OCTOBER 8-14, 2014 I VOLUME 39 I NUMBER 41
SEATTLEWEEKLY.COM I FREE
OH NO, HOPE SOLO » PAGE 5 MUSICIANS ON MONK » PAGE 35
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NAVIGATING NIGHTLIFE
With Seattle’s best street hot dogs, comedy open-mikes, dive bars, midnight movies, and more.
IS DEVELOPMENT PUSHING LIVE MUSIC OUT? BY GWENDOLYN ELLIOTT » PAGE 11
NIGHT MOVES Inside the very geeky and very crowded gaming bars that are flourishing after dark.
BY KELTON SEARS » PAGE 8
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SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
inside» October 8-14, 2014 VOLUME 39 | NUMBER 41
On Sale Now!
WILLIAM P. GOTTLIEB COLLECTION
» SEATTLEWEEKLY.COM
»19
news&comment 5
MESS TRANSIT
BY KELTON SEARS | Cuts? Additions?
Propositions? What’s going on with Metro? Plus: the audacity of Hope.
8
NIGHTLIFE GUIDE
BY SW STAFF | From gamer culture to
bat viewing, Seattle’s full of after-dark adventures. Here are our suggestions for dive bars, midnight movies, and much more—plus a look at what gentrification is doing to our music scene.
food&drink
19 NAKED LUNCH
BY NICOLE SPRINKLE | Nue plans to
add modernist-cuisine touches to a streetfood-inspired menu. 19 | FOOD NEWS/THE WEEKLY DISH 22 | RESTAURANT REVIEW
arts&culture 23 STREAMING MOZART
BY ROGER DOWNEY | There’s a new wealth of classical music (and more) on the Interwebs. 23 | THE PICK LIST 27 | PERFORMANCE
29 FILM
Banderas follows the robots, Robert Downey Jr. goes to Indiana, and Jeremy Renner links contras to crack. 32 | FILM CALENDAR
35 MUSIC
BY MARK BAUMGARTEN | All about
the piano: 10 jazzers cover Monk to launch the Earshot fest, and Jen Wood finds a “crazy kind of soul connection.” 36 | THE WEEK AHEAD 38 | CD REVIEWS
odds&ends 39 | CLASSIFIEDS
»cover credit PHOTO BY NATE WATTERS
Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle
OCTOBER 21-26 • THE PARAMOUNT THEATRE 877-784-4849 • STGPresents.org
Arts Editor Brian Miller
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Entertainment Editor Gwendolyn Elliott
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Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Intern Jeanny Rhee, Abby Searight Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Roger Downey, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Megan Hill, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, John Longenbaugh, Jessie McKenna, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Samantha Wagner Graphic Designer Nate Bullis, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Intern Kyu Han ADVERTISING Marketing Director Zsanelle Edelman Advertising Sales Manager, Arts Carol Cummins Senior Account Executive Krickette Wozniak Account Executives Cecilia Corsano-Leopizzi, Erin McCutcheon, Peter Muller Classifieds Account Executive Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich COPYRIGHT © 2014 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA PO STMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.
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news&comment Hope Solo’s Unwanted Exposure
Buspocalypse Now!... or Later
I
The doomsday Metro cuts were canceled, so what happens to Prop. 1?
BY KELTON SEARS
E
SEATTLELAND
Schiendelman is also skeptical. But rather than careless optimism, he sees in the reversal political gamesmanship. “For County Council to come out and say this now looks pretty clearly to be an attempt to undermine Prop. 1,” he tells Seattle Weekly. “It’s a political loss for them if Seattle pays for more of its own service, because they need us to help them pay for suburban service. Metro has a maintenance and capital-investment backlog that it sounds like they’d make worse with this proposal as well. This looks like it’s cutting maintenance funding (resulting in unreliable service) in order to get a nice-sounding announcement.”
And so Seattle voters are faced with an unforeseen question: Now that the cuts are canceled, what does this November’s Prop. 1 actually mean? If bus routes are no longer being cut, what would the sales-tax increase and car-tab fee buy Seattle Metro?
ksears@seattleweekly.com
give us a peak » David Lynch Preps Season 3
On Monday, David Lynch and Mark Frost announced that their cult-classic TV show Twin Peaks will return for a third season on Showtime in 2016—25 years after the end of Season 2 in 1991. Predictably, the Internet lost its shit over the news. “Better fire up that percolator and find my black suit :-) #Twinpeaks.” —Kyle MacLachlan, via Twitter “That sound you just heard was 1000 NW actors collectively sucking in their gut.” —Sean Nelson, via Twitter “Can’t wait for this Twin Peaks/Family Guy crossover!!!” —Jon Daly, via Twitter “Everyone is freaking out about TWIN PEAKS. I haven’t even watched it. I mean, the original. Will you people bury me in bonemeal now?” —Ksenia Anske, via Twitter
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Solo in 2012, before her troubles started.
In the midst of that debate, Solo has also had to defend herself for taking selfies in the nude and storing them on the Web—where the revealing photos were recently pirated by a hacker. She was one of a dozen celebs whose pictures were stolen from an Apple cloudstorage system and distributed by websites last month. The shots of Solo, Jennifer Lawrence, Kate Upton, and others were apparently uploaded to the iCloud site from their cell phones for safekeeping. Though the hacking was clearly illegal and an invasion of privacy, Solo and the others were blamed by some for taking the risk of transferring and storing photos in potentially vulnerable cyberspace.
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
“The way Prop. 1 is written is to first stabilize and restore cuts—but if those cuts aren’t made, then to expand service.”
“The way Prop. 1 is written is to first stabilize and restore cuts—but if those cuts aren’t made, then to expand service,” says Scott Kubly, director of the Seattle Department of Transportation. “We would expand service to deal with overcrowding [and] reliability issues, and add frequency so the bus service is more accessible to more areas of the city at more times.” According to Kubly, bus service from 2000 to 2014 has remained “essentially flat,” even though Seattle’s population has grown 17 percent in that time. “Before, [Prop. 1] was essentially on keeping pace with the service we’ve offered since 2000 in light of those cuts on the table, but now it’s about expanding to stay on course with the growth we’ve seen in the city.” After the county announced it would not be making its planned cuts, Kubly and SDOT took a look at Metro data and created a proposed action plan should Prop. 1 pass. According to the plan, 16 routes would be beefed up to compensate for overcrowding, 49 routes would be amended to improve reliability, and 28 routes would be expanded to bolster frequency and add service. Despite the possible expansion, will the County Council’s upbeat announcement deter voters from passing Prop. 1? Dow Constantine doesn’t think so. “I do believe that that will pass,” he said. E
AMPATENT VIA WIKIMEDIA.ORG
S. S. SOL DUC VIA WIKIMEDIA.ORG
arly this year, residents of King County were warned of an encroaching cataclysm: the end of Metro bus service as we know it. An apparently massive budget shortfall brought forth by the 2008 recession had caught up with Metro, and if voters didn’t approve a 0.1 percent increase in sales tax and a $60 car-tab fee, lots of bus routes were going to start going bye-bye. In a special election this April, King County resoundingly shrugged at the warnings. While Seattle voters overwhelmingly voted to preserve Metro (with 2/3 of residents voting Yes), 55 percent of King County residents voted No on the tax increase. In light of these results, local activist Ben Schiendelman spearheaded the Keep Seattle Moving campaign, which Mayor Ed Murray eventually adopted, in a somewhat altered form, as this November’s Proposition 1—essentially a copy-and-paste, Seattle-specific reboot of the failed April ballot measure, which would preserve some of the local routes under the knife. On Sept. 27, the foretold Buspocalypse reared its ugly head for the first time: In the first of three scheduled budget cuts, King County eliminated 28 bus lines and revised 13 others. But then, suddenly, last week the King County Council announced that—just kidding!—they won’t have to make the next two scheduled cuts after all. The reason? Predicted sales-tax revenue for the county jumped an additional $32 million. Sixteen routes and 250,000 service hours that would have been cut in February were now safe. Even though this seemed like good news, the sudden shift caused many to wonder aloud if the Metro budget woes had been a bluff the whole time, especially given that Seattle is currently the fastest-growing city in the U.S. “A booming economy does not mean commensurate benefit to government finances because of the way our taxes are set up,” King County Executive Dow Constantine responded at a City Club meeting soon after the announcement. “We’ve tried to be tremendously transparent by telling people about the fact that revenues have gotten better or that we’ve achieved savings. People get the idea that somehow the goalposts are moving. The fact is, this is a constantly moving target—it can move up or down.” That’s precisely why Constantine is skeptical of the council’s decision to cancel the cuts—it relies on a predicted income source that isn’t technically there yet.
n life as in soccer lately, Hope Solo has had to rely on a strong defense. The superstar goalie defended her ex-Seahawks bad boy/ husband Jerramy Stevens when he was accused in 2012 of domestic violence against her, then married him the next day and defended him again when he was arrested two weeks later for violating probation on a 2010 marijuana charge. She’s currently defending herself against a domestic-violence charge: drunkenly attacking her nephew and halfBY RICK ANDERSON sister at their Kirkland home in June—a violent, “out-ofcontrol situation” as police called it. Solo is also defending herself against calls that she be dropped by her club team, Seattle Reign, and suspended by the U.S. Women’s National Team because of the DV accusations. Critics compare the 32-year-old Olympian to another pro athlete, the NFL’s Ray Rice, who was fired by his football team and suspended by the league for the videotaped knockout of his fiancée in an elevator. Some see Solo’s situation as a double standard: Is she being allowed to play because she’s a white female? Or is her case arguably different from Rice’s?
» CONTINUED ON PAGE 6 5
Choose Your Country of Service Lunchtime Information Session Thursday, October 16 12 to 1 p.m. Peace Corps Seattle Office Westlake Tower Building 1601 Fifth Avenue, Suite 605
DIN ING
Returned Peace Corps Volunteer Benjamin Conway will discuss the new shorter application process and how applicants can now choose their assignment and country of service using our interactive website.
Life is calling. How far will you go?
855.855.1961 | www.peacecorps.gov
W W W. S E AT T L E W E E K LY. C O M / S I G N U P
Hope Solo’s Unwanted Exposure » FROM PAGE 5
WEEK LY WEEKLY NEWSLETTER The inside scoop on features, columns and reviews.
SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
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n&c» Solo and Lawrence are vowing to sue or seek prosecution of anyone who publishes the photos, and an entertainment lawyer has already threatened Google with a $100 million lawsuit. Yet, even after Google last week stated it was cooperating and had already “removed tens of thousands of pictures” and closed hundreds of accounts that may have trafficked in the photos, a simple Google search turned up a naked Lawrence in just about every nude pose imaginable. A similar search produced a naked Solo as well—in selfies taken in a mirror, where she is even more exposed than Lawrence. I also found a nude shot of Solo in the least likely place I could imagine, which I’ll get to. For the record, Solo’s no prude about nudity. She posed in the buff for ESPN the Magazine’s “Body Issue” in 2011, which was tastefully done. The Reign’s Megan Rapinoe posed for the issue this year, as did the Seahawks’ media-shy running back Marshawn Lynch, who explained, “I’m still gonna let my body do the talking for me.” But the theft of Solo’s revealing private photos was an indecency, she said in a statement posted September 23 on her Facebook page. “It is extremely sad and unfortunate that the rights of so many women were violated by the unauthorized release of private photographs. This act goes beyond the bounds of human decency and, as such, I stand united with all the women affected and am exploring every option to protect my privacy.” In the statement, she again took the opportunity to defend herself against the domesticviolence charges stemming from the family fight. “In addition, while I understand that the public desires more information regarding the allegations against me, I continue to maintain my innocence against these charges. And, once all the facts come to light and the legal process is concluded, I am confident that I will be fully exonerated.” According to facts that have come to light in charging papers, an angry, intoxicated Solo punched and tackled her teen nephew after calling him fat and crazy, then attacked his mom when she intervened. The nephew clubbed Solo on the head with a wooden broomstick and tried to get her to leave by pointing a broken BB gun at her. But she began “circling like a shark,” the teen claimed, left the house, jumped a fence, re-entered, and attacked her half-sister again. She faces trial next month on two counts of domestic violence. On her Facebook page, fans and detractors offered varied takes on her statement, from support to nasty comments about her anatomy. Many felt empathy about the piracy but cautioned against the dangers of storing secrets in the clouds. One apparent admirer perhaps made that point best when he called Solo “sexy” and posted a picture of her. It shows the goalie in full backal nudity, taken by her in a bathroom mirror. It appears to be one of the stolen selfies, lifted from a website and posted to Solo’s page Friday. It was still up as of Tuesday—along with links posted by readers to websites with more revealing Solo shots. Welcome to the brave nude world, Hope. See your home page for details. E
EV ENT S
MUSIC
H A PPY H OU R
A R T S A ND E
randerson@seattleweekly.com
Rick Anderson writes about sex, crime, money, and politics, which tend to be the same thing. His latest book is Floating Feet: Irregular Dispatches From the Emerald City.
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AFTER DARK THE NIGHTLIFE ISSUE
SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
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f Capitol Hill’s Gamma Ray Games and Ballard’s Card Kingdom existed in the world of Pokémon, both would have started out as little baby Charmanders. As retail outfits, they were scrappy but small, unsure they would make a profit selling card and board games in the nation’s second most childless city. It wasn’t long, though, before both leveled up to Charmeleons, finding their small shops overrun with adults who were not only buying lots of card and board games, but organizing countless tournaments and meet-ups inside them. Turns out grown-up gamers are not antisocial shut-ins. Despite this success, two problems quickly arose: The small storefronts were having trouble accommodating everyone who wanted to hang out, and participants resoundingly kept asking for booze. So both stores leveled up one final time in 2012—Card Kingdom expanded and opened Café Mox, a “game parlor” with food and drink service, and Gamma Ray opened the similar Ray Gun Lounge. These Charmeleons had become full-blown drunken Charizards, breathing plumes of flame into a corner of Seattle nightlife that many people didn’t even realize was missing. Which raises the question: Who the hell are these people, this bounty of crazy weekenders who’d rather get buzzed grinding through a Dungeons & Dragons campaign than grinding against each other in a Capitol Hill nightclub? I
THE GATHERING We spend a couple of nights with Seattle’s social gamers and find a booming scene filled with cards, roleplay, egalitarianism, and alcohol. BY KELTON SEARS
spent a weekend observing these late-night gamers and their dice-rolling ilk to find out.
involves a lot of gems. I ask if I can talk to them. They agree under the condition that I identify them only by their character names in a roleplaying game their friend wrote, Black Crash, which takes FRIDAY, 10:55 p.m., 10th and Pike, en route to place in a dystopian cyberpunk Seattle 90 years in Ray Gun Lounge. A couple walking arm in arm the future. Civilians in this world have united to accidentally bumps into a man wearing a white fight the city’s corporate puppet government. polo shirt. “You wanna go right now, asshole?” “I’m a lady, Latina, ex-cop, with a sweetthe single man asks. “I’ll show your girlfriend ass motorcycle. Her name is Christina,” the who the real man is! I’ll kick your ass, asshole.” Middle fingers from all involved rise to attention. dark-haired man tells me. “My character goes 11:02 p.m. Four by Esquire,” Christina’s blocks away at Ray curly-haired, bespecGun Lounge, a man ”I’m a lady, tacled counterpart says. wearing thick black Latina, ex-cop, “He’s a former public glasses sits across with a sweet-ass defender.” from his girlfriend. Soon Christina He sips his Rainier motorcycle,” the and Esquire become tall boy and peers at dark-haired man embroiled in an inthe deck of Munchdepth comparative kin cards in his tells me. analysis of the 1984 hand—much in the science-fiction classic same fashion as the Neuromancer. I politely take my leave. face of Sailor Moon in the portrait hanging on the wall above him. “Hey, what does this charisma card do again?” SATURDAY, 12:35 p.m., Ray Gun Lounge. Mr. the man asks his girlfriend. Bean is wearing a nun’s habit on the TV above “Well, it depends on how many of them you the bar. “FIFTEEN MORE MINUTES OF have,” she says. DECK CONSTRUCTION,” the bartender shouts, looking at his watch as he dries a glass. A 11:18 p.m. Two young men sitting next to me quiet swish swish swish fills the air as the approxiare drinking hard cider and playing a new Renaismately two dozen people assembled quickly rifle sance-themed board game called Splendor that
NATE WATTERS
A riveting game of King of Tokyo at Café Mox.
through stacks of cards, picking one and passing the rest to their left in a seemingly endless circuit. This is known as “drafting,” a play style in which people construct Magic: The Gathering decks on the fly from a random community pot, and it happens every Saturday. Today is a special day, though: Khans of Tarkir, a new card set for the game, has just come out. It’s the first time the players will draft from this set, and they’re very excited. In 15 minutes, once the deck-construction period has ended, they will engage in fierce wizard battles with one another by summoning their brand-new Tarkir armies. 1:15 p.m. “Conceptually, Khans of Tarkir is sort of like Game of Thrones meets Avatar: The Last Airbender,” says Matthew Martell, a preternaturally intelligent fellow with a healthy beard, tattoos, piercings, and a silver Ray Gun shirt. For four years Martell has organized Ray Gun’s Saturday Magic drafts because he loves the community that’s been built here. “Ray Gun is special because the community here is way more accepting of people as people— we welcome women and queer-identifying players here,” he explains. “Before I started going to Ray Gun, I almost never saw women playing Magic in public. We are trying to make a statement on a microcosmic level with this community.” Eric Logan, Ray Gun Lounge’s owner, later tells me he has happily kicked out patrons who
» CONTINUED ON PAGE 10
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
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AFTER DARK
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The Gathering » FROM PAGE 8
NATE WATTERS
THUR | OCT 16 | 8PM
that if I had come the night before, when Khans was released here as well, “You would’ve seen something crazy. There were maybe 75 to 100 people in here from 6:30 until about 11:30 to antagonized LBGTQ or female gamers. “We’re midnight. It was packed.” very proud that this shop resides on the corner of Card Kingdom manager Dan Tharp says Gender and Sexuality,” he says. When it opened, later that much of Café Mox’s early success was Logan says, he was often approached by people because Seattle resident Richard Garfield, Magic’s who didn’t think there were others like them in creator, quickly became a regular. “Soon we had the neighborhood. “We like to say we help ‘bring to build a waiting area and year-round outdoor gamers out of the closet’ . . . They just needed a seating because of the unexpected lines of people safe, inclusive space to do that together. Now we that were forming to play games and drink in the have this amazing group of people that comes place,” Tharp says of his 7,000-square-foot venue. here and drinks and plays games in this diverse “We’re busy working on a second location in the community they’ve built. I firmly believe the gaming world is a better place when it’s not just a place Bellevue/Redmond area. It’s 10,000 square feet.” for antagonistic, middle-class white dudes.” 9:03 p.m. Federer explains the microeconomics of Magic. He opens 7:45 p.m., Café a website called Mox. A bald man ”Last weekend MTGstocks.com with a beard and a and informs me that pink V-neck sits at I went through keeping track of going a large, round table. three bottles card values is part of It’s smack-dab in the the “metagame.” An middle of an absoof mead,” the infamously rare card, lutely packed room bartender tells the “Black Lotus,” that resembles the sold a year ago on interior of a castle. me. “People were eBay for $27,302. A Dominion, a medieval pounding it.” card’s value can fluccard game, is sprawled tuate wildly based on in front of him and its rarity; on whether or not it’s currently legal for his five friends, who are all examining the drink tournament use; or on the prevailing deck-buildmenu as the waiter stands nearby. Café Mox ing trends at the time. “This card from Khans has offers an expansive free board-game library, and Dominion is one of the most popular. already jumped a dollar since yesterday,” Federer The man is deciding what to order. “I’ll take, says, pointing to one on his screen. OK, yeah, I’ll take the Viking Blod,” he says. “I For many players, the Magic deck is an extenguess I’m going all in.” (Later I snatch up the sion of themselves—choosing to play an aggresmenu to discover that Dansk Mjød Viking Blod sive Red goblin deck over a Blue deck full of is a 19-percent-alcohol mead.) illusion and trickery says as much about your “Last weekend I went through three bottles of personality as your playstyle. Fans often spare no it,” the bartender tells me. “People were pounding expense in creating a deck that best reflects their it. It’s more popular than you might think. They true inner wizard. see how high-alcohol it is and they just really 9:23 p.m. As I leave Café Mox, a woman want to try it.” waiting in line outside tells her friends, “This looks like the kind of place where people would 8:23 p.m. A giant clock on an LCD screen drink mead.” The group laughs. This must be counts down the remaining time in the Magic her first time. E tournament underway in the back room. The venue’s event coordinator, Kris Federer, explains ksears@seattleweekly.com
SOUND EFFECTS BY GWENDOLYN ELLIOTT
I
a jump to $13,000 a month. (She didn’t confirm the original figure, but said the rent increase was “high.”) “Honestly, that’s fair market value of what’s happening on Capitol Hill right now. [But] to have a successful bar, you want to be able to make your rent in one night . . . and it’s just not sustainable.” On top of that, Ecklund says, over the past few years she’s noticed a new kind of music consumer emerging, especially on weekends—different from the local music lovers who used to fill the club. “You don’t see the same kind of clientele because [they] tend not to go out on the weekends. It’s incredibly risky to book a live band on the weekend. It should be your prime time, but it’s safer to have a dance night because you have so many different kind of people up here.” She mentions a rash of recent hate crimes and late-night violence that has put the community on edge, especially after dark. Capitol Hill now, she says, “reminds me of Pioneer Square back in the ’90s.” Mamma Casserole—the nickname of Michelle Smith, who booked a regular concert calendar for the Comet Tavern before it abruptly closed last year—is also struggling to put the changing scene into perspective. For a while she was booking at Waid’s until that closed over a contentious liquorlicense dispute. The reopened, rebranded Comet, though it does host shows occasionally, is no longer a music venue per se, and Mamma now books shows for the Lo-Fi Gallery in Eastlake. Problem is, crowds have been lackluster. Mamma is one of the best-known bookers in town, and her Comet shows are the stuff of legend. Back when Fleet Foxes, The Head and the Heart, and Macklemore were starting out, they all played the venue, for about $5 a head. When we met, she said she’d booked Brooklyn indie rockers Bishop Allen for that coming Thursday night, Oct. 2. Only 30 Facebook reservations had come in. “They’re a big band, it doesn’t make any sense,” she says, then explains that reservations are not an accurate reflection of who’s actually
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SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
n a certain light, talent bookers are the canary in the coal mine. The intermediary who helps facilitate a live experience between a band and its fans, a good booker is also a statistician of sorts, one who knows demographics and trends well enough to slot the right acts on the right night. Before a band even starts to load in, the booker has a sense of how full the room will get, what kind of person will attend the show and why. They know musicians, promoters, venue owners, managers, press agents. The best ones have forged those relationships and developed those senses because they’re lifelong music fans themselves. To the city’s credit, Seattle has no lack of them. This insider knowledge can make bookers the first to sense changes on the horizon. And right now, looming large in the thoughts of many are concerns about the fate of the scene itself. When I meet Chop Suey’s booker, Jodi Ecklund, at Cafe Pettirosso on Capitol Hill, the sidewalk in front of the small bistro is under construction, caution tape and bright-orange fencing in its place. Across the street, a large crater occupies the space where a building once stood. Adjacent to that, an enormous tower crane hovers over a complex spanning multiple blocks, with bulldozers humming around it like worker bees attending a hive. It’s a warm end-of-September afternoon, but it’s too loud to converse outside. “Have you been up here recently?” Ecklund asks, after we’re seated away from the noise. “It’s insane.” Her observations are first-hand. As part of the Seattle music scene for more than two decades, she’s booked events for Seattle Gay Pride, the Wild Rose, the Funhouse, and more recently, for ’Mo Wave!, the festival that celebrates queer talent. But recently, not only did the area’s steady march of development motivate a move from her Capitol Hill apartment—where her rent doubled within a year—but Chop Suey, the hood’s beloved music venue where she’s been booking shows for the past two years, is for sale at the bargain price of $99,950. “The kicker is the rent,” Ecklund says, citing
Mamma Casserole at Eastlake’s Lo-Fi Performance Gallery.
MORGEN SCHULER
Small clubs are the soul of Seattle’s celebrated live-music scene, but can they survive the development boom?
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the neighborhood last year, after the rent on their Queen Anne apartment “basically doubled,” he says. They were hesitant to move because their place was so close to the Funhouse, where it was going to show up. Ticket sales are a better indicanecessary “to live close by if the cops call or the tor of that, and at the time only 10 had been sold. alarm goes off. You want to be within five miles, so It was three days before the gig. you can go down there quickly.” She rattles off a handful of other bands on Once the Funhouse closed, to make way for the the bill. “Tomo Nakayama; Day Laborers and Aperture on Fifth apartments, they had no choice. Petty Intellectuals; this band from Portland called He’s been looking to relocate the Funhouse ever Trummors that has a guy from Ted Leo’s band in since, with no luck. it—they’re all playing. It’s a remarkably beautiful For a while, Foss was booking his signature little show. If it was Doe Bay, it would be sold out.” Mentioning the remote Orcas Island resort that gigs—punk, garage, and metal acts—at the 2 Bit Saloon and Bogarts, and was interested in buyhosts a popular festival each summer reinforces ing the latter to rebrand as the Funhouse. The 2 the idea that live music is moving out of the city. Bit has since closed, and Bogarts’ owner accepted But why? Mamma has her own theories, and another offer for the space, which is now a barbesome match what Ecklund has observed on Capicue joint. tol Hill. According to Earlier this year, a the census, Seattle is documentary about the fastest-growing ”Residents aren’t the Funhouse was big city in the U.S., going out to released: Razing the yet checking out live Bar, a poignant film music seems to be low shows as much as about the venue’s on the list for Seattle’s they used to... nine-year run and all new residents. “I don’t I’m seeing less the patrons, bands, think they are really employees who into live music and people going out.” and kept it humming. The bands,” she says. “It doc doesn’t shy away seems like people from the charged topic of gentrification, but also are more into dance nights. They love the Emerdoesn’t suggest the leveling of Seattle’s beloved ald City Soul Night and Snap! [dance nights at clubs is going to irrevocably change the scene. Lo-Fi]. But your average show that would have Foss, a resident since 1988, is cautiously optidrawn 80 people at the Comet is now drawing 40 mistic he’ll find a new home for the Funhouse, but at Lo-Fi.” (The roughly 51 souls who did attend he questions the city’s priorities. “It’s a complex the Bishop Allen show prove this.) issue,” he says. “Seattle has changed a lot. Should On the flip side, she says Seattle’s old-guard every piece of property only be looked at solely for music lovers aren’t going out as much. Those how much money it’s worth?” who came of age during the grunge years are “It seems to me Seattle is in the process of nearing middle age, and millennials are conslowly but surely getting rid of all the funky but suming music in other ways, via the Internet interesting one-story buildings,” Foss says. When and off-the-radar DIY clubs. “Residents aren’t those places go away, he says, you’re not just losing going out to shows as much as they used a launching pad for the next it-band, but a gatherto. . . . I’m seeing less people going out.” ing space where a community can form. “It used to Her inbox appears to corroborate this. “Right be a place with a bunch of tiny little bars that were now, [it’s] probably empty. I have to go searching dead on Friday and Saturday nights and anybody for bands to book. When I was booking at the who knew some bands and had a PA could walk Comet, I would get 30 e-mails a day.” in and play. People have to have a chance to go in and try things. There’s value in giving people a Brian Foss, who used to book shows for nowplace to fail, to fuck up.” shuttered punk venue the Funhouse, which he “The ability to do that in Seattle,” he says, “is co-owned with Bobby Kuckelberg, uses the getting squeezed out.” E expression “squeezed out” a lot when we meet in Columbia City. He and his wife Cyndi moved to gelliott@seattleweekly.com
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N I G H TC LU B U P C O M I N G
Seattle Weekly’s Nightlife Guide
E V E N T S
T H U R S D A Y, O C T O B E R 1 5 T H
K, Seattle is better known for its coffee than its nightlife. But while we’re not the city that never sleeps (and how could we be, when the espresso buzz finally wears off at the end of the day?), that doesn’t mean we don’t come out for a good thing. In fact, as the wee hours roll on, we know what’s good—we’re just more discriminating about how we spend that time. Whether for you that means an evening of comedy, a midnight movie, tying one on at a dive bar, or investing in a hand-crafted cocktail, you’ll find something worth exploring in the pages ahead. Don’t miss our coverage of the rise of the Seattle social gamer (page 8) and the city’s live-music scene (page 11), which both receive a special look. Above all, we hope you’ll see as we do that in Seattle, when your day is done, the adventure is just beginning. GWENDOLYN ELLIOTT
How to Survive a Night on Capitol Hill Dos and don’ts to maximize fun and get you home in one piece. BY JENNA NAND
SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
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e forewarned, this isn’t the Capitol Hill of yesteryear—or, shit, even of last year. Seattle’s famous gayborhood is rapidly transforming into a sparkling urban haven for Seattle’s nouveau riche, its charming seediness increasingly buried under throngs of hipsters and yuppies. Yet there’s still fun to be had—you’ll just need a heftier wallet and/or more discriminating taste to recreate a classic night out on the Hill. Here are my recommendations. DO park for “free” in the QFC underground garage at Broadway & Republican. Buy something, bring it back to your car, and then “clandestinely” sneak out the front entrance with the dozens of other cheapskates doing the exact same thing. DO find other arrangements for your ride if you’re staying past midnight, however. DO know where you’re going and look out for each other. A rash of late-night hate crimes has made many folks who live, work, and enjoy the hill nervous after dark. If you see any aggro, homophobic b.s., call 911 right away.
DO scarf a slice at Via Tribunali, which, with its dark, cavernous atmosphere and satanicthemed artwork, is much like a pizza parlor in hell (913 E. Pike St., 322-9234, viatribunali.com). DO surrender to the wonderful tang of the street: hot dogs grilling, urine, the cloying notes of weed. You’re on Capitol Hill, after all. DO grab a cocktail and enjoy the view from the rooftop of Mezcaleria Oaxaca (422 E. Pine St., 324-0506, mezcaleriaoaxaca.com). If you’re classy, DO make an evening of it at Century Ballroom, providing you wear shoes that mitigate the likelihood you will fall on your ass while trying to salsa (915 E. Pine St., 324-7263, centuryballroom.com). If you’re looking to get as drunk as a carny, DO lace up your thrift-store corset and hit up Unicorn and its offshoot, Narwhal. Toast the vintage spirit of Capitol Hill with the former’s signature drink, “Unicorn Jizz,” crafted from mango vodka, triple sec, and a little fairy-tale magic (1118 E. Pike St., 325-6492, unicornseattle.com). DON’T look down. You really don’t want to know what you’re stepping in. DON’T venture off the sidewalk, else you might end up in an excavation, trip on construction scaffolding, or get run over by a BMW. DON’T stay to eat at Rancho Bravo Tacos, unless munching mediocre Mexican food under unflattering fluorescent lighting is your idea of sexy weekend fun. If you’re determined, DO get it to go (1001 E. Pine St.., 322-9399). DON’T go to Molly Moon’s Homemade Ice Cream for dessert if you’ve already eaten dinner. Trust me. The inevitable resulting food coma and lactose overload will cut your night seriously short (917 E. Pine St., 708-7947, mollymoonicecream.com). E
Hot Dog! Our roundup of Seattle’s favorite booze sponges. BY JESSIE MCKENNA
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here would we be without the meaty torpedos loaded with cream cheese and caramelized onions that make up our city’s signature Seattle Dog? We’d be way too tipsy and desperate to fill that cavernous void, that’s what. Midnight dogs complete the circuit when microbrews and mixed drinks give us a false sense of satiated security. Here are our faves: For over 14 years, DANTE’S INFERNO DOGS have been “cooked
and dressed to order, with love,” says owner Dante Enrique Rivera, who touts high-quality, local ingredients like two kinds of Seattle-made Field Roast sausage. Two carts: 5225 Ballard Ave.
(outside King’s Hardware) and 5330 Ballard Ave. N.W., (at Ballard Sunday Market). 11 p.m.–2 a.m. Fri.–Sat., 10 a.m.–3 p.m. Sun. Three words: vegetarian chili dogs. SHORTY’S just does dogs right. Plus the pinball arcade, the cheap drinks, and the creepy carnival-themed decor is extra fun when you’re bleary-eyed at 1 a.m. 2222 Second Ave. Noon–2 a.m. daily. MONSTER DOGS is the go-to spot for the traditional Seattle Dog, and vendors are known for being fast and friendly. Three Belltown carts at First and Bell, Second and Bell, and First and Blanchard, open Wed.–Sat. Also on Capitol Hill at East Pike and 10th Ave. outside Neumos, 8:30 p.m.–2:30 a.m. Mon.–Sun. MAD DAWG’S HOT DOGS boasts cast-ironcaramelized onions, non-GMO vegan dogs, a gluten-free bun option, homemade spicy mayo, and, according to owner Daniel Dovinh, “secret bacon.” 908 12th Ave. outside the Chieftain, 9:30 p.m.–2:30 a.m. Thurs.–Sat., and 100 W. Mercer St. outside Ozzie’s, 10:30 p.m.–2 a.m. weekends. The Asian-inspired BEKO GOURMET DOG JAPON’s menu includes toppings like nori (seaweed), daikon (radish), kimchee, and wasabi mayo. Basic dogs are priced competitively; pay a few bucks more for something fancier. Friendly service! Downtown at Second and Pike and Fifth and Pine, and on Capitol Hill between 10th and 12th on East Pike. Hours vary. PO DOG offers wonton-paper-wrapped, deep-fried specialties like the Wasabi EggRolled Dog and the “Deep Fried Danger Dog” (wrapped in pepper bacon). Also try a Mac ’n’ Cheese Dog, shoestring fries, deep-fried pickles, and veggie options. 1009 E. Union St., and 2014 N.W. Market. Hours vary. CYBER DOGS was started by a gal with a passion for veggie dogs and a simple dream: to turn what once was a supply closet at the Convention Center into the cozy, all-vegetarian hot dog corner cafe it is today. The menu runs ethnic, from Indian spinach and yogurt sauces on the DoggiLama to the Brazilian flair of the Dog from Ipanema with black beans, coconut milk, and hearts of palm. 909 Pike St. 11 a.m.–“midnight +” weekdays, noon–midnight weekends. E
Midnight at the Movies BY DIANA LE
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ast weekend marked the grand reopening of Capitol Hill’s Egyptian Theatre under its new designation as SIFF Cinema Egyptian. Don’t miss this fun run of late-night flicks in celebration of Halloween—and of the beloved film house being open once again. 801 E. Pine St., 781-5755, siff. net. All movies start at 11:55 p.m. Oct. 10: Hedwig and the Angry Inch Sing Along Make up, wig out, and sing along with this drag-rock opera. Admission includes free tambourine and gummy bears. Oct. 17: Slither A small town is taken over by extraterrestrial parasitic worms in James Gunn’s (Guardians of the Galaxy) love letter to B-horror films, starring Nathan Fillion and Elizabeth Banks. Oct. 18: Tremors Kevin Bacon and Fred Ward fight underground monsters in the town of Perfection, Nevada.
Back to the Bar Hidden gems for your next nightcap. BY JESSIE MCKENNA
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hat makes something a “hidden gem?” Is it really a back bar if there’s a twohour wait? And do we really care as long as it’s unique and serves killer cocktails? No, we don’t. Whatever you call ’em, these off-the-beaten-path watering holes are worth seeking out. Nestled behind an old-timey general store filled with craft goods, the E. Smith Mercantile Back Bar serves delectable drinks with sassy names like Peg Leg Annie, as well as pre-Prohibition libations that combine traditional ingredients with house-infused spirits. 208 First Ave. S., 641-7250, esmithmercantile.com Unlike the foul, juniper-masked booze from which this joint borrows its name, Bathtub Gin & Co. embodies the class of a bygone time. Dim lights, exposed brick, polished wood—the mood is calm and warm, the drinks superb. 2205 Second Ave., 728-6069, bathtubginseattle.com There’s no obvious signage for Knee High Stocking Company; you ring a doorbell to be greeted at this tiny speakeasy. 1356 E. Olive Way, 979-7049, kneehighstocking.com Needle and Thread, the 30-seat speakeasystyle bar located above Tavern Law, oozes early-20th-century charm. The expertly made cocktails are almost too beautiful to drink. Pro tip: Do it anyway. 1406 12th Ave, 325-0133, mccrackentough.com/tavernlaw Gainsbourg’s French-inspired food and drink bring a little piece of Paris to Greenwood. Vintage pulp art and French pop culture inspire this sweet spot. 8550 Greenwood Ave. N., 783-4004, gainsbourglounge.com A dominating chandelier and massive French Revolution–inspired paintings reign in the Bastille Back Bar, with its high ceilings and exposed brick. It’s gorgeous, with an extensive wine and cocktail list, and busy on weekends. 5307 Ballard Ave. N.W., 453-5014, bastilleseattle.com/BackBar The Tin Lizzie Lounge, a craft-cocktail bar in the historic MarQueen Hotel, is filled with quiet alcoves with cushy furniture that make it feel like a well-kept secret with a time machine at the door. 600 Queen Anne Ave. N., 282-7407, thetinlizzielounge.com The Tin Table feels like a speakeasy, if only because it’s hidden in the old Oddfellows Building, up a staircase and facing whatever fancy dancing is going on at the Century Ballroom. 915 E. Pine St., 320-8458, thetintable.com Located just beyond the high ceilings and
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SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
Late-screening flicks at the recently reopened Egyptian.
Oct. 24: Evil Dead II: Dead by Dawn Bruce Campbell reprises his role as Ash in this sequel that is arguably better than the first. It will swallow your soul. Oct. 25: Cabin in the Woods Horror-comedy mastermind Joss Whedon (Buffy the Vampire Slayer) and Drew Goddard (Cloverfield) flip the slasher genre on its head. Oct. 31: The Rocky Horror Picture Show Let Frank-N-Furter lead your sexy, campy, horrorfilled Halloween night with live shadow casting by the Vicarious Theatre Company. Nov. 1: Zombie A classic from Italian director Lucio Fulci that stages the ultimate battle between zombies and sharks. E
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AFTER DARK
1303 NE 45TH ST
Nightlife Guide » FROM PAGE 15
week crowd is worth the 69-cent tacos and cheap microbrews. 512 N.W. 65th St., 782-2770 E
oysters on ice in the Ballard Annex, Grog’s decor is somewhat austere compared to the Annex’s lavish ocean-liner theme, giving it a hunkerdown-below-deck feel. 5410 Ballard Ave. N.W., 783-5410, ballardannex.com/grog You might feel underdressed if you show up in jeans, but the Zig Zag Café won’t kick you out—hospitality is its business. You’ll be seated at a proper table, too—only a few barstools here. Enjoy fresh roses on the bar and jazz from the speakers while you sip martinis. 1501 Western Ave. #202, Pike Street Hillclimb, 625-1146, zigzagseattle.com E
Funny People
T
Dive Time Your guide to Seattle’s noteworthy holes-in-the-wall.
SUNDAY With a dearth of date-nighters, Punchline Sundays generally turns into a clubhouse
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SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
BY MARK BAUMGARTEN he agony and the ecstasy of the comedy open mike cannot be matched. To be perfectly honest, in order to enjoy one of these nights—or take part in one—you need to find a little ecstasy in your agony. Because there is a lot of agony. But not all open mikes are the same. Here’s a night-by-night guide for neophyte comics and gawking patrons alike.
BY DAVE LAKE
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Give your funny bone a workout at one of Seattle’s open mike nights.
s long as there have been drinkers, there have been dive bars, and Seattle has some great ones. A few even clean their bathrooms regularly. Here’s a look at the city’s best. A bell at the Ballard Smoke Shop, when rung, requires the ringer to buy patrons their next round—a tradition local fisherman would observe after returning from a successful haul. 5439 Ballard Ave. N.W., 784-6611, ballardsmokeshop.com Open 24 hours a day, the 85-year-old 5 Point Cafe in Belltown is a divey institution. It boasts of having Seattle’s best jukebox, and it might. Service can be slow, but happy-hour breakfast, 6–9 a.m. Monday–Friday, is worth the wait. 415 Cedar St., 448-9991, the5pointcafe.com One Yelp reviewer proclaims The Grizzled Wizard “the least rape-y dive bar in North Seattle,” so there’s that. Also, $2 happy-hour Olys, which is good since they only take cash. 2317 N. 45th St., 395-GRIZ, grizzledwizard.com Blue Moon is a legendary U District haunt, but the neighborhood’s other great dive is The Kraken. It’s tiny, though maneuvering around their selection of pinball and old-school arcade games is worth it for the cheap drinks and the steady stream of punk and metal acts that play regularly. Blue Moon: 712 N.E. 45th St., 6759116, bluemoonseattle.wordpress.com. Kraken: 5257 University Way N.E., 522-5334 Western-themed Linda’s has been a Capitol Hill staple for two decades now, a friendly place where punks and tech nerds commingle under a taxidermied buffalo, or perhaps on the patio, which is sunny-day perfection. 707 E. Pine St., 325-1220, lindastavern.com Georgetown’s 9 LB Hammer offers shuffleboard, pinball, and, best of all, free peanuts—the shells of which cover the floor, providing a unique imbibing ambience. 6009 Airport Way S., 762-3373, ninepoundhammer.com If you have a fear of clowns, don’t get anywhere near Shorty’s. They abound here, as do cheap beer, good pinball, and a large hot-dog menu with veggie options. 2222 Second Ave., 441-5449, shortydog.com Taco Tuesdays at The Tin Hat in Phinney Ridge are usually bustling, but battling the mid-
atmosphere, with comics trying out a lot of new material. Head back later in the week for Punchline Tuesdays and Fridays. 235 Broadway E., 322-5781, punchlinefridays.com. 8:30 p.m. sign-up, 9 p.m. show. No cover. 21 and over.
MONDAY If you search “Seattle comedy open mike,” the Comedy Underground’s Monday Madness Open Mic is at the top of the list. This means that you will see a lot of sweat-palmed newcomers delivering the first flaccid jokes of their careers. But given the Underground’s reputation as the longestrunning club in the city, you are just as likely to see big-time headliners pop in for three minutes of heaven. 109 S. Washington St., 628-0303, comedyunderground.com. 8 p.m. $6. 18 and over. It is a warped kind of crowd that gathers in the Rendezvous’ Grotto for The Magic Hat, a hybrid open mike hosted and curated by the delightfully strange Emmett Montgomery, who books about half the night’s acts and chooses the other half via lottery. 2322 Second Ave., 4415823, jewelboxtheater.com. 7 p.m. $5. 21 and over. Comics looking to test their mettle against a tough crowd will often find it at The Local 907’s Open Mic, where the clientele is happy to ignore your lame jokes to focus on their friends and drinks. 907 S. Third St., Renton, 425-255-2511. 8 p.m. No cover. 21 and over. A new addition to the comedy landscape, Comedy Crater plays in the classic divey atmosphere of the Blue Moon to an audience of regulars (who would be there with or without the comedy). 712 N.E. 45th St., 675-9116, bluemoonseattle.wordpress.com. 7:30 p.m. sign-up, 8 p.m. show. No cover. 21 and over. TUESDAY Parlor Live ups the ante with its Game of Jokes Open Mic/Comic Search, in
which comics vie weekly for a spot in a showcase, as well as a bimonthly cash prize. 1522 Sixth Ave., 602-1441, parlorlive.com. 6:30 p.m. sign-up, 7:30 p.m. show. No cover. 21 and over. The area’s only female-focused open mike, Comedy Womb disallows misogyny, racism, homophobia, and hate—a stance that not only makes the crowd more comfortable, but also challenges comedians to not rely on othering. Half the slots in the evening’s two shows are women only, but men are welcome to fill the oth-
ers. 2322 Second Ave., 441-5823, jewelboxtheater. com. 7 & 9 p.m. $5. 21 and over. WEDNESDAY A bit of a groaner in the past, Open Mic Wednesdays at Laughs Comedy Spot have
improved dramatically in the past six months with the addition of emcee Skippy Sprinkles.12099 124th Ave. N.E., Kirkland, 425-823-6306, laughscomedy.com. 8 p.m. No cover. 18 and over. The controlled environment at the ascendant Tacoma Comedy Club makes its Open-Mic Night one of the area’s best. Interested comics have to e-mail in advance; the club then curates its list based on its keen sense of humor. 933 Market St., Tacoma, 253-282-7203, tacomacomedyclub.com. 8 p.m. No cover. 18 and over. THURSDAY If you were filming an indie flick
about a young, hopeful comic, the stage at Dexter and Hayes Public House—where The Basement Comedy Open Mic happens—would be the perfect setting. 1628 Dexter Ave. N., 283-7786, dexterandhayesbar.com. 9:30 p.m. No cover. 21 and over. FRIDAY The former home of the People’s Republic of Komedy (and Koffee), Scratch Deli has carried the torch for late PRoK runner Tristan Devin by playing host to Seattle’s alternative comic scene. The Scratch Deli Open Mic is a pivotal part of that, encouraging young comics—this is the only all-ages gig on this list—to fill the Tristan Devin Theatre with new ways to make people laugh. 1718 12th Ave., 257-4554, scratchdeli.com. 7:30 p.m. No cover. All ages. E
They Only Come Out at Night Bats Northwest is a special kind of after-hours club. BY KELTON SEARS
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In the Midnight Hour Late-night radio worth staying up for.
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BY DIANA LE
E
ven though the way most of us consume music is changing, there’s still a lot of romance in the old-fashioned radio program, especially in Seattle. And what’s happening after most of us are asleep is the really good stuff. Whether you’re on a late-night drive or working into the wee hours, these radio shows have the personality, guests, and hosts that capture the city’s idiosyncratic music culture. Delilah (KAFE 104.1, 7 p.m.–midnight Sun.– Fri.) provides a safe space for her loyal listeners to air their stories, scored by a soundtrack of adultcontemporary rock customized to each caller. Music From the Mailbag (Hollow Earth Radio, hollowearthradio.org, 10 p.m.–midnight Fri.) Discover what your friends and neighbors are listening to—the entire show plays music sent in by listeners. Hip-Hop Knuckles (KBCS 91.3, 3–5 a.m. Sat.) DJ Nje blends notorious and lesser-known hiphop artists for two hours of good vibes. Jazz Theater (KEXP 90.3, midnight–2 a.m. Sun.) John Gilbreath is out to prove that jazz isn’t something that already happened; it’s alive and always changing. He spins the familiar along with the unexpected. Latenight Delight (Hollow Earth, 4–5 a.m. Sat.) Whether you’re out late or up early, this experimental, beatoriented show featuring everything from instrumental hip-hop to drone music will keep you company. NW Music (Hollow Earth, 8 p.m.–midnight Sat.) Four straight hours of music from our backyard—an excellent primer of how prolific the Northwest music scene is. Sonarchy (KEXP, midnight–1 a.m. Sun.) Hosting live performances by underground Seattle bands for 17 years. Sonic Reducer (KEXP, 9 p.m.–midnight Sat.) Three hours of the shortest, fastest, and loudest in punk and hardcore, which suggests the playlist is twice as long as a regular show’s. Sugar Free (KBCS, 1–3 a.m. Fri.) The best show for indie-rock gems from bands like Pavement, Guided by Voices, Shonen Knife, and the Dum Dum Girls. E
12101 Ambaum Boulevard SW • Seattle, WA 98146 www.schickshadel.com • 1-844-SCHICK1 * Based on results of a verified, independent survey of former Seattle patients (success measured as total abstinence for one year and assessed by self-evaluation), against published success rates from verified, comparable studies of other medical institutions.
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
ext time you’re out getting sloshed at the cantina, take a moment to thank a leathery winged mammal. “Bats are one of the main pollinators of the agave plant,” says John Bassett, a retired UW biomedical researcher. “Without bats, there would be no margaritas. People either love or hate bats, but when you really learn about them, there’s a lot of ‘Gee whiz!’ moments.” Bassett is also a proud 10-year member of Lynnwood’s Bats Northwest, a group founded in 1996 to help protect Pacific Northwest bat populations through conservation and education. “Bats get a bad name,” he explains, “because of one type of bat”—the blood-eating vampire bat, which he calls “the bad boys of the bat world.” But, Bassett says, they’re rare—“only three species out of something like 1,200, and they only live in Central and South America. The 15 species of bats in Washington state all just eat bugs.” It goes without saying that without bats, there would be way more mosquitoes and flies in Seattle than any of us would be comfortable with. According to Bassett, some of the best bat viewing in Seattle is at Greenlake; if you hang out after dusk settles, you can see them flitting over the water looking for dinner. They’re easier to spot
during the summer, which is when Bats Northwest hosts bat-watching sessions, but Bassett says you can still see them now if you look hard enough. Sometimes they’ll come to you. This past July, 270 flew into the attic of a Victorian home in Columbia City and took up residence. Rather than freaking out, the home owners simply closed off the attic, got rabies shots (fewer than one percent of bats have rabies), and invited Bassett’s group to come and help host neighborhood bat viewings on the front lawn at night, when the colony would fly out in small bursts to search for food. “As long as there’s water and bugs, you can find bats,” Bassett says. “Just don’t touch them and you’ll be OK.” E
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food&drink Takin’ It to the Streets
FoodNews
BY JASON PRICE
Nue’s street-food focus and modernist spin breaks “new” culinary ground.
Makini Howell of vegan restaurant Plum has now set her sights on a vegan ice creamery and sweetshop. To raise money, she’s asking folks to contribute via Community Sourced Capital, “a sustainable financing system designed to strengthen communities.” People buy $50 “squares” to fund a larger loan, which they say will be fully repaid as the business grows.
BY NICOLE SPRINKLE
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Hommage opened in the former Book Bindery space (behind Almquist Family Vineyards) on Wednesday, Oct. 1. Chef Nico Borzee, formerly of Artusi, headlines, presenting French cuisine in one of the most charming hidden dining spaces in town. NYC-based Top Chef Master Marcus Samuelsson will be coming to The Swedish Club on Halloween. He’ll discuss his latest book, Marcus Off Duty: The Recipes I Cook at Home while treating guests to canapes, including what else?—Swedish meatballs. Tickets are $75, and the event runs from 6 to 8 p.m.
Soon-to-be restaurateurs Cvetkovich and Godwin.
Sharpen your knives in preparation for Brazilian churrascaria Novilhos opening their South Lake Union location in mid-October. Seventeen different cuts of meat are on the menu and $51 gets you an all-you-can-eat dinner. morningfoodnews@gmail.com
making me pine to open my own street-food restaurant all at once. But he’s quick to point out that his “street food” won’t necessarily be exact replicas of things he’s eaten. Sometimes it will, but sometimes he’ll riff on a dish. Take, for instance, binoodles (a made-up name), which Cvetkovich masterminded when he was hosting a Chinese visitor via couchsurfing. “She introduced me to this pickled mustard seed with olives from Viet Wah grocery. It’s mellow but not astringent.” To that he adds fermented tofu, chili, peanuts and tomato, which he serves over cold Chinese wheat noodles. Or they might take the flavor profile of, say, an Indonesian curry but “turn it into a sandwich,” says Godwin, who met Cvetkovich at the Modernist Cuisine Lab. Godwin often came to do special dinners there, and they became fast friends. While Godwin’s travels pale in comparison to Cvetkovich’s, he’s got the same modernist sensibility and the desire to work creatively. And while their food is geared to be simple and approachable, the duo will have no qualms about employing a modernist trick or two if they think it will make something taste better. “It’s street food in its simplicity and flavors, but the techniques can change,” says Cvetkovich.
» CONTINUED ON PAGE 22
Carrot Purée With Foie Butter at Brunswick & Hunt BY NICOLE SPRINKLE
NICOLE SPRINKLE
Clockwise from top: “binoodles”; compressed fruit; bunny chow with rabbit.
TheWeeklyDish
I’m growing increasingly tired of every fashionable restaurant’s attempt to get foie gras on the menu, often in more than one dish. Usually when the ingredient is treated tangentially—in this case as foie “butter”— a red flag goes up. But boy, did this dish deliver. It starts with the carrots: utterly silky and puréed within an inch of their lives. They are sweet and warm and remind you just how damn good carrots can be. On top are two medallion-like pieces of very pale foie gras that are salt-cured and thus have never touched heat. They literally melt on your tongue and into the lush carrots like, well, butter. But as they quickly disappear, the foie flavor doesn’t. A vibrant basil pistou and some parsley temper the decadence. E nsprinkle@seattleweekly.com
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
with a restaurant, I can always be somewhere new in the kitchen.” Street food, he says, was a natural fit. He’d always been surprised at how you could get such incredible-tasting bites, whether in plastic bowls or plates or on a stick, from street stalls, but could never find them on restaurant menus. “You see the same 10 items in every Vietnamese restaurant.” On this we are simpatico. I recount for him some of the things I ate while living in Taiwan for a year that I can never find anywhere else: night-market delicacies like an incredible squid fried with Chinese basil and Chinese five-spice or a perfectly simple whole fish steamed with ginger, chilies, and scallions. He’s eager to hear this because, he says, he wants input from other travelers for his menu. He and his chef—Ben Godwin, formerly of The Fat Duck in London and the Salish Lodge in Snoqualmie—plan to have it finalized by the middle of this month. They just spent a weekend working through a number of the dishes, which will mostly be small plates. I got a sneak preview, which included, among other things, bifanas, a Lisbon-style pork sandwich with paprika, and mititei from Romania: lamb and chuck on a stick, flavored with cumin, caraway, smoky paprika, and garlic, grilled over charcoal and served with spicy mustard and pickled onion. “The food in Portugal was amazing. They once owned half the world, but they integrated the foods of the places they conquered, which is not the case of the UK. We’re going to do a lot of Moroccan stuff too, because the food is so different from anywhere else, a lot of grilled meats and vegetables. And Vietnam—the little steamed rice cakes with shrimp on the inside.” Listening to Cvetkovich talk is teasing my taste buds, flooding me with memories, and
PHOTOS BY KYU HAN
’m both fascinated and jealous when I phone Chris Cvetkovich about his soonto-open Capitol Hill restaurant, Nue. Pronounced “new,” the name is inspired by a Japanese mythical creature, and also means “naked” in French, which signifies its simplicity, its lack of bells and whistles. And Nue is, well, new—as in no one else is doing this in Seattle. What is it, exactly? In two words: street food. Just a week before Cvetkovich shared his plans with me, I’d had a conversation with a good friend that went something like this: Me: If we were ever crazy enough to open a restaurant, what do you think it would be like? Friend: Well, I think because we both traveled so much, it would be cool to feature our favorite dishes from all over the world. Me: Yeah, totally. Like even street food. Do you think that’s too broad, though? Friend: I don’t know, but we’re not doing it anyway. Me: Of course not. Cue Cvetkovich. A chef? Nope. He’s been an environmental artist for video games at Xbox and Wii for a decade, but also hangs out and cooks with all the Seattle modernist food geeks like Scott Heimendinger, the recent subject of a Seattle Weekly story (“Seattle Food Geek Builds Ultimate Sous Vide Machine,” Sept. 3), and Nathan Myhrvold. He’s even partnered with The Culinary Institute of America to use his 3-D food animations in their curriculum—something he’s been making at his own company for years. “I was working all day and enjoyed it, but every day when I turned off the computer, I went to the kitchen and cooked,” he says. “So I eased into the food world by doing animations of food. I worked with César Vega doing an animation for his ‘Knowledge Map of Ice Cream’ in the Modernist Cuisine Lab [in Seattle]. But from foodie geek to restaurateur? I ask Cvetkovich about that leap, and the concept of Nue, which is based on his travels and the street food he ate during them. “The research has been for the last 10 years. Traveling was always a part of my life. I’d always gone the hard route. Like I wanted to go to Borneo, but to the Indonesian side, rather than the Malaysian part. I searched all over, but couldn’t find anyone to take me there. I finally resorted to Couchsurfing [a travel community website] and found a guide. I thought, ‘I’m going to get jacked in the jungle,’ but I went bushwhacking with this dude, and it turns out he was the one who took the Lonely Planet guys into the jungle in Malaysia.” But it was his most recent four-month trip throughout Europe, which ended in January, that solidified his desire to open a restaurant. “I’d been talking about it for years, but it was really on that trip, where about midway through I was enjoying so much being immersed in that culture, that the thought of coming home and sitting behind a computer kind of killed me. I knew that I can’t travel all the time, because I need money. But
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Friday, OctOber 10 tOwn Hall Seattle, 8pm
Opening Celebration: Monk 10/10
Seattle celebrates Thelonious Sphere Monk, the “genius of modern music,” with 10 top solo pianists and a 10-tet of Seattle monsters (including Skerik & Evan Flory-Barnes) under Wayne Horvitz, rebuilding 1959’s “Monk at Town Hall” material. And, there will be cake! (Co-presented with Town Hall Seattle. Support provided by The Boeing Company.) Friday, OctOber 10 & Saturday, OctOber 11 tula’S reStaurant and Jazz club, 7:30pm
Larry Fuller Trio
The superb pianist returns to Seattle in a hard-swinging jazz trio with LA bassist Katie Thiroux and drummer Matt Witek. Saturday, OctOber 11 cHapel perFOrmance Space, 8pm
John Seman’s Lil Coop Quintet Gregg Belisle-Chi & Chelsea Crabtree
Bass giant John Seman’s Lil Coop Quintet explores composition and free improvisation, as does the rich guitar work of Belisle-Chi and pristine vocals of Crabtree. Sunday, OctOber 12 pOncHO cOncert Hall, cOrniSH cOllege OF tHe artS, 8pm
Tri Minh’s Quartet: Sounds from Hanoi
A masterful mentor to a new musical scene, this pianist excelled in composition at Hanoi Conservatory and has created revolutionary Vietnamese jazz and electronica. His quartet for piano, zither, and traditional and contemporary instruments is rivetingly fresh. mOnday, OctOber 13 triple dOOr, 7:30pm
Taylor McFerrin
A solo set from the Brooklyn-based producer. Ambient keys, moody riffs, solemn choirs, spiraling synths into the unknown (Contactmusic). mOnday, OctOber 13 tula’S reStaurant and Jazz club, 7:30pm
Oliver Groenewald Newnet
Top Northwest players in a nine-piece band perform Groenewald’s neo-Third Stream compositions.
Sunday, OctOber 19 pOncHO cOncert Hall, cOrniSH cOllege OF tHe artS, 7:30pm
Lew Tabackin Trio | Ben Flocks Trio
Two generations of saxophone masters bring the jazz continuum to the Cornish stage in two distinctive trio settings. mOnday, OctOber 20 triple dOOr, 7pm
Garfield High School Jazz Band
One of the nation’s finest school jazz programs is a source of Seattle pride under the leadership of Clarence Acox. wedneSday, OctOber 22 pOncHO cOncert Hall, cOrniSH cOllege OF tHe artS, 8pm
Jacky Terrasson Trio
The scintillating French piano star is renowned for controlled velocity and exquisite phrasing. Free masterclass, noon, PONCHO. tHurSday, OctOber 23 pOncHO cOncert Hall, cOrniSH cOllege OF tHe artS, 8pm
Greg Osby Quartet
An alto saxophone innovator, with 15 Blue Note albums and a legacy of leadership. Free masterclass, noon, PONCHO.
tHurSday, OctOber 16 triple dOOr, 7pm & 9:30pm
Bassekou Kouyate & Ngoni Ba
The undisputed master of the West African ngoni recorded on Sub Pop with Ngoni Ba. Expect raucous, undiluted joy. tHurSday, OctOber 16 pOncHO cOncert Hall, cOrniSH cOllege OF tHe artS, 8pm
Johnaye Kendrick Group
Acclaimed vocalist on the national stage, now with top Seattle artists. (Presented by Cornish College of the Arts.) Friday, OctOber 17 rOyal rOOm, 8pm
Amy Denio & OU
Seattle’s well-traveled multi-instrumentalist has found remarkable synergy in Rome with the sextet OU. They conjure a delightful “world jazz folk anarchy.” Party! Friday, OctOber 17 & Saturday, OctOber 18 tula’S reStaurant and Jazz club, 7:30pm
Thomas Marriott: Urban Folklore
A rich collaboration of Seattle’s premier trumpeter with New York heavyweights Orrin Evans (piano), Eric Revis (bass), and Donald Edwards (drums). Saturday, OctOber 18 tOwn Hall Seattle, 8pm
Joe Lovano & Dave Douglas Quintet: Sound Prints featuring Lawrence Fields, Linda Oh, & Joey Baron
A new superstar ensemble with saxophonist Joe Lovano, trumpeter Dave Douglas, and the serious firepower of Oh (bass), Baron (drums), and Fields (piano). Bring the family. This night will inspire! Saturday, OctOber 18 cHapel perFOrmance Space, 8pm
William O. Smith: Compositions and Improvisations
William O. (Bill) Smith performs his captivating compositions with longtime friends: trombone master Stuart Dempster and clarinetist Jesse Cantebury. (Presented by Nonsequitur.) Saturday, OctOber 18 tHrOugH tueSday, OctOber 21 - nOrtHweSt Film FOrum
JAZZ @ NORTHWEST FILM FORUM
Northwest Film Forum and the Earshot Jazz Festival present their 13th annual film program with The Frank Morgan Story, The Case of the Three Sided Dream, and Mingus: Charles Mingus. Visit nwfilmforum.org for tickets and information.
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Saxophonist Jessica Lurie reunites with Arne Livingston and Dale Fanning to recreate the forward-looking, always slamming power trio, Living Daylights! Syrinx Effect is the magical duo of Kate Olson and Naomi Siegel.
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Friday, OctOber 24 tula’S reStaurant and Jazz club, 7:30pm
Kareem Kandi Organ Trio
Saturday, OctOber 25 pOncHO cOncert Hall, cOrniSH cOllege OF tHe artS, 8pm
Eric Vloeimans: Oliver’s Cinema
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One of the great, utterly distinctive vocalists in jazz in a sextet with drummer Jamison Ross and pianist Patrice Rushen.
Breathtaking Dutch trumpeter performs gorgeous, cinematic music with accordion and cello in Seattle’s most pristine hall.
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Friday, OctOber 24 rOyal rOOm, 8pm
Solid, hard-grooving jazz organ trio powered by Kandi’s fat saxophone tone and Delvon Lamarr’s soulful B3.
wedneSday, OctOber 15 cHapel perFOrmance Space, 8pm
SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
Boban & Marko Markovic Orkestar
The world’s best Roma brass band in a night of ballistic, Eastern European joy — “fresh, fun, party-ready” (NPR). Be there!
tueSday, OctOber 14 triple dOOr, 7:30pm
Carmen Lundy Group
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Sunday, OctOber 19 tOwn Hall Seattle, 8pm
Barry Altschul 3dom Factor
The legendary drummer, who defined styles for future generations, with Hayes Greenfield (alto sax) and Joe Fonda (bass).
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Sunday, OctOber 26 Seattle art muSeum, 8pm
Daniel Barry’s Celestial Rhythm Orchestra
Incredible original compositions performed by an incredible 19-piece Seattle jazz orchestra. (Thanks to 4Culture and Artist Trust.) wedneSday, OctOber 29 emp level 3, 7:30pm
Eric Revis Quartet | Kate Olson Sextet
Powerhouse bassist Eric Revis holds the flame of new-jazz pioneers like Mingus and Ayler to his new quartet with monster saxophonists Darius Jones and Bill McHenry. Kate Olson opens with her new sextet. (Presented in cooperation with EMP.) tHurSday, OctOber 30 pOncHO cOncert Hall, cOrniSH cOllege OF tHe artS, 8pm
Expansions: The Dave Liebman Group
Liebman brings the scorching sound of his early 70’s Miles work to a brand-new quintet. Free masterclass, noon, PONCHO. Friday, OctOber 31 rOyal rOOm, 6/8/10pm
Royal Room Halloween Party
Big fun and great music! Silent film The Cabinet of Dr. Caligari with live music at 6, the Royal Room Collective Music Ensemble at 8, and Electric Circus, deep in the dangerous fusions of Miles Davis’s Bitches Brew, at 10. Friday, OctOber 31 dOwnStairS @ tOwn Hall Seattle, 8pm
Chad McCullough: Spin Quartet
The Seattle/Chicago trumpeter in a new, intense quartet with “some truly different things in modern jazz” (Examiner.com). Friday, OctOber 31 & Saturday, nOvember 1 tula’S reStaurant and Jazz club, 7:30pm
Frank Catalano Quartet
The brawny Chicago saxophonist lights up two party nights at Seattle’s classic jazz club with his solid quartet. Saturday, nOvember 1 rOyal rOOm, 8pm
Jacob Fred Jazz Odyssey & McTuff More fun! Mix-and-match pairings with two of the most legendary, road-tested, avant-gritty, alt-jazz bands in the world. Saturday, nOvember 1 cHapel perFOrmance Space, 8pm
Battle Trance
This genre-defying tenor sax quartet conjures whirling soundscapes “with the ephemeral and unquestionable logic of a dream” (AdHoc). Schedule subject to change. Check www.earshot.org for updates.
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Seattle Repertory Jazz Orchestra
Seattle’s all-star big band salutes “Quincy and Ray on Jackson Street.” (Presented by Seattle Repertory Jazz Orchestra.) Sunday, nOvember 2 emp level 3, 7:30pm
Industrial Revelation Cuong Vu & Ted Poor
A live filming of the beloved jazz, soul, hip hop, groove, punk, indie rock, rock-solid Industrial Revelation, sharing the stage with the equally genrebending new project of Cuong Vu, Ted Poor, and synthist Pete Rende. (Filmed for Icons Among Us: Jazz in the Present Tense, in cooperation with EMP and Argus Fund.) Sunday, nOvember 2 triple dOOr, 7pm & 9:30pm
True Blues: Corey Harris & Alvin Youngblood Hart
With one foot in tradition and one in experimentation, Harris joins the “cosmic love child of Howlin’ Wolf and Link Wray.” mOnday, nOvember 3 barbOza, 8pm
Crystal Beth & the Boom Boom Band
One of the most fearless musicians in the city unleashes her psychoactive, euphoric, libidinous Liberation Ritual 1. tueSday, nOvember 4 pOncHO cOncert Hall, cOrniSH cOllege OF tHe artS , 8pm
Hal Galper Trio w/ Jeff Johnson & John Bishop
The veteran bebop pianist stretches out with Seattle legends Jeff Johnson and John Bishop to celebrate a new CD. tueSday, nOvember 4 triple dOOr, 7:30pm
Seattle Women’s Jazz Orchestra featuring Grace Kelly
This evening, the ensemble welcomes special guest Grace Kelly, already a master saxophonist at 22. The concert also includes two world premiere performances from the orchestra’s second annual competition for women jazz composers. (Presented by SWOJO, w/ support from 4Culture.) tHurSday, nOvember 6 - variOuS timeS, lOcatiOnS, artiStS
SAx IN THE CITY
To celebrate the 200th birthday of the idiosyncratic Adolphe Sax, the Earshot Festival dispatches players of his extraordinarily weird, wonderful, and ubiquitous instrument throughout the city. Look for a saxophone choir and pop-up sax concerts throughout the day and into the evening. Free Friday, nOvember 7 tOwn Hall Seattle, 8pm
Pharoah Sanders Quartet
With his unmistakable questing, yearning tone, this legendary saxophonist has pursued a master plan through the major turns in jazz history of the last 50 years. His intensity has never waned. His quartet includes pianist William Henderson, bassist Nat Reeves, and drummer Joe Farnsworth. Friday, nOvember 7 & Saturday, nOvember 8 tula’S reStaurant and Jazz club, 7:30pm
Anton Schwartz Quintet
“Upbeat vibe, strong melodies, and unflagging sense of swing” (Jazziz). The sax monster with regional greats at Tula’s. Saturday, nOvember 8 rOOSevelt perFOrming artS tHeater, 7:30pm
Roosevelt High School Jazz Band
Under Scott Brown, Roosevelt’s stylish and assured performances help define the excellence of Seattle jazz education. Saturday, nOvember 8 vermilliOn art gallery and bar, 8pm
Bad Luck | Scott Cutshall /John Gross Duo
A duo of duos. Refined and torrential, saxophone and drum duos from Portland and Seattle! Sunday, nOvember 9 caFé racer, 8pm
Racer Sessions +
The celebrated U District location has nurtured Seattle’s improvising musicians for years. Free mOnday, nOvember 10 pOncHO cOncert Hall, cOrniSH cOllege OF tHe artS, 8pm
Miguel Zenón Quartet
Blazing cultural integration from the MacArthur-winning Puerto Rican sax phenomenon and his brilliant band. tueSday, nOvember 11 muSicquarium @ triple dOOr, 7:30pm
Earshot Jazz Festival Wrap-up Party
Join everyone who put on the Earshot Jazz Festival, as well as musicians and your fellow fans, at this closing party and celebration. With lots of gratitude and live jazz accompaniment. Free
MASTERS, MONSTERS, AND MENTORS
OCTOBER 10 – NOVEMBER 11, 2014
206-547-6763 & www.earshot.org
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
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Saturday, nOvember 1 nOrdStrOm recital Hall, 7:30pm Sunday, nOvember 2 KirKland perFOrmance center, 2pm
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food&drink» High Quality at ‘Onibaba Ramen’
Takin’ It to the Streets » FROM PAGE 19
The devil’s in the details. BY JAY FRIEDMAN
Vashon Island | 206.463.0830 www.seattledistilling.com
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W W W. S E AT T L E W E E K LY. C O M / S I G N U P
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Prepping the modernist compressed fruit.
For instance, on a recent trip through Malaysia, he was inspired by “street vendors who sell nothing but beautifully cut and refreshingly chilled fruit.” They’ll make “compressed fruit,” putting watermelon and pineapple in a chamber vac with liquid and bringing the atmosphere down to zero. On “returning-to-Earth” pressure, the air that was once inside the fruit is replaced with the liquid surrounding it, changing both the flavor and texture. For the watermelon, they “did vodka and lime juice (think of a grown-up JellO shot), and the pineapple was done with Thai chili, tequila, and lemongrass. They are served with salsa en polvo (Mexican fruit salt) for dipping. I know it sounds all high-tech and fancy, but honestly that’s just in the description. This is one of the simplest foods there is,” contends Cvetkovich. Another nod to modernist fare: a liquid-nitrogen ice-cream machine. But what about British street food? I ask Godwin. “Well, some kind of twist on fish and chips and meat pie, even if it doesn’t go on the menu and it’s just me eating it.” And what’s the one thing from your travels that you need to have on the menu? “Soup dumplings from Shanghai. When you see them you can’t say no.”
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he calls her pop-up “Onibaba Ramen,” explaining that “Onibaba refers to a mythical Japanese demon that bears the appearance of a maniacal old woman and feasts on humans.” But in straying from her usual soba-making to “dabble in the dark side of ramen,” Mutsuko Soma is, in most ways, far from a maniacal old woman. In fact, this methodical, relatively young woman is capitalizing on the ramen boom and quickly setting the quality bar high, enabling the rest of us humans to enjoy the feasting. Soba-master Soma is enjoying a chance to play with new noodles at her Miyabi 45th restaurant, saying that while “the process of making soba is unchanging with the same few broths and techniques, with ramen there are varying styles, broths, and garnishes.” But she’s maintaining a unique soba connection. “Ramen is traditionally cooked in a basket called the tebo, but for [our] ramen, I cook [it] in a similar fashion as soba,” says Soma. “We shock the ramen in ice water after cooking, and then reheat it quickly in its cooking liquid before serving. I find that cooking the ramen this way leads to it having a better texture.” The thin, slightly wavy noodles she served at a soft opening last week were great, hitting all the marks often missed at Seattle’s other ramen restaurants: noodles not cooked too soft, chashu that’s flavorful and fatty, eggs with runny yolks, and soup that’s still hot. Minor quibble: the soba bowls are smallish for proper ramen eating.
PR O M O TI O NS
A R T S A ND E NTE R TA I NM E NT
He’s right about that. To my mind, street food
SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
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$3.99 PUPUS, SUSHI & HANDROLLS $4.00 COCKTAIL SPECIALS, SAKE & WINE $15.00 SAKE MARGARITA PITCHERS MON & TUES ALL NIGHT, WED & THURS & FRI 5-7PM LATE NIGHT: SUN-THURS 9-11:30PM HEATED DECK IS OPEN!!!
10/8 - ALOHA WEDNESDAY- BOBBY HUSTLE!! FREE, 21+, $3 LATE NITE HAPPY HOUR STARTS AT 9 & BAND AT 10! 10/9 - GET RIGHT THURSDAYZ- DJ SOSA & FRIENDS!! 10/10 - FRIDAY- DJ KUSH-KO!! 10/11 - SATURDAY- DJ HEAD-ACHE!! 10/12 - SUNDAY- KARAOKE W AURY MOORE! $3 LATE NITE HAPPY HOUR 9 - MIDNITE! MONDAY & TUESDAY ABSOLUTE KARAOKE W/ CHASE SILVA & $3 HAPPY HOUR ALL NIGHT W/ ABSOLUT DRINK SPECIALS!! 10/15 - ALOHA WEDNESDAY- TWO STORY ZORI!!
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is the epitome of comfort food, delicious and uncomplicated, something you can always count on to cheer you up—and fill you up. And in a global society, it makes more sense than ever that our comfort food go-tos should extend to all parts of the world. Sure, fried chicken and mashed potatoes will always be beloved, but why not South African bunny chow (meat curry served in a bread bowl) or shandong bing (a Chinese crepe)? And while small plates will be the focus at Nue, Godwin is also planning a few staple dishes that will be larger and served family-style. “If I’m having that casual experience, sharing things with friends, I love, like, a whole roasted leg of lamb placed in the middle of the table. You put it down on the table and everyone digs in.” Again, memories of eating in Taiwan with my friends around a big table come rushing in, the lazy susan spinning left and right—quickly at first, then more slowly as our bellies fill and the conversation finally slows. It was such an intimate and engaging way to eat. And that’s exactly what these guys want you to experience at Nue. “I want it to be a place where you’re comfortable hanging out. So our drink menu will have fourounce wine pours for a cheap price, like you can get in Europe. This way people can feel OK about having wine at lunch and pairing it with a twoplate combo,” says Cvetkovich. Or, via a walk-up window, you can eat in true street-food style. E
Shio ramen at Miyabi 45th.
Onibaba’s first offering this Wednesday will be shio (salt) ramen, a welcome break from the overabundance of heavy tonkotsu (pork bone) ramen in the Seattle area. For this soup, Soma adds sea bream and shrimp heads to pork and chicken to create a slightly “oceanic” broth that’s complex, but still what the Japanese call sappari—clean-tasting and light. Some might say the soup is too salty (no reduced-salt versions to cater to westerners), but I applaud Soma for keeping it real. Shio ramen won’t be available for long, though, as Onibaba’s menu will change weekly for its Wednesday-only ramen lunch. Soma plans to cycle through the traditional ramen varieties (shoyu, miso, and even tonkotsu) before eventually exploring more modern styles. But I hope Onibaba doesn’t go too alternative. We have enough of that in Seattle, with no one striving for the level of perfection of traditional preparations that Soma seems to be seeking—and reaching. E
food@seattleweekly.com
nsprinkle@seattleweekly.com
For updates on the November opening, check out nueseattle.com.
MIYABI 45TH 2208 N. 45th St.,632-4545, miyabi45seattle.com.
arts&culture
Mozart and Mbps
ThisWeek’s PickList
How Internet streaming is transforming the way we listen to (and see) classical music. BY ROGER DOWNEY
T
You will have noticed that the presenters listed
so far are all European. The only U.S. organiza-
Anna Netrebko and Željko Lucic in the Met’s Macbeth.
tion with similar ambitions is the Metropolitan Opera, which packages its huge library of Met Opera in HD performances in annual subscription form for $150 a year, less for the Met’s “supporting” contributors. (Proud disclosure: I serve as a live presenter for the Met in HD series, which begins its new season on Saturday with Verdi’s Macbeth.) The reason that arts streaming TV has lagged in the U.S. is almost purely economic. The Met is so huge—its annual budget tops $350 million— that it can afford to take on such a pricey enterprise, and even make money on it. But North American arts organizations lack the generous governmental support offered by most European countries—most critically the free broadcast time on state radio and TV networks. Even the Los Angeles Philharmonic, one of the nation’s best-endowed institutions, backed off an ambitious plan to stream its concerts. What does reach the small screens are one-off events like L.A. Opera’s recent simulcast of its Roaring ’20s La Traviata. Aidan Lang is too new to his job as general
director of Seattle Opera to opine casually about how his company should approach such a fraught subject as live streaming, but he says, “In my experience at least, neither the people who said it would destroy opera as we know it or the people who said it would revive the medium were right. I haven’t seen any such impact either way.” Seattle Symphony’s Simon Woods is more decided in the matter. “I see big question marks whether video is ever going to be a useful way to deliver our content,” he says. “The Berlin Philharmonic’s Digital Concert Hall is an amazing technical platform, but it only really exists because it has a substantial amount of corporate sponsorship.
A Sampler of Classical Streaming Sites
The Metropolitan Opera metopera.org/ondemand Bavarian State Opera staatsoper.de Vienna State Opera staatsoperlive.com/en Berlin Philharmonic digitalconcerthall.com/en medici.tv medici.tv The Royal Opera digitaltheatre.com “Now promotion is a different matter. Video is very effective behind the curtain, as it were, and we’re already active in that area. People, especially today’s young people, are fascinated with how things get done, what actually goes on backstage at an institution like the Symphony. “Where we see real benefit from these technologies in the future is in improved sound and presence in the audio stream. CDs were a revolutionary technology for classical music in their day, but the art has come a long way in 30 years. With contemporary high-bandwidth format, 5.1 surround-sound downloading and streaming could provide a totally new experience to people who have speaker systems equal to the task. If I were to go out on a limb, I think that could be one of the next waves to transform the field.” While we’re waiting for that next wave, and saving up for a new sound system for our computers and video monitors, there’s already more rich material available in streamed formats than the most ravenous classical fan could consume 24/7. If you haven’t already, dip your toes in; you may find yourself swept away. E
classical@seattleweekly.com
THE MET: LIVE IN HD Pacific Place, 600 Pine St., and other theaters, fathomevents.com. $24. 9:55 a.m. Sat., Oct. 11.
Sure, a two-letter word starting with Z would be useful to get out of many a tight spot in Scrabble. But za? As in the ab-bro-viation for pizza? Seriously? But, ridiculously, the game’s Official Tournament and Club Word List allows it, along with other “words” included for convenience’ sake—for instance, mere spelledout mouth sounds, like sh and mm, or borrowed foreign terms that simply happen to come in handy, like xu, a South Vietnamese coin. Whatever. Sugaring this pill is 101 Two-Letter Words (Norton, $19.95) by Magnetic Fields singer/songwriter and Scrabble fan Merritt: a neat little breviary of quatrains, with a Seussian bounce, introducing and serving as a mnemonic for every word on the list. Thus, to illustrate ox: Trixie was the ox princess. She ruled the happy oxen until a rival dosed her with a nasty neurotoxin. Goofball cartoons by the great Roz Chast (longtime contributor to The New Yorker) accompany each verse. Tonight, Merritt talks about his new book and shows the illustrations, prompted by local writer, DJ, and erstwhile SW contributor Kurt B. Reighley. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $25 (includes book, admits two). 7:30 p.m. GAVIN BORCHERT
THURSDAY, OCT. 9
The Man Who Can Forget Anything
Filmmaker and stage director Gregg Lachow departed Seattle for New York in 2008, accompanied by his wife, dancer/choreographer Megan Murphy. His films, including Money Buys Happiness and Silence!, had been well received here, and he’d produced other local features, but he left on a somewhat pessimistic note during our region’s indie-filmmaking
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
their best. A remarkable example is the Bavarian State Opera, now in its second season of presenting free streamed live performances of five operas (and two ballet evenings), including rarities like Richard Strauss’ The Silent Woman and Janáček’s The Makropulos Affair. You never know where the lightning’s going to strike: Check out The Guardian’s home page and Rameau’s gorgeous Hippolytus and Aricia pops out at you, filmed at Glyndebourne last summer. Most top arts presenters aren’t so generous. If you want to watch and listen regularly to the sleek Berlin Philharmonic, for example, be prepared to pony up 20 euros (about $25) a month to tune into the orchestra’s “digital concert hall.” Yet there are options just as classy that offer a wider repertory at more modest cost. About the glossiest streaming-arts collection is Great Britain’s Digital Theatre, which offers prestigious productions from the Royal Opera and Royal Ballet alongside top stagings from the Royal Shakespeare Company, Young Vic, and London’s star-bedizened West End theater scene, all for as little as $6.50 a show. Paris-based medici.tv pioneered this all-thearts model in monthly and annual subscriptions that range from $12 to $150. From a modest start, the company now presents top events like the Salzburg Festival and Bolshoi Ballet premieres.
Stephin Merritt
© ROZ CHAST
Some major art producers are giving away
WEDNESDAY, OCT. 8
MARTY SOHL/METROPOLITAN OPERA
he rise of digital streaming has proved a bonanza for fans of adventurous, wide-ranging entertainment. But for most of the artists whose work is being streamed, it’s been an unmitigated disaster. Royalty payments to originating performers for streaming use are a tiny percentage of the fees they used to get for CD and DVD sales or even by-the-cut downloads. You’d think streamed classical material wouldn’t have that downside. After all, most of the originating artists have been dead for centuries. But many of the same conditions do apply: for users, phenomenal access to a range of material undreamed of only a decade ago; for performers, a pittance per view, if that. Anybody who uses YouTube knows that if cat videos are your thing, you’ve found your Internet sweet spot. But much the same thing applies to fans of “high art,” like opera, ballet, and chamber music. Poke just below the surface on YouTube, and you’ll find gems like Giuseppe Verdi’s utterly obscure masterpiece Aroldo, complete, in a blazing 2003 live performance from Piacenza’s Municipal Theater in Italy. The same show will set you back over $20 on DVD. And most of YouTube’s free bounty isn’t available at all in other media. There’s a lot of dross, of course; but plenty of gold amid the gravel.
» CONTINUED ON PAGE 24 23
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arts&culture» Film » FROM PAGE 23 sionism—arguably painting’s last gasp in American culture—out of its dominant position. With the demise of Pollock and company, we were also freed of latent psychology, Freud, the biography of the artist, and burdensome notions of history. Pop Art was all about the massproduced and accessible now. It was transistor radios and the Beatles, automobiles and movie stars, billboards and advertising slogans, miniskirts and the Pill. That’s not to say the work represented here by some two dozen artists isn’t serious. Rather, they seriously engaged with a contemporary culture once scorned by the gatekeepers and curators of “high art.” A halfcentury later, museum shows like “Pop Departures” indicate how the old insurgents have been welcomed into the academy. The survey, culled from SAM’s own collection, reaches forward into the ’80s and ’90s, also including names like Jeff Koons, Barbara Kruger, and Richard Prince. (Through Jan. 11.) Seattle Art Museum, 1300
slump. Now Lachow is returning to Seattle, and to the stage, with an ensemble show that includes himself, his wife, his two sons, and friends from both coasts (dancers and theater folk among them). Movies and music are also part of the spectacle. So what’s it about? “It’s not a variety show,” says Lachow, despite the diversity of performance modes. “It’s an interweaving of theater, film, and live music. If we do our job well, you’re not really noticing when it shifts.” As for the title and family inspirations, he says, “It explores people’s efforts to stay in the present moment while struggling to let go of the past. The show is inevitably about passing on what we have to the next generation.” Part of the inspiration for the piece, commissioned by and premiering at On the Boards, is the generational and familial position that Lachow and Murphy (who codirects) now occupy, one familiar to many theatergoers: kids leaving the nest, parents aging and dying, while taking stock of life at that awkward middle period that none of us actually wants to call, ahem, midlife. “Our shows have always been about time and memory,” says Lachow, reflecting on his collaborations with Murphy via their Seattle company Run/Remain. “Megan and I have been together for 25 years,” he notes, which is a lot of time for art-making and child-raising. (Elder son Sam, who appears in the show, is a noted Seattle musician; teenaged Charlie also performs.) There’s a story in the two acts, inspired partly by Charlie’s coming-of-age. “I’m playing Charlie’s dad. Megan’s playing Charlie’s mom,” says Lachow. The project isn’t strictly biographical, of course, since the generational passages being expressed here are fairly universal. Still, says Lachow, The Man Who Can Forget Anything represents a new subject for his stage collaborations with Murphy. “More than anything we’ve done before, our family’s at the center of it.” (Through Sat.) On the Boards, 100 W. Roy
ROY LICHTENSTEIN/SEATTLE ART MUSEUM
SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
Pop Departures
24
SUNDAY, OCT. 12
Wordless!
Seattle Lesbian & Gay Film Festival
BRIAN MILLER
On Stage now - October 26 Box Office: (425) 392-2202 VillageTheatre.org
Way N.E., 634-3400, bookstore.washington.edu. Free. 6 p.m. BRIAN MILLER
First Ave., 654-3121, seattleartmuseum.org. $12.50–$19.50. 10 a.m.–5 p.m. BRIAN MILLER
St., 217-9888, ontheboards.org. $23–$25. 8 p.m.
The fetish for the handmade, with the artist’s individual touch embedded in a singular work, ended with Warhol. Whether he’s the father of Pop Art is harder to determine, since Lichtenstein, Rauschenberg, Johns, Oldenburg, and other postwar provocateurs also stormed the galleries in the 1960s, knocking abstract expres-
MOHAI, he’s got an eye for the edges and recesses of a booming city, those corners and craftsmen being threatened by development. He’s not necessarily nostalgic about Ye Olde Seattle, which he never knew; rather, he brings to his art an historian’s living sense of time passing with each new page in his notebook. Now he’s collected over 100 drawings and columns in Seattle Sketcher (Pediment, $34.95); if you’re lucky, maybe he’ll add his signature to your copy. University Book Store, 4326 University
Spanning two weeks at several venues, this year’s edition of the SLGFF includes 51 features and over 100 short films. Notable titles include the stage adaptation Match, with Patrick Stewart as a retired dancer and ballet teacher reflecting on his life during the fabulous ’60s; the high-school coming-out drama Blackbird, with Mo’nique in a supporting role; and a repertory presentation of The Muppet Movie, meaning a chance to sing along with “Rainbow Connection.” As always, the documentaries engage with a variety of topical issues, including marriage equality (Limited Partnership), parental rights (Letter to Anita), and the passing of what might be called the Stonewall generation of leaders and public intellectuals who helped advance our culture to the better place we are today (Regarding Susan Sontag). Beginning the fest is the new doc Back on Board: Greg Louganis, which profiles the famously handsome winner of four gold medals in diving at the 1984 and ’88 Olympic Games. After coming out and announcing his HIV-positive status in ’94, Louganis has had a somewhat rocky road in life (though leading to a recent happy marriage), as chronicled by director Cheryl Furjanic, who’ll attend tonight’s gala opener with Louganis. (Through Oct. 19. Full schedule and tickets: threedollarbillcinema.org.) SIFF Cinema Egyptian, 801 E. Pine St.. $33. 7:30 p.m. BRIAN MILLER
SATURDAY, OCT. 11
Gabriel Campanario
For me, the indispensable, must-read four horsemen of The Seattle Times are Talton, Westneat, Balk, and Campanario—aka The Seattle Sketcher, as his regular feature and new collection of drawings are called. The Spanish-born artist arrived here eight years ago, just in time for the Great Recession. He’s seen the fall and rise of Seattle at street level, and his annotated ink-plus-watercolor renderings are really a form of reportage: getting to know the city and its people from a friendly, non-adversarial perspective. (Most people don’t want to talk to reporters, but everyone seems happy to meet Campanario.) Recently treated to a show at
© ART SPIEGELMAN
Milagros fine mexican folk art
Art Spiegelman hardly needs an introduction. A Pulitzer winner for his Holocaust tale Maus, he’s been at the vanguard of American comics—or comix, as they were known in the underground press when he started out—for over four decades. Not just an artist, he’s a scholar of his field, which he’ll survey in an illustrated talk that samples work by many other pioneering cartoonists. His favorites and influences reach back to the early 20th century, when the funny pages and animated shorts appealed especially to immigrants still getting a grip on the language. That means not just The Yellow Kid or Mickey Mouse, but more esoteric creations by artists including Frans Masereel, Lynd Ward, and Milt Gross, slides of whose work will be accompanied live by the jazz sextet of Phillip Johnston. He and Spiegelman have been touring Wordless! around the country to introduce the post-comix (and post-Internet) generation to these early innovators of comics and screen animation. For those who couldn’t see Spiegelman’s big career retrospective at New York’s Jewish Museum last year, this is the next closest you’re going to get to a guy who’s part of the same pantheon he’s praising tonight. The Moore, 1932 Second Ave., 877-784-4849, stgpresents.com. $18–$47. 7:30 p.m. BRIAN MILLER E
(10/8) University Book Store: Stephin Merritt (10/9) **SOLD OUT** Cornel West Rekindling ‘Black Prophetic Fire’
M U S IC TOWN HALL
CIVICS
SCIENCE
ARTS & CULTURE
EVENTS
COMMUNITY
P R OMO TION S
W W W. S E AT T L E W E E K LY. C O M / S I G N U P
(10/9) Marcelo Gleiser Finding the Universe’s ‘Ultimate Truth’
(10/10) Earshot Jazz Festival: Opening Celebration Monk 10/10
A R T S A ND ENTER TA INMEN T H A P(10/13) P Y HJohn O UR Lanchester with Steve Scher Understanding the Language of Money
TOWN HALL
CIVICS
SCIENCE
ARTS & CULTURE
COMMUNITY
(10/15) Environmental Perspectives WWW.TOWNHALLSEATTLE.ORG Turning Kids Onto Science, Inside and Outside Class
UW INTERPERSONAL CONNECTIONS STUDY www.uwconnectionsstudy.com | 206.221.4296 Improve your relationships!
(10/14) Mary Randlett and Frances McCue Images of the Northwest
(10/15) Seattle Arts & Lectures: James McBride
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(10/12) Community Alliance for Global Justice: The Global Struggle for Food Sovereignty
(10/14) Mark Bittman with Steve Scher Cooking Quickly in a Fast-Paced World
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Find out about upcoming
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(10/16) Theodore Gray Molecules: ‘Architecture of Everything’ (10/16) Wesley Clark Rethinking American Foreign Policy (10/17) Brian Little The Nature of Human Personality (10/17) Scratch Night Artist and Scholar in Residence Elana Jacobs and Steve Scher
“The voracious sweep of postmillennial jazz
has plenty of exemplars but few truer than the
trumpeter Cuong Vu.” The New York Times
(10/18) Earshot Jazz Festival: Sound Prints Quintet (10/19) Earshot Jazz Festival: Boban and Marko Markovic Orchestra (10/20) **SOLD OUT** Atul Gawande Dying with Dignity
OCT 11, 8PM | THE MOORE (10/20) SATURDAY Thomas Frank,|Rick Perlstein, GROUPS OF 10 OR MORE CALL (206) 315-8054 and John Summers FOR SINGLE TICKETS CALL (877) 784-4849 EST. 1907 ‘Salvos from The Baffler’ 2ND AVE & VIRGINIA ST Magazine STGPRESENTS.ORG (10/21) Matt Bai with Steve Scher Gary Hart and The
October 11 Meany Studio Theatre
206-543-4880 uwworldseries.org
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
(10/18) Saturday Family Concerts The Not-Its!
25
, e e f n issio
m No ad nks to your tha s! n o i t a don
SEATTLE CHILDREN’S FESTIVAL Presented by Northwest Folklife and Seattle Center
OCTOBER 12, 2014 AT SEATTLE CENTER
SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
A Multi-Cultural Festival, “Celebrating Our Big Neighborhood!”
26
www.NWFolklife.org/SCFestival #SCFestival
arts&culture» Performance OPENINGS & EVENTS
BECKETT ON THE RADIO Radio plays presented by
Sandbox Radio LIVE! ACT Theatre, 700 Union St., 2927676, acttheatre.org. $15–$20. 8 p.m. Mon., Oct. 13. INHERITANCE: MAIDEN, MOTHER, CRONE Sinner Saint Burlesque brings you “burlesque, modern dance, music, theatre, and performance art with feminist activism, intergenerational dialogue, communitybuilding, and sensory spectacle” in this full-length show. Theatre Off Jackson, 409 Seventh Ave. S., 800838-3006, inheritancemmc.com. $22–$40. Opens Oct. 9. 8 p.m. Thurs.–Sun. Ends Oct. 19. KINKY BOOTS Inspired by a true story (and movie) about a repurposed shoe factory, with a score by Cyndi Lauper. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $45.25 and up. Preview Oct. 8, opens Oct. 9. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Oct. 26. A LESSON FROM ALOES Set in South Africa during apartheid, the play explores the psychology of survival and politics. Isaac Studio Theatre at Taproot Theatre, 208 N. 85th St., 781-9707, thaliasumbrella.org. $20–$40. Preview Oct. 9, opens Oct. 10. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 26. LITTLE SHOP OF HORRORS Dweeby Seymour may have changed his luck when he befriends a carnivorous plant from space. Bainbridge Performing Arts, 200 Madison Ave. N., 842-8569, bainbridgeperformingarts. org. $19–$27. Preview 7:30 p.m. Thurs., Oct. 9, opens Oct. 10. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends Oct. 26. THE MAN WHO CAN FORGET ANYTHING SEE THE PICK LIST, PAGE 23. QUESTIONABLE CONTENT The opening installment of this late-night game show stars Ray Williams, Jeffrey Robert, Jennifer Parker and Anita Goodman as panelists. Theater Schmeater, 2125 Third Ave., schmeater.org. Pay what you can. 11 p.m. Fri., Oct. 10–Sat., Oct. 11. THE ROCKY HORROR SHOW Don’t dream it, be it! Seattle Musical Theatre, Magnuson Park, 7120 62nd Ave. N.E., 800-838-3006, seattlemusicaltheatre.org. $25. Opens Oct. 9. 7:30 p.m. Thurs.–Sat. Ends Oct. 18. THE VAUDEVILLIANS Two 1920s musicians, played by Jerick Hoffer and Richard Andriessen, are frozen and thaw out a century later to perform songs by Janis Joplin and Gloria Gaynor. It’s being called a “vintage cabaret with a twist of drag,” and New York and Australia loved it. Seattle Repertory Theatre, Seattle Center, 443-2222. $17–$67. Opens Oct. 8. 7:30 p.m. Wed.–Sun. plus some matinees; see seattlerep.org for exact schedule. Ends Nov. 2. WHOSE LIVE ANYWAY? Games from the improv show Whose Line Is It Anyway; the troupe includes Bellingham’s own Ryan Stiles. The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $37.50–$62.50. 8 p.m. Sat., Oct. 11. WORDLESS! SEE THE PICK LIST, PAGE 24.
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CURRENT RUNS
CAMPFIRE Improv scenes based on spooky ghost sto-
ries. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions.org. $10. 8:30 p.m. Thurs. Ends Oct. 30. CLUES Jet City’s board-game-based improvised murder mystery. Jet City Improv, 5510 University Way N.E., 352-8291, jetcityimprov.org. $12–$15. 8 p.m. Thurs.–Fri. Ends Nov. 21. THE FABULOUS LIPITONES When one member of a barbershop quartet drops dead (I love it already!), they have to scramble for a replacement in John Markus and Mark St. Germain’s comedy with music. Taproot Theatre, 204 N. 85th St., 781-9707. $15–$40. Runs Wed.–Sat; see taproottheatre.org for exact schedule. Ends Oct. 18. THE GARDEN OF RIKKI TIKKI TAVI Friendship and cooperation are the messages in this adaptation of a classic Kipling tale. Seattle Children’s Theatre, Seattle Center, 441-3322. $15–$36. Runs Thurs.–Sun.; see sct. org for exact schedule. Ends Nov. 9. GO, DOG. GO! A musical version of P.D. Eastman’s classic children’s book. Second Story Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $5–$10. 1 & 3 p.m. Sat.–Sun. Ends Oct. 19. HITCHCOCK Improv in the style of the master of film suspense. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions.org. $5–$7. 8:30 p.m. Sun. Ends Oct. 12. I AM OF IRELAND Subtitled “A Celebration in Story, Song, and Dance,” Book-It stages tales by Yeats and others. Center Theatre at the Armory, Seattle Center, 216-0833. $25. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends Oct. 12.
• IN THE HEIGHTS See Village Theatre’s percolating
production and be baffled anew at why this show hasn’t earned the fanatical popularity of Wicked or inspired the critical orgasms of The Book of Mormon. Sixty years ago, Lin-Manuel Miranda (music and lyrics) and Quiara Alegría Hudes (book) would have inked a Hollywood deal during intermission of opening night, so solid and surefire is their 2008 story of the changes that beset residents of Manhattan’s Washington Heights neighborhood during two sultry summer days. The show’s challenges are not only emotional—from one scene to the next, it’s a roller-coaster from humor to anger to tragedy to salsa-driven joy—but technical too. In particular, the opening and closing numbers of Act 1 mix dialogue sung, spoken, and rapped in intricate succession with dance and, in the finale, a blacked-out stage. Nobody misses a beat of either kind, even though the show’s packed with incident and necessarily fastpaced. But everything lands; everything works; every song, scene, and bit gets its most impactful tempo and weight as guided by director Eric Ankrim. Village Theatre, 303 Front St. N. Issaquah, 425-392-2202. $35–$67. Runs Wed.–Sun.; see villagetheatre.org for exact schedule. Ends Oct. 26 (then moves to Everett Oct. 31–Nov. 23). GAVIN BORCHERT MARY’S WEDDING Stephen Massicotte’s 2002 love story is also an antiwar tale related partly as a dream sequence. Mary (Maya Sugarman), a transplant from England, meets farmer Charlie (Conner Neddersen) right before he departs overseas to fight for the Canadian Cavalry Brigade in World War I. This clichéd boy-meets-girl/boy-loses-girl setup then bends space and time via flashbacks and letters, blurring reality with contrived conversations. Yet, under the astute direction of John Langs, this exacting, thrifty production by New Century Theatre Company approaches the material as stealthily as a gold-medal curling team. Most notably, Brian Sidney Bembridge’s stunning scenic and lighting design prove theatrically versatile and visually exquisite. His brilliant barn set seamlessly switches into trenches or a tea party, while Langs’ blocking eagerly employs every edge of the space. Despite the script’s flaws, Sugarman and Neddersen invoke empathy while infusing intensity in the material. Mary’s final monologue will touch anyone who’s lost someone they loved—whether in war or peace. ALYSSA DYKSTERHOUSE West of Lenin, 203 N. 36th St., wearenctc.org. $15–$30. 8 p.m. Thurs.–Sun. Ends Oct. 11. OUT OF STERNO No, it’s not about a camping cookout mishap; Sterno is the mythical place the heroine escapes from in Deborah Zoe Laufer’s absurdist fairy tale. Burien Actors Theatre, 14501 Fourth Ave. S.W., Burien, 242-5180, burienactorstheatre.org. $7–$20. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 19. THE PILLOWMAN An author’s short stories contain creepy resemblances to a series of child murders in this edgy drama. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $27. 8 p.m. Thurs.–Sat. Ends Oct. 18. SEASCAPE Two couples—one of them lizards—discuss “humanity, evolution, and the concept of time” in Albee’s play. Theater Schmeater, 2125 Third Ave., 324-5801, schmeater.org. $18–$25. 8 p.m. Thurs.–Sat. Ends Oct. 11. SLIP/SHOT Jacqueline Goldfinger’s 2010 drama, though set in 1962, is perfectly poised to be painfully topical. What’s it about? A white cop shooting a black kid. Yet the problem with SPT’s production of Slip/Shot is that it holds itself at arm’s length from the very tragedy it intends to depict—the accidental killing of a young black man (Treavor Boykin) by the repentant policeman (Quinn Armstrong) who’s the son of a racist. After that grievous mistake, damage is done to families and friends on both sides, yet the cast mostly simmers when what’s needed is a rolling boil. It’s impossible to know if such depth of emotion is beyond them, but what’s certain is that director Kelly Kitchens chills the incendiary emotions of Goldfinger’s script with the Seattle Freeze. Slip/Shot is a sad example of a show that ought to rip your heart out, but the anticipated chemistry among audience, performers, and current events somehow fails to ignite. KEVIN PHINNEY Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublic theater.org. $15–$32. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 12. SUPRALIMINAL Seattle Immersive Theatre’s interactive tale about the paranormal, both set in and staged at the Georgetown Steam Plant. Meet at South Seattle College, 6000 16th Ave. S.W., and you’ll be bused there. seattleimmersivetheatre.org. $50. 7:30 p.m. Fri.–Sat. Ends Nov. 1.
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
Stage
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a&c» Performance » FROM PAGE 27 TEATRO ZINZANNI: BEAUMOUNT & CASWELL IN HACIENDA HOLIDAY TZ favorites Christine Deaver
and Kevin Kent return for a slapstick holiday adventure. Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/ seattle for exact schedule. Ends Jan. 31. THE WOLF AND THE WITCH Classic fairy tales are mashed up with details (painful, we hope) from your life in this improv show. Ballard Underground, 2220 N.W. Market St., seattleexperimentaltheater.com. $12–$15. 8 p.m. Fri–Sat. plus 2 p.m. Sun., Oct. 12. Ends Oct. 12.
Dance
• UW CHAMBER DANCE COMPANY The mission
of this resident company is to explore the history of modern dance, but sometimes they’re looking at very recent developments. This time out they’re starting in 1983, with Nacho Duato’s ballet and modern hybrid Jardi Tancat and finishing in 2011 with excerpts from Susan Marshall’s postmodern classic Cloudless. Shapiro and Smith’s 1989 To Have and to Hold sits in between, for a trio of works exploring what it means to find support from your community during hard times. SANDRA KURTZ Meany Hall, UW campus, 543-4880, dance.washington.edu/events. $10–$22. 7:30 p.m. Thurs., Oct. 9–Sat., Oct. 11, 2 p.m. Sun., Oct. 12.
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Classical, Etc. • TAI MURRAY From this violinist, Pärt’s Fratres and
sonatas by Debussy and Corigliano, with pianist Ashley Wass. PONCHO Concert Hall, Cornish College, 710 E. Roy St., cornish edu. $10–$22. 8 p.m. Wed., Oct. 8. SEATTLE SYMPHONY Music by John Williams (mostly; plus some Joplin and Max Steiner) on this Seattle Pops program. Benaroya Hall, Third Ave. and Union St., 2154747, seattlesymphony.org. $20 and up. 8 p.m. Fri., Oct. 10–Sat., Oct. 11, 2 p.m. Sun., Oct. 12. THE MET: LIVE IN HD Opera from NYC at a moviehouse near you. It-diva Anna Netrebko opens the season in Verdi’s Macbeth. See fathomevents.com for participating theaters. 10 a.m. Sat., Oct. 11. MUSIC OF REMEMBRANCE The first in their season of free “Sparks of Glory” concerts at Seattle Art Museum, First Ave. & Union St., musicofremembrance. org. 2 p.m. Sat., Oct. 11. CUONG VU TRIO Innovative jazz from this trumpeter and friends. Meany Studio Theatre, UW campus, 543-4880, uwworldseries.org. $20. 7:30 p.m. Sat., Oct. 11. OPUS 7 Choral works by a dozen or so Northwest composers. Trinity Parish Church, 609 Eighth Ave., opus7.org. 8 p.m. Sat., Oct. 11. AUBURN SYMPHONY Mendelssohn’s atmospheric The Hebrides, plus Prokofiev and Beethoven. Theatre at Auburn Mountainview, 28900 124th Ave. S.E., Auburn, 253-887-7777, auburnsymphony.org. $10–$34. 7:30 p.m. Sat., Oct. 11, 2:30 p.m. Sun., Oct. 12. PHILHARMONIA NORTHWEST Music by Pärt (his Fratres—second time this week!) and Sibelius, plus Peteris Vasks’ flute concerto with soloist Paul Taub. St. Stephen’s Episcopal Church, 4805 N.E. 45th St., philharmonianw.org. $18–$20. 2:30 p.m. Sun., Oct. 12. RUSSIAN CHAMBER MUSIC Shostakovich’s (relatively) lighthearted String Quartet no. 1 and more. Benaroya Recital Hall, Third Ave. & Union St., 425-8291345, russianchambermusic.org. 5 p.m. Sun. Oct. 12. TRI MINH QUARTET A contemporary take on traditional Vietnamese music. PONCHO Concert Hall, Cornish College, 710 E. Roy St., cornish.edu. $9–$18. 8 p.m. Sun., Oct. 12.
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» Film
STRAND RELEASING
Opening ThisWeek Automata OPENS FRI., OCT. 10 AT SOUTHCENTER. RATED R. 109 MINUTES.
YANA BLAJEVA/MILLENNIUM ENT.
Banderas as battered insurance agent.
BRIAN MILLER
The Green Prince OPENS FRI., OCT. 10 AT VARSITY. RATED PG-13. 101 MINUTES.
Down in the lower paragraphs of news stories about the Middle East, whenever this Hamas faction or that Hezbollah brigade takes over a town, you’ll read how some nameless Arabs were summarily executed for being suspected Israeli spies. Whether they were informants or not doesn’t really matter; a warning is being made, a code of loyalty enforced: You’re either with us or against us. Yet Mosab Hassan Yousef, eldest son of a high-ranking Hamas leader, was both with and against that terror group while secretly collaborating with Israel’s Shin Bet security agency. And he lived to tell the tale, leading first to his 2010 book Sons of Hamas; then he was on the TV news while fighting deportation from San Diego; and now he appears with his former Shin Bet handler in Nadav Schirman’s very narrowly focused documentary. The Green Prince (Yousef ’s code name) is mostly a studio enterprise, with Yousef and exShin Bet agent Gonen Ben Yitzhak interviewed separately, interpolated with news footage and green-tinted re-enactments (as if viewed from drones with night-vision cameras). Both men come off well, no surprise; and while the doc isn’t overtly political, the terms of access here would appear to align with Schirman’s pro-Israel sympathies. (There’s no mention of legitimate grievance in the occupied territories.) Most of
The Judge OPENS FRI., OCT. 10 AT MAJESTIC BAY AND OTHER THEATERS. RATED R. 141 MINUTES.
Downey’s lawyer and Fermiga’s Hoosier sweetheart.
Leave out Robert Downey, Jr., and The Judge looks like a painfully old-fashioned exercise in the Tradition of Quality. Big-city defense attorney Hank Palmer (that’s Downey) comes home to Indiana just in time to see his father (Robert Duvall), a respected judge, arrested for vehicular homicide. Father and son do not care for each other, but the dominoes are poised to let Hank stick around and mount a spirited defense. In the course of the trial, family dynamics are tested, Hank brushes up against an old girlfriend (Vera Farmiga), and zero coolness points are awarded to anyone involved in the movie. Well, maybe Billy Bob Thornton earns a few as a sleek prosecutor (think George C. Scott in Anatomy of a Murder), but otherwise this is a very square film, suitable for limited Oscar buzz and a safe choice for seeing with your parents. But we can’t leave out Downey, because he’s present in pretty much every scene. And on his best behavior: The actor doesn’t run roughshod over the script or his fellow actors, but he doesn’t phone it in, either. Without losing the conventional arc of the character, this is very much a Downey performance, full of quicksilver responses and sneaky humor. (There are a few moments when he grins in disbelief at the dialogue—but that’s what Hank Palmer would do.) And so his scenes with his brothers (Vincent D’Onofrio, Jeremy Strong) have a believable
testiness, and his reunion with Farmiga’s hometown gal has the right amount of cocktail sauce to keep it from getting rote. David Dobkin (Wedding Crashers) directs the film in a generic style, yet with just enough spikiness to avoid blanding out entirely. A scene between Hank and his ailing father is bracingly frank about what happens to bodies when they become ill, and a running joke about Hank’s brief encounter with a young woman (Leighton Meester) in a bar takes on a truly eyebrowraising tint for reasons that can’t be revealed here. The Judge retains its court-appointed status as a middlebrow awards contender, but these wrinkles help keep it bearable. It also points to a career Downey could maintain after Iron Man and Sherlock Holmes have run their course, when this eternally youthful actor ages into a different kind of role—though one suspects he’ll always be capable of absolutely anything. ROBERT HORTON
Kill the Messenger OPENS FRI., OCT. 10 AT GUILD 45TH AND OTHER THEATERS. RATED R. 112 MINUTES.
At the movies at least, the stock of righteous, muckraking journalists peaked with All the President’s Men. Newsmen (almost always men) had a pretty good run in Hollywood, but now journalism is a suspect enterprise like any other racket. Yet no one in 1996, when this factually inspired tale is set, has any idea how swiftly the standing of newspapers will erode. We hear the AOL dial-up tone when hotshot reporter Gary Webb ( Jeremy Renner) files a big exposé with the San Jose Mercury News, and the Web traffic is terrific—until his jealous MSM rivals shoot him down. If they only knew how soon the Age of Kardashian would make them all dinosaurs. This isn’t just the story of Webb’s downfall, but, indirectly, that of the news biz, too. It would be too simple to call Kill the Messenger Webb’s belated vindication, though the movie embraces his dogged pursuit of a scandalous story become urban legend. (Screenwriter Peter Landesman is a former journalist; director Michael Cuesta has lately been guiding the intrigue on Homeland.) We’re placed entirely on Webb’s side when he gets some leaked court documents that lead him from the crack trade in ’80s L.A. to the CIA-backed contras in Nicaragua. The 10-year-old link seems incredible, but Webb finds sources in prison, Managua, and even Washington, D.C. (Michael Sheen plays a helpful intelligence officer who never quite goes on the record.) To sell Webb’s scoop, and the movie itself, Cuesta and Renner (a producer) hit the regular-guy theme much harder than needed. Gary’s a red-blooded, motorcycle-lovin’ family guy who listens to The Clash when he writes—too professionally aggressive, perhaps, but not enough to alarm his editors (Mary Elizabeth Winstead and Oliver Platt). What any good journalist knows, however, is that short of proven misdeeds—see Shattered Glass—the home life of journalists is reliably dull. Only their stories count. (Can you name one thing about the movie versions of Woodward and Bernstein?) Yet Webb is here made out to be the kind of impetuous idealist whose editors tell him, “You’re too much of an idealist!” He’s reckless, he ignores the warning signs, and finally he’s paranoid—waving a gun in his suburban driveway at the CIA agents who may or may not be following him.
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
We’re in a post-apocalyptic wasteland, a walled city surrounded first by slums (whose denizens are shot on sight) and then by radioactive desert. Beyond that, no one’s sure. Insurance adjuster Jacq (Antonio Banderas) has faint recollections of the sea, but who can trust memory? His world is gray and sooty, occasionally doused with acid rain; there’s no greenery in sight, and the only surviving animals appear to be scavenging dogs and vultures. Spanish director Gabe Ibáñez has set Automata 30 years in the future, after some sort of environmental collapse, though it’s also greatly indebted to a certain movie now 30 years in the past: Blade Runner. Jacq and his colleagues (led by the ever-kindly Robert Forster) wear suits and ties, communicate by pager, and keep filing cabinets in their office. Instead of ray beams: shotguns and six-shooters. The future has failed in more ways than one. No wonder Jacq is so glum about his wife (Birgitte Hjort Sørensen) being pregnant: This is a planet unfit for life, where robots perform the tasks a collapsing population can no longer manage. Jacq’s job is to investigate androids (or automata) gone awry, though he’s thwarted by a cop (a very ’80s Dylan McDermott) more intent on shooting than interrogating the rogue machines. (Besides bullets, they’re constrained by two hard-wired directives descended from Asimov.) Unlike the lively recent class parable of Snowpiercer, or Elysium, there’s no high-living one percent here. Jacq’s
pursuit of some errant robots brings him to a scientist (Melanie Griffith) who warns of their becoming self-aware, but neither does this lead to Terminator-style war between man and machine. While most of the pan-Euro Automata— filmed in English in Bulgaria—feels constructed of other, better sci-fi pictures, there’s a certain weary B-movie integrity to the proceedings. None of the stars seem particularly invested in a happy ending here (Griffith has just one scene with her soon-to-be-ex Banderas), and even the robots are committing suicide. Head shaved to stubble, Banderas’ usual vitality has also been clipped and grayed. He fairly sweats fatalism and defeat; and with a better script, Jacq could be a creature fit for Chandler or Hammett. When one android suggests, “Maybe your time is running out,” Jacq says nothing to contradict him.
CLAIRE FOLGER/WARNER BROS.
You put your fingers where? Juri as Helen in Wetlands.
the film is procedural: Yousef and Yitzhak recall their courtship, narrow escapes, staged arrests, the details of fooling Yousef ’s father (often jailed) and large family. (They’ve since disowned him— in part because he also converted to Christianity.) There are no outside voices, and Schirman (The Champagne Spy) doesn’t interject any tough questions (again: terms of access). The amount of detail here might be tolerable if the smiling, English-fluent Yousef were a more colorful or flawed figure, but he and Yitzhak come off like minor characters in a John le Carré novel: guys we might meet in one chapter and forget, not strong enough to carry the whole story. Where Schirman really falls short is in probing the psychology behind Yousef ’s betrayal of kin and cause. He says, briefly and glibly, that he wanted to prevent violence among Palestinians. He adds that he wasn’t paid very much by Shin Bet, though his life in exile now compares rather favorably to conditions back in Ramallah. So why, following his 1996 arrest and interrogation as a 18-year-old, did Yousef trade allegiances? “Nobody had a gun to my head,” he says, further recalling the vague conviction that “we are living a lie.” What that lie was, or is, Schirman fails to summon. And what Yousef ’s story would tell us about the West Bank and Gaza today is nowhere evident in The Green Prince. BRIAN MILLER
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In its earnest, plodding way, Kill the Messenger treads some of the same ground as Steven Soderbergh’s 2000 Traffic, only it insists on heroes and resolutions to a global business that continues to this day (and ever will). You want to see more of the moneyed misdeeds and villains (including Paz Vega, Andy Garcia, and Ray Liotta), but Kill the Messenger denies you that pleasure. And the folklore that attended Webb’s big story—repeated in the media by Al Sharpton, Louis Farrakhan, and Rep. Maxine Waters—is also more interesting than Webb’s single-minded crusade. Should the truth matter most in such a movie? Just say no. BRIAN MILLER
moments actually did happen. Their style is more gritty (does the sun ever shine in London?) than campy, more Billy Elliott than Priscilla, Queen of the Desert, and AIDS shadows the exhilarating ending. Watching this improbable slice of British political history, you may be moved to reflect that a little more cooperation and a little less more-aggrieved-than-thou competition among interest groups over the past 30 years might have done the American left a power of good. GAVIN BORCHERT
The Two Faces of January OPENS FRI., OCT. 10 AT VARSITY. RATED PG-13. 96 MINUTES.
Not what they seem: Mortensen and Dunst.
PPride OPENS FRI., OCT. 10 AT HARVARD EXIT. RATED R. 120 MINUTES.
The enemy of my enemy is my friend, runs the realpolitik adage, and that’s what motivated Mark Ashton—young, gay, and for several reasons not at all happy about Thatcherism—to begin fundraising in support of UK miners during their bitterly divisive strike of 1984–85. In essence a Clifford Odets play with a Culture Club soundtrack, Pride is based on a true story: how a nascent gay-rights movement made common cause with an also-beleaguered group that might otherwise seem adversarial—men known for, in the words of one memorable Monty Python sketch, “their tough, rugged life hewing the black gold from the uncompromising hell of one mile under.” It wasn’t an easy sell. One of Mark’s friends, who escaped to London after growing up in a mining town, points out that these are the guys who beat him up daily. And of course not everyone in the Welsh village of Onyllwyn is thrilled to see a lorryful of poofs drive up, no matter how much money they’re bringing. In depicting their thaw, director Matthew Warchus and screenwriter Stephen Beresford push buttons without shame; prepare yourself for grandmas saying startling things adorably, repressed bodies liberated by dance pop, darkest-before-dawn plot twists, and even a buckup communal sing. (And yes, one Welsh character comes out; see if you can guess who it’ll be.) Still, you can hardly blame Warchus and Beresford if Pride’s most tearduct-activating
Many people are milling around the Greek tourist sights at the beginning of The Two Faces of January, but our story will ignore almost all of them. It’s only the shady characters who interest us here. Con artists always have something at stake—exposure, the possibility of their past transgressions catching up with them, and suspense about their next game. Three of them meet in the shadow of the Parthenon: Rydal (Oscar Isaac), an American tour guide knocking around Athens in the early 1960s, and Chester and Colette MacFarland (Viggo Mortensen and Kirsten Dunst), a stockbroker and his younger wife on extended vacation. Patricia Highsmith, the author of Strangers on a Train and The Talented Mr. Ripley, hatched this group of expat swindlers, so there’s likely to be at least as much psychological game-playing as conventional suspense. Yes, there’s a murder, but most of the movie is concerned with how Rydal projects guilty feelings about his own late father onto Chester; or how the discrepancy in age between the MacFarlands might create a seed of doubt between them; or whether Chester is more interested in Colette or Rydal. Director Hossein Amini adapted Highsmith’s novel, and while his movie does nicely with the concept of a sunlit noir, it doesn’t actually generate a lot of heat. Everything feels a little too well-made to create much friction. And it’s an unbalanced triangle: The energy between surrogate father and son leaves Colette as the least compelling character in the bunch.
“[A] visually splendid nightmare of totalitarian glitz… a spectacle that demands to be cherished.” TIME For all that, I enjoyed the movie anyway. The languorous portrait of people at loose ends in Europe is nicely drawn; these three convey the gloriously decadent sense that they don’t much belong anywhere, so they might as well fetch up here in the meantime. And the actors are very watchable. All three roles could have been cast with more fitting performers, but it’s intriguing to see what this trio does with the material—even if Dunst gets the short end of the characterization stick. Isaac proves that his terrific turn in Inside Llewyn Davis was no fluke, catching the scrappy desperation of a hustler. And Mortensen—well, how many actors grow more mysterious and less easily pegged as they grow older? Chester always seems to be hiding something, and Mortensen’s sly gift is to suggest that he might have everything, or possibly nothing, to hide. ROBERT HORTON
Wetlands OPENS FRI., OCT. 10 AT SUNDANCE CINEMAS. NOT RATED. 109 MINUTES.
The Zero Theorem RUNS FRI., OCT. 10–THURS., OCT. 16 AT GRAND ILLUSION. NOT RATED. 106 MINUTES.
Since creating the dystopian classic Brazil in 1985, Terry Gilliam has directed just eight more features—a disappointing total for such a feverish imagination. And those films have frequently been half-cocked or messed up, as though damaged in transit. His newest is signature Gilliam: visually exuberant and robustly cynical, it shows the director still circling the big ideas he’s been nursing since his Monty Python days. Pat Rushin’s futuristic script is draped around the defeated shoulders of a worker drone named Qohen Leth (Christoph Waltz). Convinced he is dying, he pesters his manager (David Thewlis) to be allowed to work—Qohen inputs “entities” into a fearsomely complicated database—at home. Most of the movie takes place in two spectacular sets: the garish corporate workplace and Qohen’s cavernous home, an abandoned, partly burnedout church. For reasons that remain murky, the increasingly jittery hero is visited by a teen tech genius (Lucas Hedges) and a saucy young woman (Mélanie Thierry); also mixed into the chaos are Qohen’s daft psychotherapist (Tilda Swinton, still in Snowpiercer mode) and a genial white-haired company boss known only as Management (Gilliam’s Brothers Grimm star Matt Damon). If the film has anything like a narrative rope to cling to, it’s that Qohen is trying to solve an elusive theorem that will prove the meaning of life, or maybe the absence of the meaning of life. The Zero Theorem kicks off nicely. Gilliam’s ability to manufacture worlds is bracing at first, and Waltz is an inspired choice for the lead. His head is shaved—highlighting the fact that he has a very sci-fi skull—and he adopts a crabbed walk that makes him look like a cut-out from one of Gilliam’s animations. The ending, too, takes us into favored Gilliam territory: the tantalizing seduction of embracing fantasy as an escape from misery. That Gilliam already has his mind made up against that seduction is one of the things that dampen this movie’s life. Its middle hour is a wheel-spinning jumble of outrageousness and noise, and mostly pretty tiresome. On the other hand, if you have a vast appetite for watching wheels spin, nobody does it quite as floridly as Terry Gilliam. ROBERT HORTON E
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SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
A deliberate affront to good taste and conventional notions of feminine hygiene: That’s how to describe both the heroine of and the bestselling 2008 German novel Feuchtgebiete by Charlotte Roche, who claims it was inspired by her messy upbringing. And I mean messy. The film’s first sequence begins with a suggestion of ripe teen flesh, then follows 18-yearold skateboarder Helen (Carla Juri) into the world’s dirtiest restroom. There, she cheerfully explains, she likes to culture her rich microbial “pussy flora” instead of hovering over the rim, as a more prim Fräulein would do. Her methods—and those of director David Wnendt—are a calculated gross-out; and the scene sets the tenor for the rest of this amusingly filthy film. Flashbacks soon explicate her hygienic revolt. Helen was raised by a neat-freak mother who turned out to be a monster. (“Don’t trust anyone,” she hisses at 8-year-old Helen after one particularly painful lesson.) Helen’s blithe, noboundaries narration leads us through comic episodes from her upbringing, as girlish trust and innocence give way to corporeal revolution during adolescence. Anything that polite company won’t mention becomes Helen’s favorite topic: hemorrhoids, zits, pus, B.O., body hair, menstrual blood . . . you name it. Her epic catalogue of bodily obsessions is lighthearted; she’s bringing shame only upon herself (well, and her mother). This mortification finally leads her, by way of a shaving accident, to the hospital, where handsome male nurse Robin (Christoph Letkowski) is made to hear more of Helen’s tall tales. Maybe she’s flirting, maybe she’s nuts, but Robin is having problems with his elegant, odorless girlfriend (also a nurse), so he listens— which only encourages Helen’s provocations. The Swiss actress Juri gamely embodies Helen’s outrageousness, showing almost every centimeter of her body without vanity. Wnendt has no option but to steer the camera away from Roche’s ripest scenes (and Juri’s ripest places); though the frequent flashbacks and lurid lighting suggest he’s hiding more than Helen’s anatomy. For all the film’s transgressive shocks, you begin to realize this is vulgarity with an agenda more personal than political. It’s all about Helen’s mom (purse-mouthed Meret Becker) and family, not Germany as a whole. What’s Roche after, then? She became famous early as a TV host (something like an MTV VJ),
and once caused a national scandal by refusing to shave her armpits. A latecomer to feminism and what’s now called “reclaiming the body,” she’s an attractive woman accustomed to the bargain of being primped and powdered for the TV lights. To have a showbiz career, she had to look good. Though the book stops short of social critique, Wetlands is partly her attack on the beauty industry—which is why the novel struck such a chord in Europe. The same ideas of normalizing the natural female body have been around for decades in feminist circles; and you have only to visit websites like Jezebel.com to read discussions of equal candor, free of squeamishness, about the tyranny of grooming and beauty standards. For all its “Eeeew!” moments (one involving a stuck tampon), there’s something liberating about Helen’s taboo-breaking. You can’t imagine an American actress or movie so gleefully determined to offend. Wetlands isn’t particularly deep, and it ends in a rushed heap of melodrama, but Helen is a rare creature at the cinema these days: a woman who dares not to behave. BRIAN MILLER
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and discussion are part of the effort to save the lumbering denizens of Yellowstone National Park. (NR) Grand Illusion, 1403 N.E. 50th St. See buffalofieldcampaign.org for price and ticket info. 4:30 p.m. Sat.
FLAGLER FILMS LONG-DISTANCE HIKING CINEMA TOUR Friday, hikers tackle the Appalachian Trail. On
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A
arts&culture» Film
Saturday, it’s the Continental Divide Trail. (NR) Grand Illusion. See flaglerfilms.com for tickets. 6:30 p.m. Fri. & 2:30 p.m. Sat. HANDMADE PUPPET DREAMS: VOL. 1 Short films document the local puppetry scene, curated by Heather Henson. (NR) Grand Illusion, price TBD. 7 p.m. Mon. HOUSE Cult movies should be mistakes, not intentional. In his 1977 feature debut, there’s no indication that Nobuhiko Obayahshi meant for House to appear—three decades later, to non-Japanese viewers—completely insane. But it is: batshit, Technicolor, fairy-tale-meets-softcore-porn insane. Seven teenage schoolgirls visit the creepy old mansion inhabited by the spinster aunt of heroine Gorgeous (all the girls are similarly type-named); there they begin to disappear Ten Little Indians-style. But who’s killing whom, and why, are the least interesting questions about this effects-saturated dreamscape. Gorgeous is in love with her dashing father and despises his evil fiancée (whose hair and dress are permanently aflutter with a wind machine). Her schoolmates have a crush on their teacher, and her aunt is still pining for a soldier who died in WWII. All that thwarted love leads to flying heads, flashbacks, severed limbs, a ravenous piano, demonic cat, and tidal wave of blood. Obayashi crams every scene of House with giddy, gaudy visual excess; it’s like Douglas Sirk on acid. (NR) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, centralcinema.com. $6-$8. 9:30 p.m. Sat.-Tues.
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NYMPHOMANIAC: EXTENDED DIRECTOR’S CUT
Brace yourself: This is a five and one-half hour fusion of Lars von Trier’s two movies from last year, starring Charlotte Gainsbourg as the woman sharing her sexual history with Stellan Skarsgård. Or something like that. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $7-$12. 6:30 p.m. Mon. SEATTLE LATINO FILM FESTIVAL Chile is the focus of this year’s programming, though countries including Mexico, Argentina, Uruguay, Brazil, Peru, Venezuela, and Cuba are naturally represented with over a dozen documentaries and features. (NR) Pacific Place and other venues. Info: slff.org. Fri., Oct. 3-Sun., Oct. 12. SEATTLE POLISH FILM FESTIVAL Titles in this twoweek series, which includes a group of repertory classics selected by Martin Scorsese, include The Saragossa Manuscript and A Short Film About Killing. (NR) Northwest Film Forum and other venues. Info: polishfilms.org. Sun., Oct. 5-Sun., Oct. 19.
Ongoing
ONE OF THE BEST FILMS OF THE YEAR.”
• BOYHOOD Richard Linklater’s Boyhood was shot
Steve Oldfield, FOX-TV
in the director’s native Texas in short bursts over a 12-year period—Linklater knew the shape of the film, but would tweak its script as time marched on, incorporating topical issues and reacting to his performers. This means that unlike most movies, which remake the world and impose an order on it, Boyhood reacts to the world. Protagonist Mason (Ellar Coltrane), tracked from first grade to high-school graduation, is learning that life does not fit into the pleasing rise and fall of a threeact structure, but is doled out in unpredictable fits and starts. Linklater doesn’t reject melodrama so much as politely declines it, opting instead for little grace notes and revealing encounters. Patricia Arquette and Ethan Hawke are terrific as the parents, and Linklater’s daughter Lorelei is distinctive as Mason’s older sister. (R) ROBERT HORTON Sundance GONE GIRL What’s exceptional about Gillian Flynn’s adaptation of her 2012 novel, directed with acid fidelity by David Fincher, is that Gone Girl doesn’t like most of its characters. Nick Dunne (Ben Affleck) soon falls under suspicion of murdering his missing wife Amy (Rosamund Pike). The small-town Missouri police investigation (led by Kim Dickens) goes entirely against Nick for the first hour. He behaves like an oaf and does most everything to make himself the prime suspect, despite wise counsel from his sister (Carrie Coon) and lawyer (a surprisingly effective, enjoyable Tyler Perry). Second hour, still no body, but flashbacks turn us against the absent Amy. As we slowly investigate the Dunnes’ very flawed marriage, funny little kernels of bile begin to explode underfoot. How the hell did these two end up together? Flynn’s foundational joke
•
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answers that question with a satire of marriage. The movie poster and tabloid-TV plot suggest a standard I-didn’t-kill-my-wife tale, but matrimony is what’s being murdered here. Amid the media circus, Nick becomes the scorned sap because of his untruths; but what really damns him in the movie’s intricate plot is his credulity—he believed in Amy too much. Gone Girl is all about manipulation—Fincher’s stock in trade, really, which helps make the film such cynical, mean-spirited fun. (R) B.R.M. SIFF Cinema Uptown, Meridian, Bainbridge, Cinebarre, Bellevue Square, Big Picture, Sundance, Majestic Bay, Ark Lodge, Kirkland Parkplace, others HECTOR AND THE SEARCH FOR HAPPINESS The title of this whimsical though ultimately conventional quest-com spells it out for you. Hector (Simon Pegg) is an upright British shrink with a committed girlfriend named Clara (Rosamund Pike), amusingly eccentric patients, and a very neat apartment. What he needs is an adventure, very much like Tintin, so he embarks on a world tour to find out what makes people happy. (The final answer will be Clara, but you knew that already.) Hector’s travels take him to Shanghai, the Himalayas, Africa, and Los Angeles. En route he meets a gruff business tycoon (Stellan Skarsgård), a gorgeous Chinese woman (Ming Zhou), a Tibetan monk, a drug lord (Jean Reno), an old flame (Toni Collette), and a sage neuroscientist (Christopher Plummer). Back home, we can understand why impatient Clara keeps shutting off their Skype chats: So much virtue can be a bore. (R) B.R.M. Seven Gables LAST DAYS IN VIETNAM How, short of total victory, do you end a war? The question has been haunting our military and political leaders since Korea. And though Rory Kennedy’s sobering new doc focuses on the last few desperate days of the Vietnam War, 40 years ago, its lessons are surely applicable today in Iraq, Afghanistan, and whatever the hell it is we call ISIS. The bulk of the testimony here comes from guys who were actually on the ground in Saigon—soldiers (American and Vietnamese), a CIA agent, embassy staffers, and the stray journalist or two. These fresh interviews are coupled with vivid archival news footage filmed on both sides of the U.S. embassy walls as a terrified tidal wave of humanity sought evacuation before the North Vietnamese Army overran Saigon in late April 1975. With a deluded ambassador in charge, his men began a covert evacuation plan that would also include thousands of Vietnamese (despite orders and U.S. immigration laws): girlfriends, wives and families, friends, and brothers-in-arms. (“We gotta save the tailor!” says one attaché whose suits he made.) There’s intrigue in these brave tales that occasionally recalls Argo, only with an unhappy outcome for all those natives left behind. (NR) B.R.M. Varsity THIS IS WHERE I LEAVE YOU The fractious Altman clan gathers for an awkward and altogether irreverent weeklong mourning period (sitting shiva) for its deceased patriarch, at the command of an imperious new widow (Jane Fonda) who wears her conspicuous boob job with blithe pride. All of which greatly discomfits her four grown children. Among them, Corey Stoll is the son who stayed to run the family business; Adam Driver is the ne’er-do-well youngest son who fled to the West Coast; Tina Fey is the unhappily married wife and mother, also visiting; and Jason Bateman is the New York radio producer whose marriage just imploded. There’s a lot of ground to cover in this cluttered adaptation of Jonathan Tropper’s 2009 novel (he did the adaptation), directed with no great subtlety by Shawn Levy. (R) B.R.M. SIFF Cinema Uptown, Guild 45th, Kirkland Parkplace others TRACKS The place is the Australian desert, where in 1975 a young woman named Robyn Davidson determined she would walk the 1,700 miles from Alice Springs to the Indian Ocean. In writing a National Geographic article and subsequent best-selling book about the trek, Davidson offered little explanation for her impulse, and the movie is blunt about acknowledging that no coherent justification can be made on that score. She just needed to do it. Mia Wasikowska’s skeptical gaze and stony delivery are ideal for this tough character, and the actress never makes a bid for likability. We do hear Davidson’s words on the soundtrack, but for the most part the movie simply forges ahead; the romance-of-the-desert familiar from Lawrence of Arabia is kept at bay. This isn’t about conquering the land, but it’s not a reassuring journey of self-discovery, either. (PG-13) R.H. Sundance, others
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arts&culture» Music
Minding Monk Seattle pianists recall a legend.
BY MARK BAUMGARTEN
T
INGS
CORD
CY RE
LEGA
I found the music was a little like tinfoil hitting the filling, but it had a sense of personality to it. Horvitz: When I was 15 or 16 I was mostly listening to Jimi Hendrix and Cream and the Grateful Dead and a lot of Chicago blues. I decided that maybe I would be interested in jazz for no particular reason. I went into a record store and bought an album called Monk’s Music. I liked the cover. The whole thing just made my hair stand on the back of my neck. Sumi Tonooka: My favorite music was always the music that could make me laugh out loud, and Monk’s music always tickled my funny bone as a kid. So I was a big fan. For my 13th birthday my parents took me to see Thelonious Monk at the Aqua Lounge in Philadelphia. It was very dramatic because he didn’t play for the first two sets. I guess it was that period of time when he was somewhat unstable in terms of mental state. He just sort of stared at the piano for the first two sets and plucked out a couple notes. There was obviously a lot of drama and concern going on in the band. I was really getting afraid that I was not going to hear him play. And then he opened up the last set by himself playing “ ’Round Midnight,” and I’ll never forget. That was the night I decided I would be a jazz player.He’s always been a part of my musical life, so I’m very honored and pleased to be able to participate in this performance. Nordal: I asked Gilbreath, “Well, gee, shouldn’t you coordinate the repertory?” He said, “Nah, it would be interesting if everyone did the same song so we can see how different it could be,” which is an optimistic view of that, I guess.
Dave Peck: I’d like to know what everyone “Ugly Beauty,” that I really like. It’s a toss-up. is playing, but I sort of don’t want to know. The Thankfully with the nature of this music, it doesn’t thing is that there’s “ ’Round Midnight,” which require a lot of preparation. I mean there have been is kind of like the big piece of chicken at the years of preparation, but it’s a different kind of prepbanquet. It’s what everybody wants to do. Thearation—not as if we are practicing a Rachmaninoff lonious wrote a lot of great pieces, but “ ’Round piano concerto or something like that. Midnight” is a defining moment of jazz. So it’s Tonooka: There is really a sense of spontagotta be done. I think the interesting thing will neity in Monk’s music, and also a lack of selfbe who drops it first and what happens after that. consciousness. It’s so easy to get overly serious Because as a musiit’s kind cian and of like a The first thing that your teachers tell you is as a player. poker game. You have to “Don’t play with flat fingers,” and of course remember Someone’s going it’s the first thing you hear about Thelonious that to think really about they’ve got Monk is that he played with flat fingers. joy too. a really Peck: good hand I’ve got this on that tune and go all in. one major thing in my playing that I’d say I got from Thelonious and that’s a kind of deviousNordal: I think I’m going to do “ ’Round ness, a sense of humor he has where he leads Midnight.” It’s mostly on the black keys and it’s you down a trail where things are sounding a tactile kind of treat, you know. Plus, the like you’ve heard this before and you know harmonies are very film noir, atmohow it’s going to end, and then he turns the spheric, very dark, and that’s an tables on you, usually in a pretty humorous easy gift for me. If I have a little way. Kind of like a joke. gift it’s kind of the coloration of harmonies, kind of a European Horvitz: I know a lot of people—younger thing. It’s a natural. people particularly—who aren’t jazz fans, but they find something to grab onto in Monk’s Horvitz: I’m playing a kind of angularity, his playfulness, even his song called “Work,” and it’s tempos. A lot of people get turned off by jazz my favorite Monk composibecause you hear this really simple theme by tion. I hope no one else is somebody and it’s almost not important and playing it. then the whole thing is about the soloist. For Aaron Otheim: I am Monk, it was really about the composition; even pretty sure that I’d like to his solos are about the composition. play “Crepuscule With Nellie,” but I just got the Clement: I feel like he is a great artist to idea a couple days ago that study as a teacher and a student, because he is I might also like the perfect example of someone who develops to play this ideas. You know when you’re playing with other students and you say, “Play an idea, now play song, it again, now repeat that, now come up with something different,” Monk is like the guy to listen to for that. Otheim: The first thing that your teachers tell you is “Don’t play with flat fingers,” and of course the first thing you hear about Thelonious Monk is that he played with flat fingers. E
mbaumgarten@seattleweekly.com
EARSHOT JAZZ FESTIVAL Runs through Nov. 11 at venues across town. “Opening Celebration: Monk 10/10”: Town Hall Seattle, 1119 Eighth Ave., 652-4255, earshot.org. $12–$34. 8 p.m. Fri., Oct. 10.
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
o kick off this year’s Earshot Jazz Festival, director John Gilbreath is posting a big name, Thelonious Monk, and asking Seattle’s players to honor the late jazz icon. A band will perform the 1959 album The Thelonious Monk Orchestra at Town Hall in its entirety this Friday, but the most compelling, and unpredictable, part of the night will come when 10 pianists each perform a solo interpretation of one of Monk’s compositions. None of them knows what the others are playing, and each has a different relationship with the music and the man. We asked them, separately, how they discovered Monk and what they have planned to honor him. Wayne Horvitz: At the Royal Room we started this series called Piano Starts Here. Every other month my friend Tim Kennedy and I pick a famous pianist/composer and we invite four pianists to come and do their own interpretations. There’s so many great jazz pianists in Seattle it’s almost an embarrassment of riches. So John Gilbreath and I had been talking about doing a sort of expanded version of that for the Earshot Jazz Festival. Tim Kennedy: People are really excited. A bunch of us were talking about it at a jam session last night. I actually think people are more nervous to answer your questions than for the show, because we’re awkward musicians. Dawn Clement: I have loved Monk and have been playing his tunes for longer than any jazz artist, since high school. I only wish that someone had emphasized the importance of listening exclusively back then. I remember playing “Straight No Chaser” out of the Real Book and playing it wrong and not really checking the recording out. Darrius Willrich: At first listen, it sounds like someone who doesn’t know what they’re doing. But listening to more and more songs and the chord progressions, and looking at what was going on around him at the time and how he was in stark contrast, it didn’t take long to uncover the genius. This is a guy being 100 percent himself in the face of temptation to do otherwise. Marius Nordal: New faces were coming around and wiping out the swing age, and Monk was quirky and interesting to my young ears. Unlike the new guys, his music was rooted to the past, to what had come before I was born. It had this oldness that, since I was still kind of into the swing-oriented guys, I liked.
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arts&culture» Music
Wednesday, Oct. 8
DJ SHADOW & CUT CHEMIST PLAY AFRIKA BAMBAATAA When DJ Shadow dropped his first
album, Endtroducing, in 1996, it was a landmark for both electronic music and hip-hop. Composed almost entirely out of samples, it changed how producers looked at creating music and stirred controversy within the industry. But DJ Shadow was far from the first to change the game. Teaming up with Jurassic 5’s Cut Chemist, Shadow is on a mission to educate his fans on the brilliance that is funk god Afrika Bambaataa—and the power of his influence within the industry—by spinning vinyl from the master’s very own record collection: a 40,000disc catalog housed at Cornell University. With Edan & Paten Locke, Supreme La Rock. The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.com/ neptune. 9 p.m. $36.50. All ages. DUSTY HENRY
SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
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Thursday, Oct. 9
Disco and house music are known to be vibrant and bubbly. English group FUJIYA & MIYAGI adheres to that rule with its upbeat rhythms and ascending synth lines, but with one major departure: lead vocalist David Best’s monotone vocals. His sing-talking stays consistent from track to track in his band’s repertoire, maintaining much the same cadence and inflection, aside from the occasional whisper. As musical madness swirls around him, his tone is unaffected by it all—adding a touch of darkness to otherwise feelgood music. With Magic Touch, Noddy. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $13 adv./$15 DOS. 21 and over. DH PALOMA FAITH’s recent dabbling in acting is fitting for her entire persona. The pop and soul vocalist’s music harkens back to the music of the ’50s and ’60s, a time when musicians were often also actors, entertainers, and iconic, well-rounded showpeople. Faith’s music feels akin to theirs: big, with horns and crashing pianos. It’s easy to call her a throwback act, but it’s
COURTESY OF THE SHOWBOX
Yasiin Bey, aka MOS DEF, whom you’re just as likely to remember these days for his role in The Hitchhiker’s Guide to the Galaxy as for his storied discography, has ended his long hiatus from music with a new single, “Let’s Go.” As one of hip-hop’s intellectual heavyweights from back in the day, his influence has been sorely missed
in the contemporary scene. The Trinidadian-born rapper is taking a break from acting, writing, and political activism to bring his lilting cadence back to stages from London to Seattle. Expect to hear a lot from his jazz-influenced, heavily philosophical Black on Both Sides collaboration with Talib Kweli. With Lilla, Raz Simone. Showbox SoDo, 1700 First Ave. S., showboxpresents.com. 9 p.m. $31.50/$35 DOS. 21 and over. JENNA NAND CHRIS SMITHER has been building his blues-guitar repertoire since the 1960s, but has remained on the outskirts of the mainstream for the majority of his career. Despite never seeing widespread acclaim, he’s remained remarkably consistent. His latest album, Still on the Levee, sounds like a gloomy folk record he may have released in his heyday. He may not be as influential as contemporaries like Bob Dylan, but he’s built a discography of similar hidden gems with a small but dedicated and ever-growing fan base. With Milton. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $25. 21 and over. DH
COURTESY OF THE CROCODILE
TheWeekAhead
Paloma Faith more like she’s joining the lineage of artists like Elvis Presley and Marilyn Monroe who could not be contained to one artistic medium. With Liam Bailey. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile. com. 8 p.m. SOLD OUT. All ages. DH
HOLLOW EARTH WEST COAST ELECTRONIC MUSIC SHOWCASE Bay Area producer Collin
McKelvey uses analog synthesizers to create abstract soundscapes. His music is far from accessible, delving into relentless jams of repeated glitches and obscure vocal samples. But it’s not about immediate reward; it’s made for listeners to immerse themselves in all the weirdness. The tracks slowly fall apart, descending into chaos, stretching the listener’s perception of what makes a “song,” sometimes feeling more like ambient noise. It’s the ideal soundtrack for an impending robot apocalypse: haunting and weird, yet hard to look away. Also with RM Francis, Kaori Suzuki, Jonathan James Carr. Hollow Earth Radio, 2018 #A E. Union St., 905-1250, hollowearthradio.org. 9 p.m. $5–$10. All ages. DH
Friday, Oct. 10 Seattle’s LONESOME SHACK wallows in the rickety despair of the blues, and its sparse arrangements embody the sorrow in vocalist Ben Todd’s warble. The band’s latest record, More Primitive, sees it reveling in gorgeous, depressing melodies. Despite being a downer, it’s a comforting listen. As the summer ends and the season changes, get cozy at home and wrap yourself in Lonesome Shack’s melancholia. With The Horde and the Harem, San Juan. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $8. 21 and over. DH
Saturday, Oct. 11
Throughout his expansive punk career, Montreal avantgarde musician Mark Sultan has gone by many names: Needles, Skutch, Blortz, and most recently BBQ.
» CONTINUED ON PAGE 38
2033 6th Avenue (206) 441-9729 jazzalley.com
LocaLReLeases Mary Lambert, Heart on My Sleeve (Oct. 14, Cap-
itol Records, mary lambertsings.com) Fourteen tracks go by quickly on this debut full-length from the newest inductee to the Seattle-darling club, but Lambert manages to squeeze in a lot more than just plucky, saccharine pop— there’s a positive message in tracks like the playful “Secrets,” released as a single in July (a version of which features rapper B.o.B), as well as much grittier tracks like “Ribcage,” featuring fellow singers K.Flay and Angel Haze. The album quickly changes course from lighthearted and upbeat, diving deep into the realm of past trauma and what it’s like to speak out about the most intimate details of your life (and what motivates one to do so). The songs on the aptly titled Heart on My Sleeve—co-written and arranged by her producers as well as fellow artist, MoZella—also include an unlikely cover (“Jessie’s Girl”) and spoken word (Lambert is an award-winning slam poet). All tracks are tastefully produced by Eric Rosse (who produced her 2013 EP, Welcome to the Age of My Body) and Benny Cassette. Also noteworthy is that the “love” songs are sung from the point of view of a proud and outspoken lesbian, still bestknown for singing the chorus on Macklemore and Ryan Lewis’ timely marriage-equality rap anthem, “Same Love.” So vocal and forthcoming about her sexuality—and many other personal details—it’s important and powerful that Lambert is celebrating it, as well as her voluptuous body and tumultuous past, through popular music. JESSIE MCKENNA
Michael Nicolella, Complete Bach Cello Suites (out
now, Gale Recordings, nicolella.com/ cds.htm) Of the six suites Johann Sebastian Bach composed for solo cello (in 1720 or thereabouts), he later arranged one to be also playable on the lute. Seattle’s Nicolella is not the first guitarist to take the bait and do the same for the other five, but I can’t imagine it being done more beautifully. On his recording of all six suites, years in the making, his playing is impeccable even in the face of head-spinning difficulties; and as the two-disc set’s engineer, he captures about as ravishing a guitar tone, both lush and crystalline, as I’ve ever heard on record. As Bach did in his reworking, Nicolella adds discreet accompanying voices to Bach’s onenote-at-a-time textures—and better still, knows just when not to add them: for example, in bravura scale passages, or in the pure cold water of the simple cascading arpeggios at the beginning of the fourth suite. (Some movements, in fact, like this one and the Prelude from the first suite— already very guitarish with its wide-spaced broken chords—sound better here, I think, than on cello.) On top of this, Nicolella improvises ornamentation (again, according to Bachian tradition), which adds further intensifying expressiveness and soulfulness. Every guitarist—whether your interest is baroque, bluegrass, blues, or Norwegian death metal—should hear these. GAVIN BORCHERT
JAZZ ALLEY IS A SUPPER CLUB
HELEN SUNG QUARTET
WED, OCT 8
Swinging, joy and finesse with pianist/ composer Helen Sung
JOSHUA REDMAN TRIO
THURS, OCT 9 - SUN, OCT 12
“Redman ranks with the best saxophonists in the world.” - Boston Globe
JACQUI NAYLOR
TUES, OCT 14 - WED, OCT 15
Velvet-toned vocalist and songwriter, far from a straight-laced jazz purist!
SPANISH HARLEM ORCHESTRA
THURS, OCT 16 - SUN, OCT 19
Two-time Grammy award-winning 13-piece salsa band!
2014 NORTHWEST FAMILY LIFE BENEFIT FUNDRAISER
MON, OCT 20
Advocate and Celebrate!!
in This Bring T And ge n o p Cou Tizer e p p A one 2 oFF! For 1/
TOM WOPAT
TUES, OCT 21 - WED, OCT 22
‘Dukes of Hazzard’s” Wopat, like Sinatra in his glory days, makes it all look easy and perfectly natural.” - S. Holden, NY Times
all ages | free parking | full schedule at jazzalley.com
Send your upcoming release to
reverbreviews@seattleweekly.com
Jen Wood’s New Voice: The Piano
The Postal Service singer releases a gorgeous new album, Wilderness. BY DAVE LAKE
with grown-up responsibilities. “The last six years or so in my personal world have been so much about change, she says. “Change on an internal level, change in my personal life getting married, change in family dynamics. There’s also been a lot of sickness.” Ultimately, says the songwriter, the record was cathartic. “The joke is that music is free therapy for songwriters.” Though Wood has no immediate plans to tour, she’ll be playing locally—and, for the first time, performing from behind a piano. “It’s been a little nerveracking,” she admits, but so was playing KeyArena with The Postal Service last year. “It was mind-blowing,” she says. “I was on cloud nine.” E
music@seattleweekly.com
Wilderness is out Oct. 14 via Radar Light (vinyl) and New Granada (CD).
SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
I
t all started when Jen Wood finally bought a piano. With a new marriage and a new home, the Seattle singer/songwriter, best known as the female voice on The Postal Service duet “Nothing Better,” finally decided to take the plunge and buy the instrument she’d wanted since childhood. The minute she sat behind this particular 1930s Whitney piano, she was hooked. “It had this magical, sparkling sound,” she says. “It’s a crazy kind of soul connection thing that happens.” Once she got it home, the piano energized her creativity in a way she hadn’t experienced in years. She’d been writing songs on guitar for two decades, both as a solo artist and a member of riot grrrl duo Tattle Tale, but she was in a major songwriting rut. “[The piano] was a catalyst for change in my songwriting approach, and brought out a whole new voice in me.” Songs began to flow, and Wood knew she’d soon have an album’s worth of material. To help fill them out, she recruited a drummer and asked her brother-in-law to add electronic elements. The resulting 10 tracks became Wilderness, a delicate and honest exploration of a woman wrestling
37
El Corazon
a&c» Music » FROM PAGE 36
www.elcorazonseattle.com
109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482
THURSDAY, OCTOBER 9TH KISW (99.9 FM) METAL SHOP & EL CORAZON PRESENT:
PRONG
SATURDAY, OCTOBER 11TH
RAGS & RIBBONS
with Witchburn, A Crime Of Passion, Tyranny Theory, Tatarus Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $18 ADV / $20 DOS
with Kiven, Ghost Parade, If Penquins Could Fly, Plus Guests Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS
FRIDAY, OCTOBER 10TH
SUNDAY, OCTOBER 12TH
HELLION
(former members of AC/DC, DIO, UFO, Alice Cooper, Rainbow with Ann Boleyn, vocals)
with StoneBender, Late September Dogs, One Gun Shy, Blackline Doors at 7:00PM / Show at 8:00 21+. $15 ADV / $20 DOS
FRIDAY, OCTOBER 10TH
HAIL THE SUN
with Stolas, Icarus The Owl, Nitrogen Lion Society, A Taste Of Daylight Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $10 ADV / $12 DOS
SATURDAY, OCTOBER 11TH
FRIENDS LIKE ENEMIES
with Half Sac, Hold Fast, Briar, Midnight Atmosphere Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS
GUTTERMOUTH
with In The Whale, Against The Grain, The Load Levelers, Omega Moo Doors at 7:00PM /
Show at 8:00 ALL AGES/BAR W/ID. $13 ADV / $15 DOS
Lounge Show. The Guttermouth After Show Party featuring live music from: Molly Wops FREE Music begins at the conclusion of the Guttermouth show in the main room.
MONDAY, OCTOBER 13TH
HEAD NORTH
with Insuburban Avenue, Young Love, Plus Guests Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8.00 ADV / $10 DOS
Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!
MONDAY, OCTOBER 13TH
THIRA
with Dead Label, Gunmetal Grey, Armadillo Hotel Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $10 ADV / $12 DOS
JUST ANNOUNCED 11/21 LOUNGE - FOXING 12/3 - THE ATARIS 12/6 - LEMURIA / INTO IT. OVER IT. 12/17 LOUNGE - CAPTAIN ALGEBRA 12/18 - NICK THOMAS (OF THE SPILL CANVAS) UP & COMING 10/14 - EDDIE & THE HOT RODS 10/14 LOUNGE - PUP 10/15 - UNDER CITIES / GROTESQUE GORELESQUE 10/16 - AB-SOUL 10/17 - 2ND ANNUAL BURGER CARAVAN OF STARS TOUR FEAT. TOGETHER PANGEA 10/17 LOUNGE - THIS WILD LIFE 10/18 - AMANDA HARDY BAND 10/18 LOUNGE - HONOR AMONG THIEVES 10/19 - DEMON HUNTER 10/19 LOUNGE - THE KINGS 10/20 LOUNGE - OLIO 10/21 - THE TOSSERS 10/22 - STATE CHAMPS 10/22 LOUNGE - DOWN WITH WEBSTER 10/23 - ZNI 10/23 LOUNGE - LIONFIGHT 10/24 - FOR ALL THOSE SLEEPING 10/24 LOUNGE - AUSTIN LUCAS 10/25 - DJ BEHZAN / DJ POOYAN 10/26 DAY - MOURNING MARKET 10/26 - MC CHRIS 10/27 - ALIVE AND WELL 10/28 - THE PROTOMEN 10/29 - EYEHATEGOD 10/30 - FLYLEAF 10/31 - BLESSED BY A BROKEN HEART 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
COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL
2222 2ND AVENUE • SEATTLE
206-441-5449
Milagros fine mexican folk art THE BEST OF MEXICO IS HERE!
It was during his tenure as frontman for punk group the Spaceshits that he established a kinship with bassist Blacksnake (who would go on to reinvent himself as King Khan). The two eventually joined forces again under the moniker THE KING KHAN & BBQ SHOW, reimagining doo-wop in their own twisted image. In their hands, the soulful genre becomes a grimy, fuzzedout affair. With Ausmuteants, Thunderpussy. The Crocodile. 8 p.m. $15 adv. All ages. DH Portland-based melodic-rock trio RAGS & RIBBONS has the uncanny ability to sound much larger. The soaring vocal harmonies that kick off “Magnesium Dream,” from the band’s latest EP Magnesium Dreams, for instance, make it seem twice as big. Guitarist/vocalist Ben Weyerhaeuser and pianist/ vocalist Jon Hicks’ choir backgrounds have a lot to do with it, but it’s also because of the way they, and drummer/vocalist Chris Neff, weave intricate layers of sound so effortlessly. Throughout the six-song EP, the band blends piano-driven melodies with heavier elements, building each song until, at its peak, it’s an arena-ready jam of Muse-like proportions. With Kiven, Ghost Parade, If Penguins Could Fly. El Corazon, 109 Eastlake Ave. E., 262-0482, elcorazonseattle.com. 7:30 p.m. $8 adv./$10 DOS. All ages. AZARIA C. PODPLESKY
Sunday, Oct. 12
Considering how cheery OF MONTREAL’s music sounds on the surface, it’s hard to imagine the psych-pop outfit drawing inspiration from the likes of Sylvia Plath and Neil Young. But that’s the brilliance of Of Montreal: The more gleeful it sounds, the more chance it has to be depressing. Even on its Outback Steakhouse–affiliated single “Wraith Pinned to the Mist and Other Games,” vocalist Kevin Barnes unleashes pessimistic sentiments like “Let’s pretend we don’t exist.” For all its quirky guitar sounds and snappy drums, Of Montreal is genuinely in touch with the darker recesses of the human soul. With Pillar Point. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org/paramount. 8 p.m. $20 adv./$22 DOS. All ages. DH
Monday, Oct. 13
They rose out of the Christian-music ghetto to become a mainstay on the Vans Warped Tour, release a host of Billboard Top 20 albums, and give us our rock-’n’-roll fix with hits like “Feel Good Drag,” but now ANBERLIN is going out on a high note. On the heels of the release of its raucous, chaotic final album Lowborn—which landed at #11 on Billboard’s Top 200, and which plays like a musical chronology of the genres and tones that defined every step of its career path—the band is currently in the midst of its final tour. Anberlin will call it quits at the end of the year, but not before rocking your socks off one last time. With The Weather. Showbox, 1426 First Ave., 628-3151, showboxpresents.com. 8:30 p.m. $22.50/adv., $25/door. All ages. BRIAN PALMER
Tuesday, Oct. 14
38
Located in Historic Pike Place market:
Post Alley (just off Pine St) 2nd location:
1409 First Ave (between Pike & Union)
206.464.0490 www.MilagrosSeattle.com
COURTESY OF THE SHOWBOX
SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
Banks
When BANKS debuted the title track from her latest album, Goddess, earlier this year, she stressed her intentions for it. “It’s so important for women to embrace themselves and feel like goddesses,” she said. “Because every woman is a fucking goddess.” Lyrically her album is rooted in post-Beyoncé feminism, with sleek, underground electronic production. Banks’ soulful and wistful voice moves calmly over downbeat rhythms, but has a backbone with lyrics like “She gave it all, you gave her shit.” There’s tenacity behind her Aaliyah-inspired vocals. With Movement. Showbox. 9 p.m. $20 adv./$23 DOS. All ages. DH Send events to music@seattleweekly.com. See seattleweekly.com for more listings.
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Real Estate for Rent San Juan County WEST SIDE FRIDAY HARBOR
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Real Estate for Sale Island County COUPEVILLE / PENN COVE.
Real Estate for Rent King County SEATTLE, 98112.
WATERFRONT APT. Fully furnished. Newly remodeled w/ spectacular views of the water from every window. Separate entrance. Quiet location at the end of the lane, water only 30’ away! Makes this a hiker, kayaker or bird watchers paradise. Eagles and Otters are part of the local crowd. Comfortable w/ heated floors & lots of windows. Newly painted. Granite tile bath with jacuzzi tub. Large bedroom with large closet & king bed. All new kitchen. Open dining & living areas. Laundry available. No smoking or pets. Includes utilities, wi-fi, cable TV, phone, $1300/mo (year-round). 360-378-8332. Apartments for Rent King County Commercial space avail perfect for office. 880sqft. Rent $1,760 + NNN. Call (206) 441-4922 Daniel University District 3 bedroom apts available for rent. 206-441-4922 9am–2pm
180’ OF LOW BANK Lagoon / waterfront. Crab, mussels & clams in your front yard! 2 BR property on beautiful Whidbey Isl! Relax on your deck with a gorgeous sunrise view of Mt. Baker & Penn Cove! Features rock faced fireplace, 357 SF day light basement & dbl detached grg. $525,000. 360-678-4089.
CAPTIOL HILL ROOM for rent. Near colleges, on bus line. FEMALE STUDENT only. No pets/ No smoking. Utilities included. $450/mo. 206-412-6451. Real Estate for Rent San Juan County
Real Estate for Sale San Juan County
Orcas
Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342
U-DISTRICT $450-$550 All Utilities Included! Call Peir for more info (206) 458-0169
3 BD, 2 BA, handsomely furnished home on 5 AC, pond, salt water view through quiet path. 7 minutes from the village and ferry. Wifi, VRBO.com #3716634. 6 months Nov.-April or by the month. No pets. $2,200/MO + damage & security. Ref. required and view by appt. (360)376-2996
GUITAR LESSONS Exp’d, Patient Teacher. BFA/MM Brian Oates (206) 434-1942
Home Services Lawn/Garden Service
Plant, Prune, Mow, Weed, Bark, Remove Debris Henning Gardening Call Geoff Today:
206-854-1794 LICENSED & INSURED
Seattle
HUGE RUMMAGE SALE Fri.,10/10, 9a-4p & Sat., 10/11, 9a-3p
Ballard NW Sr. Center
5429 32nd Ave NW Seattle, WA 98107
(2 blocks North of Locks) Firewood, Fuel & Stoves
Appliances
Auto Events/ Auctions
KENMORE FREEZER
AM-PM TOWING INC
interior light *UNDER WARRANTY* Make $15 monthly payments or pay off balance of $293. Credit Dept. 206-244-6966
Abandoned Vehicle AUCTION!!!
Repo Sears deluxe 20cu.ft. freezer 4 fast freeze shelves, defrost drain,
KENMORE REPO Heavy duty washer & dryer, deluxe, large cap. w/normal, perm-press & gentle cycles. * Under Warranty! * Balance left owing $272 or make payments of $25. Call credit dept. 206-244-6966
46TH ANNUAL Monroe Swap Meet, October 11th & 12th, Evergreen State Fair Grounds, Monroe Wa. Vendors $40 per stall per weekend. Car Corral, $40 per stall per weekend. Free Admission. Saturday 8am - 5pm. Sunday 8am - 3pm. Autos, Motorcycles, Tractors, Stationery Engines, Parts, Antiques & Collectibles. www.aarcbellingham.com
Appliances
Auto Events/ Auctions
AMANA RANGE Deluxe 30� Glasstop Range self clean, auto clock & timer ExtraLarge oven & storage *UNDER WARRANTY* Over $800. new. Pay off balance of $193 or make payments of $14 per month. Credit Dept. 206-244-6966
REPO REFRIGERATOR Custom deluxe 22 cu. ft. sideby-side, ice & water disp., color panels available
UNDER WARRANTY!
was over $1200 new, now only payoff bal. of $473 or make pmts of only $15 per mo. Credit Dept. 206-244-6966
STACK LAUNDRY Deluxe front loading washer & dryer. Energy efficient, 8 cycles. Like new condition * Under Warranty * Over $1,200 new, now only $578 or make payments of $25 per month
%206-244-6966% Automobiles Classics & Collectibles
ABANDONED VEHICLE AUCTION Wednesday 10/15/14 Preview 8:00 AM Auction 9:00 AM A-Seattle Towing, LLC 13226 1st Ave S. Burien 206-856-1388 www.towseattle.com
1 Vehicle
1995 SUBARU LEGACY 256RXE (runs good)
Preview 10-11AM 14315 Aurora Ave N.
A ROSE TOWING AUCTION
1500 West Bertona Street, Seattle 206-545-1111 October 8th, 2014 at 12:30pm Viewing 9:30-10:30am
NEW APPLIANCES UP TO 70% OFF All Manufacturer Small Ding’s, Dents, Scratches and Factory Imperfections *Under Warranty* For Inquiries, Call or Visit Appliance Distributors @ 14639 Tukwila Intl. Blvd. 206-244-6966
NOTICE Washington State law requires wood sellers to provide an invoice (receipt) that shows the seller’s and buyer’s name and address and the date delivered. The invoice should also state the price, the quantity delivered and the quantity upon which the price is based. There should be a statement on the type and quality of the wood. When you buy firewood write the seller’s phone number and the license plate number of the delivery vehicle. The legal measure for firewood in Washington is the cord or a fraction of a cord. Estimate a cord by visualizing a four-foot by eight-foot space filled with wood to a height of four feet. Most long bed pickup trucks have beds that are close to the four-foot by 8-foot dimension. To make a firewood complaint, call 360-9021857. agr.wa.gov/inspection/ WeightsMeasures/Fire woodinformation.aspx agr.wa.gov/inspection/WeightsMeasures/Firewoodinformation.aspx
10/17/14 @ 11AM
BIG D TOWING Abandoned Vehicle Auction Thursday 10/16/14 @ 11AM. 4 vehicles. Preview 10-11am. 1540 Leary Way NW, Seattle 98107
ET TOWING AUCTION
3400 16th Ave West, Seattle 206-622-1111 October 11th, 2014 at 12 Noon Viewing 9am - 10am Stan’s Mountain View Towing Inc Abandoned Vehicle Auction 9000 Delridge Way SW, Seattle WA Wednesday 10/15/14 Gates Open 9AM, Auction 12 PM 206-767-4848
Vehicles Wanted
SEARCHING FOR TRUCK diesel, gas, 4x4, HD All types considered
CA$H PAID Private Party, Angelo
206-305-0065 Employment Services WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201
Business Opportunities I’m Taking Control Of My Health And Wealth. Want To Join Me? Free Sample. 405-207-3091
Employment General Director, Information Services, Seattle, WA: Responsible for all aspects of product development & engineering teams/projects including goal setting, strategic planning for release, prioritization on ongoing basis, understanding product architecture & technical aspects of features specifically in life sciences CRM space using cloud & mobile technologies such as Salesforce.com, MS, Amazon & Apple platforms. Manage through subordinate managers, project managers & applications specialists for planning, control & operational purposes. Prepare systems project plans w/priority recommendations & present systems proposals to higher management. Prepare & administer budget. 15% travel required for meetings. Must have a Master’s Degree in Computer Science, Applications, or Computer Information Systems. Must have 2 yrs. exp. with Software Development/Architecture/Management, including CRM systems, Salesforce.com, design/architect in mobile apps in iOS, & personnel management and 1 yr. exp. architecting systems. Exp. may be gained concurrently. Send resume & cover letter to: IMS Health, Nikki Thenier, HR Specialist, One IMS Drive, Plymouth Meeting, PA 19462. No calls.
Employment General RESEARCH SCIENTIST Philips Electronics North America Corporation has the following job opportunity available in Bothell, WA: Research Scientist (HD33-WA) – Conduct innovative studies to investigate preclinical and clinical problems in medical device design and development. Support the Automatic External Defibrillators (AED) business. Submit resume by mail to: Philips People Services, International Mobility, 200 Minuteman Rd, MS 5303, Andover, MA 01810. Must reference job title and job code HD33-WA.
Employment Education A NEW BEGINNING! Get the career education you need for a new future. FINANCIAL AID AVAILABLE FOR THOSE WHO QUALIFY. CHECK OUT OUR 5 AREA CAMPUS LOCATIONS! CALL 1-888-550-5630 NOW! Visit us online at www.Go4Everest.com
Everest College Programs and schedules vary by campus
Community Support Specialist Puget Sound Regional Services offers a rewarding opportunity for individuals to provide residential and community support to adults with developmental disabilities. Generous Benefits! $10.50/hr. FT/PT available. in Seattle, Federal Way, Renton and Kent areas. To apply: Call 206-772-5700x121 cmartin@gopsrs.org or visit us 149 Park Ave N., Renton 98057 Flexible Hours No Experience Necessary Work with Homeowners face to face scheduling free estimates Set your own schedule week to week. Our reps average $500-$750 /week Top reps average $1,000-$1,500 /week Paid In-field orientation. All materials and company apparel are provided. Employees are required to have a vehicle, Driver’s License and Cell phone $500 Bonus after 60 days of employment. Apply at www.tlc4homesnw.com OR, Call our Corporate Office at 855-720-3102 Ext 3304 or 3308 Climber Climbers needed in King County for established company. Full time, year round Work. Must have min. 2 yr. Climbing exp. Vehicle and DL Required. Send email with Work Exp. to recruiting@evergreentlc.com or call 800-684-8733
Employment Social Services VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience. Must live in Seattle area. Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601
Health Care Employment
Caregivers
CNA’s Needed! Caregivers needed all shifts and weekends! Live in & Hourly.
(206)440-5500 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
Announcements
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SE ATTLE WEEKLY • O CTOBER 8 — 14, 2014
3.98 AC IN PARADISE Well, septic & garage on site. Perfect site for establishing a 3 BR, 2 BA residence $200000 Harriet 360-317-5745
WA Misc. Rentals Rooms for Rent
Professional Services Music Lessons
EASTSOUND, 98245.
BELLEVUE, 98008.
ESTATE SALE! Sat 11th & Sun 12th, 9 am - 4 pm. Furniture, small appliances, washer, dryer, clothes, kitchenware, household goods and more 1825 168th Ave SE
Tired of talking to your cat? 206-753-CHAT 253-203-1643 425-405-4388 WebPhone on LiveMatch.com Ladies free to talk w/VIPs!
WARNING HOT GUYS!
Garage/Moving Sales King County
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Ad #: P31 Deadline T First Run: Publicatio Section: C Specs: 4.8
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39
facebook.com/seattleweekly
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SEATTLE WEEKLY • OCTOBER 8 — 14, 2014
425-870-2899
40
Seeking free treatment? Paid research opportunity. Call the APT Study at
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MEDICINE MAN WELLNESS CENTER Walk-ins Welcome
On-Line Verification Available Providing Authorizations in Accordance with RCW 69.51A
$99 includes Authorization and Card Doctors available Tuesday 2 - 6 • Thursday 11 - 3, Friday 11 - 6
Also Open Sunday 12 - 4
4021 Aurora Ave N. Seattle, WA 98103 • 206-632-4021 www.medicinemanwellness.com Now accepting all major credit/debit cards!
Programs and schedules vary by campus. For useful consumer information, please visit us at www.everest.edu/disclosures.
October 9 - 7pm NCSF Consent Counts Fundraiser Dinner October 16 - 6:30pm Contact Improvisation for Relationships October 18 - 4pm Dark Tantra: Spiritualizing Kink October 25 - 8pm Seduction: Seattle’s Sexiest Halloween Party October 30 Holiday Survival Kit for Relationships
TheFSPC.org
Temporary, Temporary-to-Hire & Direct Hire Do you have administrative experience? We place: Receptionists
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Bookkeepers
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Administrative Assistants
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Executive Assistants
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Office Support Specialists
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Legal Assistants
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Office Managers
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Accounting Assistants
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Data Entry Personnel
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Marketing Assistants
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NEVER A FEE TO YOU! Apply Online: www.tyiseattle.com Or call today — we’re here for you!
206.386.5400
Temporarily Yours Staffing
720 3rd Ave. Ste. 1420 - Seattle, WA 98104 “The friendliest and preferred agency”