restrictions. Screening pass winners will be drawn at random and notified via text message on or about November 22nd @ 3:00pm. SEATING IS LIMITED, SO ARRIVE EARLY. PASS DOES NOT GUARANTEE A SEAT AT THE SCREENING. *There is no charge to text 43KIX. Message and data rates from your wireless carrier may apply. Text HELP for info, STOP to opt-out. Late and/or duplicate entries will not be considered. Limit one entry per cell phone. To view 43KIX’s Terms & Conditions and Privacy Policy, visit 43KIX.com/terms.

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The second chapter of this saga still hasn’t figured out how to reconcile being a big-budget spectacle of violence while criticizing big-budget spectacles of violence. But Catching Fire is an improvement over last year’s quadrilogy opener, even if designed and executed as a placeholder (complete with a cliffhanger ending) rather than a full-blooded story on its own. In the first installment we met the tragically named Katniss Everdeen ( Jennifer Lawrence), who triumphed in the annual Hunger Games staged by an evil dictator (Donald Sutherland) and his media-savvy minions. Katniss had to kill her competitors in the Games, save for Peeta ( Josh Hutcherson), with whom she feigned a love interest in order to survive. The two victors, plus their drunky mentor Haymitch (Woody Harrelson), are now paraded around in a Sovietstyle pacification of the downtrodden audience; then the pair is inevitably sucked back into another round of the Games. Despite the 146-minute movie’s lopsided structure, it manages to sustain some momentum—in no small part thanks to Lawrence’s complete commitment to this pulpy material. And director Francis (I Am Legend) Lawrence’s style is an upgrade over the previous film’s phony camera jitters. We also get a new supporting cast with some surprisingly top-shelf talent: Philip Seymour Hoffman as a Games designer; Jeffrey Wright and Jena Malone as former Games victors; and newcomer/sure-thing breakout star Sam Claflin as a potential third romantic possibility for Katniss. (Liam Hemsworth is around again as her small-town beau, once again sidelined from the real action.) Catching Fire uncorks a few genuinely exciting revelations in its final minutes, which aren’t quite enough to cover the absence of an actual climax for this story. But after years of the Twilight movies, we should be prepared for that: The real goal here is a DVD box set, ready for power-watching marathons. (The final book in

Suzanne Collins’ trilogy, Mockingjay, will be split into two films released in 2014 and ’15, so next time expect even more water-treading.) I still don’t understand why we never see anybody in the movie actually watching the Hunger Games on TV, given their place in this society’s culture. But the franchise has to be careful with that— criticizing the audience for its taste for mindless distraction is probably not the wisest path to blockbuster success. ROBERT HORTON

PNebraska OPENS FRI., NOV. 22 AT GUILD 45TH. RATED R. 115 MINUTES.

How many of us open those e-mails from disinherited Nigerian princes or the “You May Already Be a Winner!” sweepstakes letters that once clogged our parents’ mailboxes? That such a missive launches our elderly hero on a foolish quest to claim $1 million in Nebraska gives the movie a vintage quality. Woody (Bruce Dern) is plainly deluded, like Don Quixote; and there’s the possibility that this cotton-haired, exalcoholic Montana geezer is also senile. His son David (Will Forte) becomes the enabler/Sancho Panza figure on their trek to Nebraska, where Woody expects to get his prize. There is a lifetime of regret and bad parenting to reveal in Nebraska, one reason Alexander Payne sat on the script for a decade. Given the obvious parallels to his 2002 About Schmidt, the wait was a good idea. Yet Nebraska is a gentler, more comic road movie, and more forgiving of its hero. Jack Nicholson’s insurance executive was then a successful bastard; Dern’s car mechanic is now an unsuccessful bastard. And Nebraska comes with a more left-field pedigree than About

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Baloch as grieving mother.

With its mix of delusion, decency, and dunces, Nebraska is a little slow for my taste but enormously rewarding in the end, one of the year’s best films. Perhaps more than any other American director, Payne understands the power of silence. There’s a moment when the humiliated Woody reclaims his sweepstakes letter from a bar full of yokels that’s as sad as anything I’ve seen at the movies. Then their mocking laughter slides into an awkward hush, and they feel ashamed. Woody takes the letter and heads out the door. His journey isn’t over yet. BRIAN MILLER

Torn OPENS FRI., NOV. 22 AT SUNDANCE CINEMAS. NOT RATED. 80 MINUTES.

A very modern problem lies at the heart of Torn. An explosion in a suburban California mall has killed 10 people, including a handful of teens. First reported as a ruptured gas main, the incident is soon revealed to be a bombing. And the stage is set for a 21st-century whodunit that attempts to reveal the destructive nature of a common American prejudice. The catalyst in Jeremiah Birnbaum’s debut feature is an angry young man, but there’s little effort here to explore his character. Rather, this is a story about the fallout of the terrorist attack— the way it affects two families and their archetypical sons. Until the blast, Lea (Dendrie Taylor) was a single mother, divorced from her devoutly evangelical ex, raising a heavy-metal-loving outsider son. Having also lost their son Walter in the bombing, Pakistani immigrants Maryam and Ali (Mahnoor Baloch and Faran Tahir) are immediately brought under FBI scrutiny after it emerges that Walter attended a controversial mosque. The situation lends itself to stereotype. “I’ve got a bomb and a Pakistani kid, so I’m sure you can appreciate where I’m going to have to go with this,”says the hard-nosed FBI agent. It quickly becomes apparent, however, that law enforcement isn’t the concern here. Torn isn’t a procedural after all. Instead, Birnbaum focuses on the plight of the two mothers, who become friends as their families are isolated and then torn apart by speculation while the single eyewitness lies in a coma. From there, Torn becomes appropriately complex; no one, including the mothers, knows what to think or whom to blame. It could have ended there, and Birnbaum would have succeeded in making his audience think. Unfortunately it doesn’t; the director, like his film’s accusers, is blinded by the lust for answers. MARK BAUMGARTEN E

film@seattleweekly.com

in theaters everywhere

thursday november 21 at 8pm

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

Schmidt, based on a novel by Louis Begley: It’s the first produced screenplay from Bob Nelson, a mainstay on KING TV’s Almost Live! comedy show during the ’90s. Nelson based it partly on his family upbringing in the Great Plains, where those big skies and vast fields make a man small. Self-importance is ridiculous against such scale, yet Payne finds plenty of bulging egos to lance. Everyone must be leveled, but softly, to meet the horizon. About Dern. A contemporary of Nicholson, he had his career zenith during the ’70s, which so informed Payne’s early taste. Dern’s been chasing this script for 10 years, and was rewarded with the Best Actor prize at Cannes this spring. At 77, this is his last trip to the fair, his Oscar shot, and he knows it. For Woody, too, his triumphant return to Hawthorne—en route to the sweepstakes office in Lincoln, Nebraska—is his last hurrah. Supposedly a prospective millionaire in his old hometown, he’s a big shot at last, grander than his bullying old business partner Ed (Stacy Keach). If the locals mistakenly gush over Woody’s good fortune, and if his own family, the Grants, come begging for riches, he enjoys the acclaim. He’s somebody, not just an old coot who can’t even drive anymore. Given this role with very few lines, Dern marvelously conveys a shy, stubborn pride, a sense of grubby vindication against a lifetime of scorn and defeat. Stuck in a dead-end job, recently dumped by his girlfriend, David both does and doesn’t understand this. “What’s the harm in letting him have his little fantasy?” he asks his mother, who staunchly opposes the trip. David sees a father/son opportunity to bond—and the same brief escape from Billings (filmed to look as ugly as it is). Saturday Night Live pegged Forte as a comic actor, but like Dern he knows this is a rare opportunity, and he seizes it with the same quiet conviction. Something like George Clooney’s lawyer in The Descendants, David is a guy who learns the value of listening. There is a danger here that Nebraska, shot in black-and-white, with its shuffling old hero, could get sticky with pathos. But neither Payne nor Nelson believes that suffering confers nobility. Passing by Mount Rushmore, Woody scoffs, “It’s just a bunch of rocks.” His family is full of buffoons, as gleefully noted by Woody’s wife, the movie’s salty truth-teller. Kate ( June Squibb) cheerfully defames the dead, ridicules Woody’s lottery dreams, and gives zero fucks about offending anyone. And yet she’s quietly loyal to her husband, with or without his million.

Tina Hendrix Presents the:

Jimi Hendrix

mainstage

dinner & show

Annual Birthday Tribute Concert

FRI/NOVEMBER 22 • 7PM & 9:30PM

the dusty 45s

w/ jack geary & the owl n’ thistle band SAT/NOVEMBER 23 • 8PM - STG PRESENTS

brett dennen w/ grizfolk SUN/NOVEMBER 24 • 7:30PM

chris hillman & herb pedersen w/ mary gauthier

WED/NOVEMBER 27 • 7PM & 10PM - CAN CAN PRESENTS

buckaroos

FRI/NOVEMBER 28 & SAT/NOVEMBER 29 • 8PM 7TH ANNUAL THANKSGIVING WEEKEND MELTDOWN

the paperboys

w/ danny godinez (11/29) & locarno (11/30) SUN/DECEMBER 1 • 7PM - ABBEY ARTS PRESENTS

the winter round lizzy & jonny gundersen, erin austin, daniel blue & more! MON/DECEMBER 2 • 7PM - 2ND ANNUAL

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

dammit liz holiday special the doubleclicks, kyle stevens, super guitar brothers & more!

next • 12/3 ed kowalczyk “i alone acoustic” • 12/4 omar torrez • 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 • 12/12 - 12/28 land of the sweets: the burlesque nutcracker • 12/31 an evening with storm large • 1/2 seth freeman cd release party with the cody rentas band • 1/4 the brian nova all star big band • 1/8 red molly w/ anne and pete sibley • 1/14 emily asher’s garden party • 1/17 & 1/18 los lobos • 1/22 george kahumoku jr and led kaapana

happy hour every day

November 27th

at the Vera Project, Seattle Center Doors Open at 7:30pm Featuring Live Music Tributes by: ~ The Leon Hendrix Band ~ Tina Hendrix ~ ~ Hendrix Music Academy ~ Eddy Rigotti ~ ~ Blumeadows ~ Godfish ~ Stacey Stanford ~ ~ Edi Arnold ~ Kayla Stewart ~ Pratik ~ Drako ~ ~ Kurt Rimmer ~ Chris & James Kimball ~ ~ Jeremy Jenkins ~ and Rob Reeves III

• 11/20 closed for a private event • 11/21 green river blues • 11/22 gypsy swing happy hour: the djangomatics / michael stegner’s piano rock diaspora • 11/23 the jason sees band • 11/24 jj’z soul funkshun • 11/25 monday jazz sessions w/ pereira/goessl/bush trio • 11/26 singer-songwriter showcase featuring: matney cook, paul benoit and rachel harrington

ALL AGES! TICKETS $20, TEEN TIX $5, ALL PROCEEDS FROM TICKET SALES BENEFIT THE HENDRIX MUSIC ACADEMY.

TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY

For more information or to buy tickets, visit:

“HAPPY 71ST BIRTHDAY JIMI”

DOORS OPEN 1 HOUR PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

www.hendrixmusicacademy.org

216 UNION STREET, SEATTLE · 206.838.4333

artwork by: Steven Kelso of Indianapolis

thetripledoor.net

El Corazon

arts&culture» Music

Rock Responsibly

www.elcorazonseattle.com

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

In the quarter-century since releasing debut Hit It or Quit It, the punks in Girl Trouble have kept their fan base hydrated and moving.

THURSDAY, NOVEMBER 21

KISW (99.9 FM) Metal Shop & El Corazon Present:

FINNTROLL

with Blackguard, Metsatoll, Hedon, and Blood And Thunder Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $20 ADV / $25 DOS / $55 VIP

BY ANDREW HAMLIN

FRIDAY, NOVEMBER 22

AARON CARTER with Matt Bacnis, Saving Sunsets,

Amanda Markley, and Hatters For Hire Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $17 ADV / $20 DOS / $70 VIP

SATURDAY, NOVEMBER 23

AXE MURDER BOYZ with Mindshot, Dirty D, Dezlooca The Cannibal, WSK (WorkShop KillaZ), KST Blunt Trauma, and Severed Triple 6 Doors at 7 / Show at 8PM ALL AGES/BAR W/ID. $12 ADV / $15 DOS

SATURDAY, NOVEMBER 23

COWARDICE with The Sheds, Clarity, Fall City Fall,

A Sight For Sewn Eyes, and No Future Lounge Show. Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $8 ADV / $10 DOS

and Affordable Lawyers Lounge Show. Doors at 7 / Show at 7:30PM ALL AGES/BAR W/ID. $6 ADV / $8 DOS

MONDAY, NOVEMBER 25

VERDANT MILE with Dogstrum, The Dark Blue,

and Marshland Lounge Show. Doors at 8 / Show at 8:30PM 21+. $6 ADV / $8 DOS

TUESDAY, NOVEMBER 26 KISW (99.9 FM) Metal Shop & El Corazon Present:

THY ART IS MURDER with I Declare War, Fit For An Autopsy, The Last Ten Seconds Of Life, Kublai Khan, and IDOLS. Doors at 6:30 / Show at 7PM ALL AGES/BAR W/ID. $10 ADV / $12 DOS

WEDNESDAY, NOVEMBER 27 Musicwerks Seattle & El Corazon Present:

EGO LIKENESS

with Servitor, More Machine Than Man, and DJ SAVAK (Mechanismus). Doors at 8 / Show at 9PM ALL AGES/BAR W/ID. $10 ADV / $13 DOS

Show.” Big sister loved classic Northwest rock and British Invasion bands; Kahuna borrowed all those records and added the Ramones, the B-52’s, and the Sex Pistols. “If you were into punk rock in Tacoma, you were in a very small minority,” says Von Wheelie. “In fact, it was dangerous to dress like that here.” Kahuna met his future frontman, Kendall, at the legendary Bob’s Java Jive in Tacoma, a punk refuge. Von Wheelie says, “Finally I just bought some cheap drums, and Kahuna and I just practiced together in the shed we still practice in today.” Bassist Dale Phillips, the band’s brooding, silent sex symbol, bonded with Kahuna at school over Ramones platters. They liked Kendall, admiring how he’d take over any party he went to, bidden or unbidden. He said he couldn’t sing, but “We said that was OK because we couldn’t play. We all learned together.” In 1988, following a series of singles, the band released its debut, Hit It or Quit It, on Sub Pop. At 25, it’s receiving a second life courtesy of a K Records reissue. Asked for her best memories of the album (the first time around), Von Wheelie reflects: “We have vivid memories of going to Velvetone Studio in Ellensburg and meeting Steve Fisk for the first time. The fact that Velvetone had an 8-track recorder seemed so high-tech.” The Groovie Ghoulies are gone now, along with many other Girl Trouble fellow travelers. Girl Trouble itself has scaled back lately, focusing on family, its campaign against pay-to-play in Seattle, and a lawsuit related to that issue which took Von Wheelie two years to quell. Ask them about their two movies in the works when you see them at their album re-release show this week. And let’s just hope this time, the water’s on the house. With the Fallouts, Head, Selector Dub

Narcotic. Chop Suey, 1325 E. Madison St., 3248005, chopsuey.com. $7 adv./$10 DOS. 9 p.m. Sat., Nov. 23. E music@seattleweekly.com

SOUND 2/9 MICHAEL SCHENKER 4/6 THE VIRUS 5/6 ICED EARTH UP & COMING 11/29 ADESTRIA 11/30 THE DICKIES / GO LIKE HELL 12/1 BIG B 12/2 DINOSAUR BONES 12/3 DANIELIA COTTON 12/5 SUICIDAL TENDENCIES 12/6 NOI!SE 12/7 WILLIAM CONTROL 12/7 LOUNGE WITCHBURN / THE HEROINE 12/8 HIGH ON FIRE 12/9 SMILE EMPTY SOUL 12/10 LOUNGE THE FLATLINERS 12/11 PEOPLE GET READY 12/13 METALACHI 12/13 LOUNGE TOMMY & THE HIGH PILOTS 12/14 AMERICAN NIGHTMARE (GIVE UP THE GHOST) 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

SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

don’t remember the date, the month, the year, the venue, or even the other bands on the bill, aside from the Groovie Ghoulies. But I do remember Girl Trouble buying a round for everyone in the house. A round of H2O, that is. The venue, you see, had decided to charge for water. Girl Trouble got wind of this, which led frontman K.P. Kendall to announce from the stage, “Anybody who wants water, just put it on the Girl Trouble tab. Just go ahead. From now on tonight, the water’s free!” I never learned how much that water cost the band that night, but I figure I’m not the only one who remembers the Tacoma foursome’s generosity. Other bands might set themselves on fire and/or jump off cliffs to please audiences. But Girl Trouble, 29 years old this year, manages the sadly-too-rare trick of sending audiences into convulsions while, behind the pose, actually being very sweet people. They even have had to leave music aside for niceness at times: Asked why they haven’t gigged so much lately, drummer Bon Von Wheelie reflects, “We have been very involved in caring for elderly parents. Not very ‘rock,’ but it’s a responsibility we take seriously.” Girl Trouble, according to legend (and Ms. Von Wheelie), played its first non-party gig at a battle of the bands in 1984, and came in second. The first-place band included a guy involved in organizing the competition. “There were rumors that shenanigans had happened,” Von Wheelie recalls. “The prize was $75 and another 45-minute set. Actually, I was thrilled and relieved that we came in second. We hardly had enough material for our half-hour set . . . It was a great night, and that’s when I discovered that our friends were the best supporters we could ever hope for.” Von Wheelie’s guitar-playing younger brother, known as the Big Kahuna, was “born on the day that the Beatles appeared on The Ed Sullivan

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arts&culture» Music

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

Wednesday, Nov. 20 The last time we received a dispatch from DELTRON 3030—the supergroup/future-rap trio of Dan the Automator, Del the Funky Homosapien, and Kid Koala—it was the eponymous year 3030 and our hero Deltron Zero, a former mechanical soldier, had just rebelled against his hate-fueled army and gone “searching for knickknacks” and “composing musical stimpacks” (a type of drug that shows up in many sci-fi worlds). As with most sci-fi, this tale of the future commented on the present—specifically, on the state of hip-hop in 2000. Now we have Event II, sent from the year 3040. As a monologue by none other than Joseph Gordon-Levitt makes clear, the group has now set its eyes on larger issues: the economic destruction of the middle class and world domination by corporations. It’s a creative decision that seems particularly pertinent to Seattle in November 2013, as we watch Boeing run roughshod over its machinists for the sake of Wall Street, and anyone who walks the streets of downtown witnesses widespread abject poverty. Deltron Zero is now “avoiding the corporate sector, running with the rebel operatives,” which sounds a lot like what Kshama Sawant’s volunteers did during her campaign. There’s even a timely screed against GMOs, delivered by Momofuku’s David Chang (“If I want to eat a strawberry/They can put a piece of gum in my mouth/Stick something in my nose, and . . . it tastes like I’m eating a strawberry.”) To make all these politics palatable, Dan the Automator has crafted another brilliant set of beats that allow those not politically inclined—or worse yet, Republican—to just dance. In other words, the future was well worth waiting for. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. SOLD OUT. DANIEL PERSON STEVE AOKI This electro-house producer and rave mogul is known for his live sets, which find him spraying fans with champagne and crowd-surfing on an inflatable raft. For this tour, he’s teamed with brostep pioneer Borgore and—in a demonstration of Southern rap’s outsized influence on mainstream electronica—Waka Flocka Flame. With Botnek, Kryoman. The Paramount, 911 Pine St., 467-5520, stgpresents.org./paramount. 7:30 p.m. $32.75. All ages. ANDREW GOSPE

3OH!3, THE SUMMER SET, WALLPAPER, NEW BEAT FUND If there’s one thing these bands have in com-

mon, it’s that each makes electronic-infused pop-rock for 16-year-old girls with lots of feelings (or 20-somethings who reminisce about being 16 and having those feelings). Well, that, and they’ve all played the Warped Tour at some point, too. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com/market. 7:15 p.m. $23 adv./$25 DOS. All Ages/bar with ID. KEEGAN PROSSER

COURTESY OF THE ARTIST

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

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

JAMES BLAKE will make you feel like you’re swimming

in an ocean of warm vocals and electronica, and then his smoldering looks will drown you. “Retrograde,” from his second studio album Overgrown, is a must-listen; its background beat will keep you floating through a lazy Sunday morning straight into a chill, relaxing evening. With Nosaj Thing. Showbox SoDo, 1700 First Ave S., 652-0444, showboxpresents.com. 8 p.m. $30 adv./$35 DOS. ALICIA W. PRICE SOMEONE STILL LOVES YOU BORIS YELTSIN For its latest album, Fly by Wire, these indie-poppers went back to the beginning, recording in the same attic it recorded its debut in. But before that, it traveled to Russia at the invitation of the Boris Yeltsin Foundation, a trip lead singer Philip Dickey called a “rebirth of the band.” A documentary based on their travels, Discussions With Russians, is in the works. With Army Navy and Hibou. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $10. 21 and over. AZARIA C. PODPLESKY

Thursday, Nov. 21

EARTH has been taking Seattle to the drone zone since

1989, pioneering their unique take on doom metal by throwing gorgeous string textures on top of their lilting dirges. The effect conjures a softer sort of menace, perfect for the overcast dreariness of a Northwest autumn. For a band called Earth, they can get pretty otherworldly, as their most recent twopart album series Angels of Darkness, Demons of Light proved with help from Lori Goldston’s masterful cello work. With Pillar Point. Barboza, 925 E. Pike St, 709-9467, thebarboza.com. 8 p.m. $15. 21 and over. KELTON SEARS Although they’ve mellowed a bit with age, the MEAT PUPPETS are still going strong; the band released its 14th studio album, Rat Farm, in April. Its influence on bands like Nirvana, Soundgarden, and the larger culture of alternative music was recently recognized by SPIN, who invited them to record “Smells Like Teen Spirit” in honor of Nevermind’s 20th anniversary. With The World Takes and Trash Fire. Crocodile. 8 p.m. $14. MICHAEL F. BERRY BONE THUGS-N-HARMONY Fusing streetwise rapping with R&B-influenced melodicism, this Cleveland collective became one of the ’90s’ most successful hip-hop acts. Aside from Layzie Bone’s August departure, the group’s makeup is unchanged. Expect a reprise of the smoothest gangsta rap there is. With Grynch, Cool Nutz. The Neptune, 1303 N.E. 45th St., 784-4849, stg presents.org. 9 p.m. $30–$100. All ages AG. SHAGGY has 10 albums, one Grammy, and either two or three relevant songs, depending on your opinion of reggae-rap jam “Boombastic.” The other two, “Angel” and “It Wasn’t Me,” are two very different tracks that explore a very similar subject: love and all its deficiencies and excesses. Snoqualmie Casino, 37500 S.E. North Bend Way, 425-888-1234, snocasino.com. 8:30 p.m. $31.55. AG

Friday, Nov. 22

It’s difficult to locate the stylistic thread that connects the hardcore-indebted band HELMET with experi-

Some Still Loves You Boris Yeltsin

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

Bill Callahan

Wednesday, November 20

THE FOUR FRESHMEN WED, NOV 20 - THURS, NOV 21

American male vocal band blending openharmonic jazz with big band vocal group sounds founded in the barbershop tradition

(CLOSED MON, NOV 25TH & THANKSGIVING)

Two-time Grammy winner and one of the most influential American blues and roots artists of the past half-century

ELDAR TUES, DEC 3 - WED, DEC 4

“He’s a (piano) genius beyond most young people I’ve heard.” - Dave Brubeck

ANGIE STONE THURS, DEC 5 - SUN, DEC 8

it continues to gently probe Callahan’s common themes though beautifully restrained, acoustic arrangements, yet there’s a greater ease to Callahan’s voice. Oddly, it arrives with a feeling of wistful resignation, as if the singer has simply continued to settle into himself, taking his own advice from “From the Rivers to the Ocean” when he sings, “I could tell you about the river/Or we could just get in.” With Mick Turner. Neumos, 925 E. Pike St., 709-9467, neumos.com. 8 p.m. $20 adv. GWENDOLYN ELLIOTT

tured tunes. With Explosions in the Sky. KeyArena, 305 Harrison St., 684-7200, keyarena.com. 8 p.m. $50 and up. CORBIN REIFF LUNICE This Montreal producer has been making hardhitting, hip-hop–influenced instrumental electronica since way before trap was dance music’s biggest trend. Red Bull Music Academy organized this show, so expect lots of obnoxious corporate branding, business-casual swag, and a cool MC bro to get the crowd “turnt up.” With Rocky Fresh, B. Bravo. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $10 adv./$15 DOS. 18 and over. AG It might not have fame or fortune, but QUASI has spirit in spades. Last month, Kill Rock Stars released the Portland duo’s 11th-ish album, Mole City, a raucous collection of 24 gritty, playful, dark, and bright indie-rock tracks. Clearly the band has not taken kindly to editing itself, but that is the simple joy of Quasi. Sam Coomes is a no-nonsense indie-rock originator, and while he doesn’t always give the audience what it wants, he often delivers a high-wire act of a show. And even if the refreshingly feral songs began to fall apart, Janet Weiss—as powerful a metronomic figure as there is— keeps it all together. With Blues Control, Hobosexual. Tractor Tavern. 9:30 p.m. $15 adv. MSB

Saturday, Nov. 23

Not only does STAR ANNA have one of the coolest names, she also has one of the coolest voices: a blistering, alt-country croon that makes you take a step back the first time you hear it—raw, in-your-face, and unapologetic. Her latest album, the fittingly titled Go to Hell—the first not to include her longtime band the Laughing Dogs—is out now. With Lowlands. Blue Moon, 712 N.E. 45th St., 675-9116, bluemoonseattle. wordpress.com. 9:30 p.m. $10. ACP BLITZEN TRAPPER Eric Earley’s ballads often amount to long strings of non sequiturs and nonsensical similes that can be frustrating to literal thinkers, but if you let them, they can also hurtle you through a yarn as thrilling as it is dizzying. You don’t know what Earley might say next, and synth-country band Blitzen Trapper plays the perfect instrumental backing to these tales of Western-state rogues and romancers. Its latest offering, VII, opens with Earley hunting deer “up past the rail

Neo-soul singer/songwriter with over 5 million albums sold worldwide and ten singles on the R & B charts

LOUIS HAYES AND THE CANNONBALL LEGACY MON, DEC 9

For more than 40 years, drummer Louis Hayes has been a catalyst for energetic swing, straight ahead post-bop and modern jazz

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mental post-punk group Wire, but the influence is there, according to the former’s frontman, Page Hamilton. That’s why he added his brutal guitar work to Wire’s 2008 release Object 47, and why his band will be delivering monstrous, pounding riffage as part of Wire’s DRILL: Seattle festival. Anyone not sated by this performance can catch Hamilton grinding out “Pink Flag” with his heroes as part of the Pink Flag Guitar Orchestra Saturday night at Neumos. With FF. Crocodile. 8 p.m. $20 adv. MARK S. BAUMGARTEN HELMS ALEE’s music sounds like a giant slab of bloody steak—meaty, raw, and thick. These three Beavis and Butt-head enthusiasts make grungy gut-punchers that snarl thanks to the craftsmanship of guitarist Ben Verellen’s eponymous custom amps, which he forges in his Fremont studio. Their new record comes out in January, and tonight’s show might include sneak peeks of new material. With QUI, Victory and Associates, Tacos! Chop Suey, 1325 E. Madison St, 324-8005, chop suey.com. 9 p.m. $8. 21 and over. KS If you’re like me, the last time you thought of AARON CARTER was about the same time you last popped a chubby in social studies thinking about Larisa Oleynik. So here’s a brief rundown of what he’s been up to since he regaled us with his tale of beating Shaquille O’Neal in one-on-one street ball: His last studio album was in 2003. He lasted seven episodes on Dancing With the Stars. He went to rehab for Xanax addiction. He told one radio station, “I still have my fun.” He did a 15-month off-Broadway run as the lead in The Fantasticks. He’s since played a rematch against Shaq. Shaq won 116-0. Auto-Tune was invented. Carter takes full advantage of the new technology in “This Is Where We Begin,” his new single—which to his credit shows a serious effort to restart his musical career, and which no doubt will engender fond memories of middle school for many of us. With Matt Bacnis Band, Saving Sunsets, Amanda Markley, Hatters for Hire. El Corazon, 109 Eastlake Ave. E., 262-0482, elcorazonseattle.com. $17–$70. 7:30 p.m. Bar with ID. DP When NINE INCH NAILS waved goodbye back in 2009, many wondered if it spelled the end of Trent Reznor’s great industrial revolution. Thankfully, that proved not to be the case. With the band’s latest record, Hesitation Marks, Reznor has one again delivered a wonderfully unsettling collection of innovative and beautifully tex-

JAZZ ALLEY IS A SUPPER CLUB

TAJ MAHAL TRIO FRI, NOV 22 - SUN, DEC 1

OTO GILLEN

he way many came to know lo-fi kingpin Bill Callahan was his song “Cold Blooded Old Times,” featured on every music lover’s favorite film, High Fidelity, and lifted from his longtime project Smog’s excellent 1999 album Knock Knock. By then, Callahan was leaps and bounds beyond the material that had defined his work earlier that decade, having explored sonic territory from the flickering, jangled experimentalism of Forgotten Foundation to the stripped-down, sparse echo of Red Apple Falls. With Knock Knock, Callahan was firmly, finally established as a songwriter. From there issued the tender “Held,” the seductive “Dress Sexy at My Funeral,” the wonderfully driving “Song,” and the last album recorded as Smog, the simple, rustic A River Ain’t Too Much to Love. Callahan, whose smooth, calming baritone sounds like a “Perfect Day”-era Lou Reed laid atop a “Suzanne”-era Leonard Cohen, had tapped into his real talents: a knack for crafting evocative lyricism offset by well-timed instrumentation. When he started recording under his name, Callahan emerged from another period of growth that replaced the careful, intentional pace of his earlier music with streamlined melodies and

more fluid compositions. 2007’s dazzling Woke on a Whaleheart, a fanciful, pastoral journey that allows its themes—often animals, the natural world, and existential observations—to appear and then wander through at their own pace, is well cast with a studio ensemble that puts violin, glockenspiel, and organ to instinctual, easy use. His latest is Dream River, which some have called a masterpiece (Pitchfork, to that end, ranked it an enviable 8.5, their highest rating yet for his solo releases). Like a meandering stream,

arts&culture» Music with a lamp and a knife and a rusty pail—whatever the hell that means—and continues on that familiar tack for the remainder. It’s a fun ride if you let it be. With Heatwarmer. The Neptune. 9 p.m. $20 adv./$23 DOS. DP British art-punk pioneers WIRE have been influencing waves of musicians since the 1977 release of their classic debut album Pink Flag, rocking and owning the post-punk too-cool-for-school affability that local ladies Chastity Belt (also on the bill) have built a shambling, drunken post-grad empire upon. Tonight’s show will cap the three-night DRILL festival—“an unpretentious city festival” curated by the band at small venues around town—with an epic cover of “Pink Flag” by the Pink Flag Guitar Orchestra. With Vestals. Neumos, 925 E. Pike St., 709-9467, neumos.com. 8 p.m. $25 adv. 21 and over. KS POLIÇA is a male producer/female singer duo (and an offshoot of Justin Vernon–associated soft-rock band Gayngs) that plays R&B-inflected electro-pop. Their music, however, is more rock-oriented than many of the laptop-experiment groups that occupy this genre, and fittingly, they perform live with a full band. With Marijuana Deathsquads. Showbox at the Market. 9 p.m. $16.50 adv./$19 DOS. All ages. AG BRETT DENNEN is a ginger who can sing, and he wears great hats, too. Touring in support of his most recent release, Smoke and Mirrors, the singer/songwriter from NoCal delivers sweet, folk-inspired pop tracks that are probably what Ed Sheeran would sound like if he listened to more Bob Dylan. With GRIZFOLK. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 8 p.m. SOLD OUT. KP

Sunday, Nov. 24

ALBERT HAMMOND JR. The video for “St. Justice,”

the lead single from the Strokes guitarist’s solo EP, lets us look inside his apartment. Hammond appears shirtless in much of the video, and he’s obviously been working out—perhaps a way to manage the addictions he’s recently overcome. With Rathbone. Chop Suey. 8 p.m. $18–$20. MFB MANNHEIM STEAMROLLER is a bit like fruitcake. It only shows up around the holidays, and no one’s quite

sure where it came from or who actually likes it. But for some reason, it just doesn’t seem like Christmas without it. The Paramount, 911 Pine St., 682-1414, stgpresents.org. 7:30 p.m. $34.25–$84.25. MFB Things have been quiet with ANNA NALICK of late. After debuting in 2005 with the megahit “Breathe (2 AM),” the singer/songwriter dealt with record-label woes and delays surrounding her sophomore album, 2011’s Broken Doll & Odds & Ends. Nalick’s not completely M.I.A. though; her Facebook page boasts a handful of West Coast shows plus a starring role in a play. With Dan Godlin. Studio Seven, 110 S. Horton St., 286-1312, studioseven.us. 7 p.m. $16 adv./$18 DOS. All ages. ACP HOWE GELB On his latest release, The Coincidentalist, Gelb comes off as the Leonard Cohen of Pima County, the drawling spirit of Tucson delivering quirky poetry in a laid-back baritone, accompanied by Rhodes, acoustic guitar, and the occasion flock of backup singers. This is just the second album Gelb has released since returning to his stomping grounds after a decade living in Denmark. It’s clear that the desert air does him well. With Evening Bell. Tractor Tavern. 8 p.m. $15 adv. MSB

Monday, Nov. 25

JOHN LEGEND “Girl you can’t hold on longer/I know the

waves are getting stronger,” coos this R&B staple on “Hold On Longer” from this year’s Love in the Future. The track—just one of several swoon-worthy jams on the new album—is sexy and sensual, smoky and warm. Expect his live show to be all of that as well. Paramount. $47–$87. 8 p.m. All ages. KP

Tuesday, Nov. 26

LESS THAN JAKE Supporting its just-released ninth

LP, See the Light, Gainesville’s favorite ska-punk sons headline this year’s Fat Wreck Chords’ Fat tour, finding themselves back on the label after a dozen years away. A trio of current and former punk acts from the label—some political, some silly—will join them. With Anti-Flag, Masked Intruder, Get Dead. Showbox at the Market. 7:30 p.m. $20 adv./$24 DOS. DAVE LAKE

Mary Gauthier

Sunday, November 24

SEATTLE WEEKLY • NOVEM BER 20 — 26, 2013

HEY MARSEILLES / THE MOONDOGGIES TELEKINESIS / RADIATION CITY THE LONELY FOREST / YOU ME AND APOLLO CATALDO / BATTLEME HANNALEE / BARNA HOWARD

T I M B E R M U S I C F E S T. C O M

RODNEY BURSELL

JAN 10 / 11 2014

inger/songwriters may be a dime a dozen, but comparisons to Townes Van Zandt are nothing if not hard-earned. To evoke the swirl of addiction, redemption, and raw feeling that lives in the songs of the troubled Texas artist, you have to know such material firsthand. For Nashville-based, Louisiana-born singer/songwriter Mary Gauthier, that is so: Both artists are battle-tested storytellers who share a similar weathered grain in their voices and equally unhappy histories (she was an orphan who ran away from her adoptive family, turned to drugs and alcohol to deal with her sexuality, and spent her 18th birthday in jail). Van Zandt sadly never conquered his addictions, and died at 52 from complications due to substance abuse. Gauthier, on the other hand, 23 years sober, has grown into an inimitable artist in her own right, using her history of abuse as leverage, not a crutch. In a recent phone call, Gauthier explains, “Being in recovery has given me the gift of music; it’s what makes the [creative] process possible.” With sobriety propelling her forward, Gauthier has steadily amassed a catalog of, so far, eight full-length albums—most recently Live at Blue Rock, an intimate “career retrospective” that launched an especially busy year for the self-called “troubadour.” The album, she says, is finally starting to catapult her further into the spotlight. “I’ve had 200 tour dates so far this

year,” Gauthier says. “I’m deeply grateful that the opportunities continue to come, and that things seem to be building. I’ve been out here a while now. The dots are starting to connect.” Some of those dots, so to speak, are Gauthier’s gut-twisting, tear-jerking “I Drink,” “Mercy Now,” and “Karla Faye”: fine examples of her ability to render tales inspired by dark themes that are somehow elevated to a place of reason, waiting for careful consideration whenever you care to listen. Like Van Zandt’s, Gauthier’s characters are conflicted, her topics often torturous, but her music suspends them in a place where, if decency fails to deliver them in life, they find a small amount of grace. With Chris Hillman. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $20 adv./$23 DOS/$27 VIP. GWENDOLYN ELLIOTT

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SEATTLE WEEKLY • N OVEMBER 20 — 26, 2013

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to stop patients from growing their own cannabis, which they’ve been allowed to do for 15 years now, since Washington voters approved RCW 69.51a back in 1998. Patient after patient, many facing end-stage chronic diseases and limited incomes, told the Board that without the ability to grow at home, they just couldn’t afford the volume of medicine needed. So many patients signed up to speak during the three-hour meeting that the Board ended up selecting names at random from the signup sheet. I was lucky enough to be one of the patients called to the front. I made the best of my allotted two minutes, letting the Board and the DOH official present know in no uncertain terms that it is not OK to remove patient growing rights and not OK to impugn the honesty of

STEVE ELLIOTT

hy are the new medical-marijuana recommendations from the Washington State Liquor Control Board so bad? Why are the proposed rules considered so off-the-graph unacceptable by the patient community here? Several theories are afoot. I believe one reason that the rules—which include eliminating all home-growing by patients, along with collective gardens, and reducing patient BY STEVE ELLIOTT possession limits to 3 ounces—have so little to do with reality is that patients and doctors, presumably the two most knowledgeable groups, were left out of the process. As hard as it is to comprehend, when five or six policy wonks met in a room and brainstormed their way through these ill-considered recommendations, medical-marijuana patients and the medical professionals who authorize them weren’t consulted. Is it any wonder that the recommendations heavily favor law enforcement and “Reefer Madness” concerns while displaying an abysmal ignorance of patient needs? There’s one small bright spot to this otherwise dismal scenario. I saw a very energized Washington medical-marijuana community show up on November 14 for the public hearing on the issue in Lacey—at least 600 patients in a room designed to hold 450. By the hundreds they came, from all over the state, some driving more than three hours to be there. None of the numerous patients who spoke supported the WSLCB’s recommendations. (Surprise, surprise: One “drug-rehab counselor” did.) Judging by the demeanor of the government officials present, they’d rather have been almost anywhere else. Considering their recommendations—which have very little to do with the day-to-day realities faced by seriously ill medical-marijuana patients—and the resultant raucous meeting, I don’t blame them. Chief among the problems patients found with the recommendations was the proposal

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

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University District 3 bedroom apts available for rent. 206-441-4922 9amâ&#x20AC;&#x201C;2pm

WA Misc. Rentals Rooms for Rent Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms â&#x20AC;˘ Please call Anna between 10am & 8pm â&#x20AC;˘ 206-790-5342

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Employment Computer/Technology Senior Contracts Manager for avionics electronics solutions company to oversee the negotiating, drafting, execution and administration of contractual agreements for the avionics industry including reviewing and finalizing Request for Proposals, Commercial Proposals, complex sale agreements, repair agreements, distribution agreements, purchase/procurement agreements, license agreements and consulting agreements; performing risk management on all contract reviews and advising executives of potential risks in contractual, financial and legal areas; and proposing risk mitigation strategies and ensuring contracts comply with Uniform Commercial Code, U.S. government laws and regulations and international contract laws. Requires LL.M. degree in Business or Contract Law and six (6) months experience in job duties as stated or alternatively LL.M. degree in Business or Contract Law and six (6) months experience as in-house legal counsel overseeing corporate matters for multi-national parent and subsidiary entities. Any suitable combination of education or experience is acceptable. The position is located in Seattle, WA and allows the option to work some days from a home office. The position requires 10% travel. Send resume to Thales Avionics, Inc., Attn: HR, 140 Centennial Ave., Piscataway, NJ 08854. Please indicate SCM in subject line. Software Architect TIBCO has an opening in Seattle, WA for a Sr. Enterprise Architect [Ref:SWA2] to design and implement enterprise client/server applications in Java, C#, and other languages/technologies. Mail resume to TIBCO Software Inc., Att: C. Ramirez, Mgr, Ref# SWA2, 3307 Hillview Ave., Palo Alto, CA 94304. Must have unrestricted U.S. work authorization to be considered. No phone calls, pls.

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Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298 US POSTAL Jobs (Hiring) - Go to GreatPostalJobs.com to find your job with the USPS. Postal employees start between $18$20/hr with full federal benefits, paid vacation and overtime. www.GreatPostalJobs.com

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General Dentist: DDS, valid WA lic. & 2 yrs exp reqâ&#x20AC;&#x2122;d. Fax resume @ 253-838-8805 Attn: Kenny; HC Lee Corp., Federal Way

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

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Telematics Test Engineer sought by SymbioSys, Inc. to create telematics test plans and test cases for applications in vehicles. Job Location: Seattle, WA. E-mail resume (Job#S5) info@symbio.com

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A copy of the Complaint is served with this Summons. If you wish to seek the advice of or representation by an attorney in this matter, you should do so promptly so that your written response, if any, may be filed in time and other legal rights protected.

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1. The title and number of this case. 2. If your response is an Answer to the Complaint, it must contain admissions or denials of the separate allegations of the Complaint and other defenses you may claim. 3. Your signature, mailing address and telephone number; or the signature, mailing address and telephone number of your attorney. 4. Proof of mailing or delivery of a copy of your response to PlaintiffĂs attorney, as designated above. To determine whether you must pay a filing fee with your response, contact the Clerk of the above-named Court. DATED this ____ day of October, 2013.

Apply online: schneiderjobs.com/newjobs More Info: 800-44-PRIDE

CLERK OF THE DISTRICT COURT By: ________________________________ Deputy Clerk

SEATTLE WEEKLY â&#x20AC;˘ N OVEMBER 20 â&#x20AC;&#x201D; 26, 2013

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Seattle Weekly, one of Seattleâ&#x20AC;&#x2122;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

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

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