Inlander 10/13/2022

EDITOR’S NOTE

There’s something special about going to the museum. The slow pace of viewing, and contemplating, the exhibits. The quiet peace of shared curiosity that binds museumgoers. Hav ing history and art from every corner of the globe so close, you could touch it. (Please don’t!) This fall, the Northwest Museum of Arts and Culture offers five exhibits that run the gamut, from fine art to cultural invention to regional history. And this week, we’re telling you all about them. We begin with Spokane painter LILA SHAW GIRVIN, who is still making art at 93. Also, after a long COVID delay, the MAC is showing American Impressionism: Treasures From The Daywood Collection, which features 41 oil paintings from the movement’s masters as well as some less well-known impressionists. Another exhibit came from a Gonzaga professor’s work with the mask-making, indigenous Purepecha people of Michoacán, Mexico. Another is a celebration of our region’s wheat industry, and still another seeks to dismantle stereotypes about Native Americans. Check it out, in real life, and beginning on page 16.

Also this week, we examine the effort on Spokane’s lower South Hill to gain historic preservation (page 14). And Screen Editor Seth Sommerfeld admits he’s a scaredy cat when it comes to horror movies (page 40).

— NICHOLAS DESHAIS, editor

OPERATIONS

WHAT’S THE COOLEST/WEIRDEST MUSEUM THING YOU’VE SEEN?

KAYNE VITT

Probably the Nirvana stuff over in Seattle. They had a few of the original Nirvana shirts.

Like the red flannel kind of stuff?

Exactly. And the hand-drawn shirts that he did.

Was it at the EMP? That weird chewed-gum-shaped building?

It was, yes.

EMILY FERGUSON

Keith Haring had these, like, original subway graffiti drawings. They took the actual brick walls from the subway and put it in this museum in Denver.

What was the most interesting part of this subway graffiti?

He’s such a huge cultural icon, and it was amazing seeing his original pieces in person.

MICHAEL PFLIEGER

When the Pompeii exhibit came to the MAC, they had a gynecological speculum. And they have not changed one bit in 2,000 years.

Is this endemic of, like, cultural sexism, or the patriarchy?

Probably. How the medical industry ignores female needs. Just cold metal, right up your woohah.

DECLAN POUK-SMITH

Probably ancient arrowheads. Arrowheads that have been found years ago. That’s pretty cool. I also like cubic art.

Like Picasso, cubism?

Yeah, paintings that are in weird shapes.

KAT KNISELY

I saw a sculpture with period blood.

Would that fit into the “weird” category or the “cool” category?

Both. Weird was they used some type of ex traction of the bodily fluids in some way. Cool was the meaning behind it. It was starting to talk about the female body. We’re all humans.

CIRCULATION

Montana Dreamin’

How to get past partisan mapmaking and fix our politics

BY BILL BRYANT

Domed blue arched over our drift boat as massive and colorful as the trout rising to our flies. Galaxies away from the ugliness of today’s politics, I relaxed. As the sun rubbed the Bitterroots and my buddy and I charged the interstate toward showers and beers, he shattered my escape.

“Bill, you know politics,” he said. “How do we fix our country?”

I yammered something about how the coun try’s working as it’s supposed to work, lamely explaining how when the people are divided, our government is designed to produce stalemate.

In other words, our government isn’t working as we need it to. It needs fixing. Some 223 years after the adoption of the Constitution, it’s time for some radical change.

Redistricting — the exercise of redrawing political boundaries every 10 years to ensure fair representation — is one process that needs

reform. And it’s playing out this fall in Spokane, and across the nation.

Daniel Walters’ recent articles (Inlander.com, Sept. 28 and Oct. 6, 2022) lay out Spokane’s redistricting decision. Similar mapmak ing and upcoming court decisions across the coun try will partially determine whether we remain as politically polarized as we appear to be.

If more districts encompassed Republican and Democratic voters we might realize there is more space for consensus than the current system per mits. Collecting like-minded voters into the same districts births polarization. If we want to come together as a nation, we need to forge consensus at the district level.

Gerrymandering creates political polarization.

That requires mixing it up when redrawing voting maps — something incumbents and political parties loathe. They prefer to draw boundaries around like-minded voters inclined to give them a win. When district boundaries are drawn to favor a specific political party, it’s called gerrymandering.

The term gerrymander dates to 1812, when Massachusetts drew a district in the shape of a twisting salamander solely to benefit one political party. Gov. Elbridge Gerry presided over that redistricting. Thus Gerry and salamander were combined into a term that 210 years later we still use to describe politically moti vated district boundaries.

If more districts encompassed Republican and Democratic voters we might realize there is more space for consensus than the current system permits.

Since political boundaries are generally drawn by politicians, it would be naive to think voting patterns wouldn’t be considered in their mapping. But in too many states, politics overwhelms the process. What should be an exercise in ensuring everyone is fairly represented is too often a competition to see which party can be overrepresented. Both parties play this power game with equal fervor and absence of shame.

In Washington state we avoid the worst of gerrymandering by turning over the redrawing of congressional and legislative districts to a bipartisan commission.

Washington’s bipartisan commissions have eschewed drawing districts that egregiously benefit one party at the expense of the other. Instead, we get maps that provide both parties with “safe” districts of like-minded voters. Problem is, officials elected from “safe” districts have little incentive (sometimes a disincentive) to compromise. That leads to stalemate.

On the way home from Montana, regretting the lazy answer I dished my friend, I listed seven reforms that could re-energize our democracy. They include term limits, restructuring the U.S. Senate and overhauling campaign contribution rules.

That list also includes amending the Constitution so that federal congressional districts are determined federally, largely by an algorithm that divides the country into 435 equally populated districts, and when possible, into districts that include both Re publican and Democratic voters. The algorithm should prioritize keeping entire cities and towns in the same congressional district. West of the hundredth meridian — the divider between the east and arid west — congressional districts should mirror watersheds. What’s more, congressional districts wouldn’t need to be confined within a single state. Coeur d’Alene and Spokane, for example, could be in the same congressional district.

Not everywhere, but in many places this proposal would require elected officials to listen to and represent a broader spec trum of voters, not just voters who agree with one another. That could result in the legislative compromises that fuel our republic.

Last week, Spokane’s redistricting board chose a new map that keeps the current city council boundary lines largely intact. The recommendation is headed to the City Council, which will decide.

In Spokane and across the nation, I’d like to see maps of districts containing voters of different political leanings — in other words, across the country, maps filled with toss-up districts. That, my friends, would be one step toward fixing our country.

Political parties and incumbents will ensure that doesn’t hap pen, but under the canopy of a Montana sky, a guy can dream. n

Bill Bryant, who served on the Seattle Port Commission from 2008-16, ran against Jay Inslee as the Republican nominee in the 2016 governor’s race. He is chairman emeritus of the company BCI, is a founding board member of the Nisqually River Foundation and was appointed by Gov. Chris Gregoire to serve on the Puget Sound Partnership’s Eco-Systems Board. He lives in Winthrop, Washington.

JOHNNA WINTERS WOODRUFF:

I’m a pro-bike person as well as a walker. I just think we should “slow down” traffic in the downtown area to make it more pedestrian friendly and easier for people to get in and out of stores, and be able to hop on buses without as much hassle! I’m all for bike businesses also. Delivery by bike! Less big trucks, more alternatives, less streets devoted to cars only. I’m terrified of being hit by a car when I’m in downtown Spokane.

ANNE HOWAT SINCLAIR: As some one who bikes and has invested in an e-bike as well, it’s wonderful to see intelligent thought being put into now and future transportation planning. The No. 1 thing that keeps me from spending much time in the city when I ride is bike theft. We need a serious emphasis on secure bike storage so that one can leave their bike in retail core areas with safety, and spend time and money there with relative ease.

STEVE SCHAEFER: The future doesn’t belong to the bicycle. It only works for young, physically fit, single individuals in warm climates. I think taxpayers would rather see other kinds of transit receive the money spent on bike lanes used to provide better bus/rail transit access, electric recharging stations, things that move more people more efficiently than bicycles.

JULIE WILSON: Bicycles are a great multitasking choice for many folks — transportation and exercise at the same time. I’d love to see more bike infrastructure. It would encourage more to do it, which would decrease density on the roads for alternatives for folks who can’t or won’t cycle.

FRESH TAKE OR OLD GUARD

Maggie Yates takes on Al French in the race for Spokane County Commission District 5.

Political newcomer Maggie Yates hopes to unseat longtime incumbent Al French in the most contested race for Spokane County Commission

BY SAMANTHA WOHLFEIL

Al French didn’t want the Spokane County Commission to grow from three members to five, as mandated by a 2018 state law. Now, as voters choose commissioners by district rather than countywide, he faces a strong opponent in what looks like the most contested race for the expanded board.

The race for Spokane County’s new District 5 could deter mine the power balance of the commission, which has been led by Republicans since the last century and composed solely of Repub licans since 2010, when Democrat Bonnie Mager lost to French.

As the commission transitions from three to five members after next month’s election, two of the five new districts are likely to lean progressive, and two are likely to lean conservative. So all eyes are on the toss-up fifth district, where political newcomer Maggie Yates, 34, faces longtime incumbent French, 71, in a bid to represent part of the West Plains, northwest Spokane and the upper South Hill.

Yates, a Democrat with a law degree from UCLA, previously worked for the county as the regional law and justice administra tor, a role she left in January 2022 after facing resistance as she tried to address equity issues within the criminal justice system. After leaving the county, she taught at the Gonzaga University School of Law before deciding to run for office.

French, a Republican with a background in architecture and real estate development, has served on the commission since getting elected 12 years ago. Before that he represented northeast Spokane on the City Council for eight years. He serves on several boards and commissions, including the state’s Building Code Council and the boards of the Spokane Transit Authority, Spo kane Airport and West Plains Public Development Authority.

Yates took 44.5 percent of the vote in August, while French received 41.1 percent. Opponents Don Harmon (a former Airway Heights mayor who ran as a Republican) and Tara Carter (a district court clerk who ran as an independent) took a combined 14.2 per cent of the vote, and both have since thrown their support to Yates.

“Al French needs to move on,” Harmon said in a statement when endorsing Yates. “I’ve been impressed by Maggie’s cam paign and feel she is the fresh voice the county needs to move forward toward bipartisan solutions.”

French says Harmon has no previous record of being a Re publican, and he expects to pick up the people who voted for him based on party affiliation.

“We fully expect that those folks will come back to experi ence, proven leadership and demonstrated abilities,” French says.

CRIMINAL JUSTICE

While working at the county, Yates worked to create an intakeand-release center that was piloted for a short time to prevent people from fully being booked into jail unless a judge deemed it necessary. Yates says the pilot ended because of detention services staffing issues.

“FRESH TAKE OR OLD GUARD,” CONTINUED...

“There is an extra space that was designed to potentially hold remote court hearings, at least for first appearances,” Yates says. “When I was there, if you were arrested after 11 am, 12 pm in the day, you wouldn’t be able to get to court that day. So no matter what, you’re going to spend the night in jail.”

Booking is one of the most expensive parts of jail administration, she says. The intake center was designed to avoid that where possible and increase the availability of first appearance hearings, when a judge decides to hold someone on bail or release them before their next court date.

French says the failure to launch the intake center is Yates’ fault because she didn’t manage to convince the various departments involved that it could work. He says he and Commissioner Mary Kuney brought the idea for the intake center to the county.

“The judges refused to provide a court commissioner. The law enforcement, whether it’s police or sheriff, refused to use them because they felt like it was not safe. The clerk didn’t want to [staff] it,” French says. “So I have a facility over on the Spokane County campus right now that’s empty. But under her leadership, she said, ‘We have everybody bought in,’ and we didn’t.”

The hours for that facility were intended to be late afternoon through late evening, but the court didn’t want to do that, French acknowledges.

“I don’t know whether the lack of buy-in was because of Maggie’s failure to collaborate with all the parties and address their issues, or whether it was just fundamentally, ‘We don’t want to work after 5 [pm],’” French says.

Yates says many other solutions to the criminal justice system are needed, including expanding ideas she promoted while at the county, such as giving free rides to court dates, reminding people when they need to appear and reducing recidivism rates.

“We see a commitment from my opponent to con tinue putting 70 percent of our taxpayer-funded general funds toward criminal justice departments and systems that are not producing the results that our county resi dents really deserve,” Yates says. “We should be using contact with law enforcement and the criminal justice system as an opportunity to stabilize individuals so that they don’t have this cycle of repeated arrests.”

BEHAVIORAL HEALTH

Last year, Washington state saw a staggering increase in the number of fatal fentanyl overdoses, with a spike larger than researchers have ever seen with any other drug. In Spokane County, there were 108 fatal overdoses involving fentanyl in 2021, compared with 28 in 2020 and 11 in 2019.

Medication-assisted treatment, where people are prescribed an opiate alternative or replacement such as methadone or Suboxone, is one of the most successful ways to prevent overdoses for those who struggle with opiate addiction, public health experts say. Researchers are exploring ways to increase the success of that treat ment, and Spokane Regional Health District, which is overseen by the county board of commissioners and the local health board, operates a methadone program.

“As we learn more and get more educated, I think we are developing better responses to [fentanyl],” French says. “One of the things we’re learning is our kids have got to have a higher level of education about the danger of this drug.”

French says one solution that opened about a year ago is the city and county’s shared Mental Health Crisis Stabilization Facility, where people experiencing mental health issues can be taken for treatment rather than get ting booked into jail or taken to the hospital. They can

also receive substance use treatment.

“They get treatment, they get medication, they get housing, they get food, they get all the support systems necessary to one, stabilize them and two, to be able to get them back into the community in a healthy environ ment,” French says. “That program is very successful. I’m excited about it.”

Yates says the county should also make more investments in housing, early childhood education and behavioral health to address disparities that play a factor in people ending up in the criminal justice system.

“We need to understand public safety holistically, and we haven’t done that historically,” Yates says. “We have also tasked law enforcement with the really impossible charge of addressing a lot of our social issues like home lessness, drug addiction and serious mental illness, and that is not what they signed up for.”

Yates says it is essential to rely on data from experts as the county invests in programs and training related to substance use and behavioral health, and to collaborate with regional partners. Because the risk of overdose is in creased for people leaving jail, more services are needed, she says.

“Any sort of treatment and intervention needs to in clude services not just in the jail, but also at jail releasing and in the community,” Yates says.

HOUSING

The state’s Growth Management Act is intended to limit urban sprawl and require counties and cities to ensure infrastructure for utilities and public safety are in place before approving development. In effect, it restricts how the county approves new homes in the area.

French has long railed against the limits of the act. For example, he says that when the county asked to swap rural land that’s approved for development within a planned “urban growth area” for urban land that’s closer to Fairchild Air Force Base for more housing, the state rejected it.

“They said it’s got to be ‘like for like,’ but if it was

urban we wouldn’t need to trade it, so it was a Catch-22,” French says. “They said no [to] 1,100 homes that could be in Airway Heights.”

The state’s land use policies have forced much of the growth in the region to move outward, French says, including across state lines to Post Falls.

“It’s because of a state decision, not anything we did here locally. … I need to get more housing up on the West Plains because that’s where all my new jobs are,” French says. “We are going to be going through a process where we expand the urban growth boundary over the next year and get housing closer to where the jobs are, because that fundamentally is a key element of good growth.”

Yates says in addition to identifying areas where exist ing infrastructure can support more growth, the county should look at creating programs to support first-time homebuyers and incentivize developers to build afford able housing.

“It’s really important that we continue to create affordable housing for the majority of our residents, while keeping an eye toward future impacts, including our infrastructure, and the stewardship of our natural resources,” Yates says. “Those efforts are not mutually exclusive.”

She says a lack of county planning has resulted in flooding issues in the West Terrace area near Cheney, which continues to see new construction. She also thinks the county could have better helped plan for growth along Highway 195, where the City of Spokane has now put a moratorium on building until transportation issues are dealt with.

“I think we’re seeing so many different infrastructure issues, and issues when it comes to our natural resourc es,”

Yates says. “Across the board, having unplanned sprawl with these large lots can put stress on our aquifer and our river. So again, we should be looking first to those urban corridors to grow.” n

New state research could inform how best to run Spokane Regional Health District’s opioid treatment program. YOUNG KWAK PHOTO

Camp Hope Shrinks

Plus, a Band-Aid for contaminated West Plains water; and Woodward’s gloomy prognostication

According to a weekend count by Jewels Helping Hands, there are 443 people living at Camp Hope. That’s lower than earlier in the summer, when a survey counted 601 people living at the East Central homeless encampment — a number that’s been used in countless news statements and stories. In a text message, Julie Garcia, executive director of Jewels Helping Hands, the nonprofit overseeing the camp, said more camp ers are being moved into housing and that she hopes the number will be at 430 by Friday. Garcia describes it as a “steady decline.” The new population figures come just a few days after Spokane Police Chief Craig Meidl joined the sheriff, county commissioners and county prosecutor in calling for the camp to be cleared. In a letter sent to the state Transportation Department — which owns the land the camp is on — and Jewels Helping Hands, Meidl outlined allegations of criminal activity and declared the camp a chronic nuisance. The letter included a proposed agreement that would require all personal items be moved off the property by Nov. 15. (NATE SANFORD)

WATER, CONTAMINATED WATER

The city of Spokane will continue providing Airway Heights with water through June 2026, after the City Council approved an extension Monday night to an agreement first drawn up in 2018. The water-sharing agreement stems from the 2017 discovery of a family of chemicals known as PFAS in the West Plains municipality’s water. Those chemicals were used in firefighting activities at Fairchild Air Force Base, which led to the contamination. Since the wells tested positive, Spokane has provided water on an emergency basis, and the new contract extension gives Airway Heights more time to find a permanent water solution. The extension also includes about $88,000 from Airway Heights to study a West Plains Booster Station that could improve water pressure for the emergency supply. (SAMANTHA WOHLFEIL)

DARK DAYS AHEAD

In her first in-person annual “statements of conditions and affairs” to the Spokane City Council on Monday night, Mayor Nadine Woodward declared that Spokane’s “outlook is a bit mixed.” While Woodward celebrated that businesses were recovering and conventions had returned, much of her speech was gloomier, and focused on the considerable problems Spokane continues to face. The labor shortage. Crime. Inflation. Fentanyl addiction. Police officers who are tired and burned out. Homelessness. Lagging incomes that made Washington’s second-largest city only its 17th-richest city. About 8,000 city customers are behind on their utility bills. A housing shortage and a spike in rents that have forced multiple low-income families to share single living spaces. Then there’s the ongoing multimillion-dollar budget deficit that Woodward anticipated spending onetime pandemic relief and reserves to help staunch. “Clearly we still have work to do as we enter another reces sion,” Woodward said. (DANIEL WALTERS) n

A Streetcar Named Neighborhood

The Cliff/Cannon neighborhood on Spokane’s lower South Hill could get historic protections — if homeowners want it

BY SAMANTHA HOLM

With its yellow trim and red brick columns, the Hans Moldenhauer House stands as a testament to the storied history of Spokane’s historic Cliff/Cannon neighborhood.

Constructed in 1918, the home derives its name from one of its more remarkable owners, German musicologist Hans Moldenhauer.

Moldenhauer moved to Spokane in 1939 after fleeing Nazi Germany. Here, he founded the Spokane Conserva tory and pursued his passions of collecting, performing, and composing music. At the time of his death in 1987, Moldenhauer had amassed thousands of fragments of music history, including the manuscripts of Brahms, Beethoven and other prominent composers. These docu ments are currently displayed around the globe, including at Harvard University and the Library of Congress.

Today, partners Ian White and Dustin Hall own the home, and are adding pages to its story.

“Living here has really cemented how owners of older homes and older properties aren’t really owners,” White says, but are closer to “stewards of them through time.”

Fueled by this sentiment, White and Hall joined a grassroots effort earlier this year to register the neighbor hood as a Spokane Historic District, which would aid in maintaining the neighborhood’s aesthetic and grant historic property owners tax incentives to relieve costs of home restoration.

Though parts of the neighborhood are registered as National Historic Districts, including the Marycliff-Cliff Park area and Ninth Avenue, that designation is more

honorary and doesn’t confer the same benefits that a local registry does.

The effort to preserve the neighborhood began in 2016, but just as the campaign was gaining momentum, COVID “blew the world up,” White says. After being put on ice for two-and-a-half years, the work to make the proposed Cannon Streetcar Suburb Historic District a reality is heating back up.

WHEN STREETCARS RULED

As its lack of garages testifies, this neighborhood was built by streetcars.

From 1890 to 1936, streetcars conveyed residents up the precipitous incline of what was called Cannon Hill — a hill steep enough to keep residents to the flatter areas of the city before the advent of the streetcar, like Browne’s Addition and downtown.

First there was a doomed cable car that trudged up the face of Monroe Street, which made the climb from 1890 to 1894, when its cable succumbed to the frigid winters. While Browne’s boomed with homes — nearly 100 before the turn of the century — the lower South Hill only had about 20.

Then the electric Cannon Hill line was laid, and in the first 10 years of the new century 264 homes were built in the neighborhood. Many of the grandest homes were built facing the streetcar line, this a time when tran sit was embraced. To this day, Spokane Transit Authority buses follow some of these historic streetcar routes, pass ing by those original, historic homes that still stand today.

On Sept. 15, ballots were mailed to these homes

and more. In all, about 500 households within this new historic boundary will get a chance to vote before Nov. 11. This narrow timeframe has mounted pressure on the Cliff/Cannon Neighborhood Council to intensify campaigning efforts, especially because the historical des ignation needs 50 percent of property owners to vote yes for the district to get protection. Failing to return a ballot counts as a no vote.

SAVING HISTORY

April and Baran Thompson bought their home in 2014 and have since renovated it into a multi-unit apartment complex that maintains the building’s historical features.

The work wasn’t without its troubles.

“We bought it, and it was scary,” says April. “It was not maintained. There was a lot of deferred maintenance on everything.”

The couple worked to get the house up to code, an arduous and expensive task that involved removing leadbased paint and installing missing siding.

In 2018, a fire devastated the building. No one was injured, but the house was entirely gutted, throwing away years of the Thompsons’ hard work.

Thankfully, the couple kept fastidious records and photographed the home every time renovations were made.

But the work came at a significant cost for the couple. In permits alone, the Thompsons paid close to $30,000, which doesn’t include costs they paid to update electricity, fire alarms, sprinkler systems and “everything that would go into commercial, multifamily housing.”

Diminutive bungalows and apartment buildings are as common as large homes in the proposed district. YOUNG KWAK PHOTO

If they had done the work in a district like the one proposed, much of their spending could’ve been partly recouped through various incentives provided by the city.

Under the proposed district, the Spokane Historic Landmarks Commission or the historic preservation officer will quickly examine facade changes like a new roof, windows or siding. Exterior painting wouldn’t be subject to review, nor would interior renovations.

Spokane Historic Preservation Officer Megan Duvall says design review is not focused on one sole building, but rather is community focused.

“Yes, we may be reviewing your property, but we’re also look ing at the house across the street,” she says.

On its paperwork nominating the district for historic protec tion, the rules of design review are detailed, saying that it aims to guide property owners to “make design decisions that reinforce, rather than diminish, the vibrant and varied character of the neighborhood.”

Money spent on any renovation, inside or out, counts toward a tax incentive program. Homeowners who spend 25 percent of their home’s value in a two-year period are eligible for a decade long property tax discount.

It’s the promise of fueling rehabilitation that won the Thomp sons’ support for the district, but there’s more.

“By saying yes, you’re saying yes to preserving a lost form of art, the craftsmanship, the architecture and the history of the people who are here,” April says.

NIMBY?

As the housing affordability crisis continues across the nation, preservation efforts have been accused of hampering efforts to build more housing. From Los Angeles to Seattle, projects to build multi-unit buildings have been blocked by neighbors invok ing historic preservation.

White, who owns the Moldenhauer House, says the effort is not anti-development and in fact can increase the neighborhood’s amount of affordable housing while protecting its architectural and historic legacy. He rejects the idea that he is stopping some thing from happening in his neighborhood that he would support elsewhere.

“We’re not NIMBYs,” White says (referring to the shorthand for Not In My BackYard). “I think our neighborhood can increase its density, but this effort really seeks to do that in a way that can support and enhance density while maintaining a sense of place and what makes an area special.”

Duvall, with the city, says preserving historic homes ensures that affordable housing remains in Spokane. In this neighborhood, at least, she’s right: Diminutive bungalows and apartment buildings are as common as larger single-family homes. The first duplex was built in the neighborhood almost 120 years ago, when it was one of the only areas Black and Jewish Spokanites could buy homes.

“I am hopeful that the recent changes to the MFTE (MultiFamily Tax Exemption) program will encourage more develop ers to add affordable units to their projects – allowing for more density and affordability within historic districts,” says Duvall in an email. “Historic Preservation’s role in those projects is to make sure that they fit into the neighborhood and are an enhancement rather than a detraction.”

White and Hall remain optimistic that homeowners will vote in favor of the historical designation, and aim to dispel any mis conceptions community members may have about its implications, the most common of which is discomfort with being told what they can and cannot do with their homes.

Hall responds to these concerns by telling them that design review “allows people to still have flexibility to style their house as they want.”

Hall and White say they plan to go door to door to educate their neighbors and to phone property investors to make them aware of the effort and encourage them to vote. Between now and Nov. 11, increasing yes votes remains the primary goal.

“We both love Spokane, and we love this neighborhood,” White says. “We really want to preserve this neighborhood as something truly special.” n

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Lila Shaw Girvin’s retrospective exhibit reflects a life lived in pursuit of knowing and understanding

BY CARRIE SCOZZARO

MOMENT

VISIT THE MAC

WHEN: Open Tue-Sun from 10 am-5 pm, third Thursdays from 10 am-9 pm

ADMISSION: $7 (ages 6-17); $10 (ages 65+, college students w/ ID); $12 (ages 18+); free for members and children ages 5 and under

WHERE: 2316 W. First Ave., Spokane

MORE INFO: northwestmuseum.org, 509-456-3931

Every day around noon, weather dependent, a beam of light enters the Spokane home Lila Shaw Girvin shares with her husband, George. The Girvins have lived in this particular house well over half of Lila’s 93 years, during which time she’s observed how the sunbeam, framed by the skylight, bounces off the copper-encased fireplace and bathes the ceiling in light.

“It is just magical,” Girvin says, adding, “You know, it just lasts for a short period of time.”

A short period of time.

A moment, which, when strung together with other mo ments, becomes the fabric of life. And the inspiration for the title of Girvin’s retrospective exhibition at the Northwest Museum of Arts and Culture on display through March 12, “Lila Shaw Girvin: Gift of a Moment.”

The show is as large and intimate an exhibition as Girvin has ever had, made more so by the setting. In the center of the gallery sits a plush rug, midcentury style chairs and sofa, a coffee table, and several books from Girvin’s collection, like Joseph Camp bell’s Myths to Live By and Carl Jung’s Man and His Symbols. A sign encourages visitors to “sit, rest, and read.”

Eighteen of Girvin’s paintings pulse from the gallery’s dark charcoal walls. They range from thickly painted pieces from the ’60s to nuanced, layered washes of color on canvas created in more recent decades. Many remind of landscapes, but not just landscapes.

“The work can be from feeling, memory — occasionally a photograph — being alone, music, [or] public radio,” Girvin says.

“It is solitary, which I like.”

Girvin’s work is influenced by physical landscapes she inter acts with, says Anne-Claire Mitchell, the show’s guest curator, but it’s also the product of something more metaphysical.

“It’s a meditative experience for her, and she makes it clear that the final result is a surprise,” Mitchell says.

Another surprise: the exhibition itself.

Although Girvin has shown regionally on and off throughout the decades, and has had a long relationship with the MAC (dating back to when it was still the Cheney Cowles Museum before the name changed in 2001), she was surprised when the MAC’s execu tive director, Wesley Jessup, first discussed showing her work.

“I was astonished that they approached me,” Girvin says. “I’m of the generation that grew up with being told, ‘You should be modest.’”

Both Jessup and Mitchell, however, are effusive in their praise of Girvin’s work.

In 2017, Jessup saw Girvin’s work and was, he says, “im mediately taken by the sensitivity of the color and brushstroke. I thought her compositions were sophisticated.”

“Lila has been a really important artistic figure in the Inland Northwest, and she’s also been a major figure in community engagement as well,” Mitchell adds.

Girvin was born in 1929, at the onset of the Great Depres sion, when America had mostly recovered from one world war but was sliding inexorably toward another.

She grew up in Jefferson County, Colorado, near Denver, with vivid memories of the landscape: “Red Rocks, Aspen, big sky, sunshine, openness, flat plains and high mountains.”

Her mother was very active, with “kindness in every bone,” says Girvin, while her father promoted reading, especially on religion. Girvin was interested in music, playing piano and work ing in a record store through high school. When it came time for college, however, Girvin pursued art history and painting at the University of Denver.

“I was definitely a product of my generation,” Girvin says. “I didn’t really know what I wanted to do and art was one of the things that was possible for women.”

While in college, the return of soldiers from World War II in the late 1940s added a seriousness to campus life, Girvin says.

“They added a dimension that was very thoughtful about their lives and about what they were going to do with their lives,” she says.

If campus life narrowed Girvin’s focus toward a more inten tional approach to her own life, her college job in an art gallery owned by an Englishman expanded her worldview, especially from the proprietor’s familiarity with Chinese culture.

After Colorado, a newly married Lila moved several times — Detroit, Michigan and Red Bank, New Jersey — while husband George built his medical career. Their last stop before Spokane was Seattle, where Girvin remembers “spectacular beauty, mist and rain, mild temperature, trees, lushness and the sea.” A big contrast from Colorado.

Girvin also exalted in the Northwest’s educational opportu nities.

She recalls, for example, attending a lecture at the Univer sity of Washington by Joseph Campbell, author of the bestselling The Hero With a Thousand Faces, a seminal book about the archetypal “hero’s journey” as expressed through the world’s mythologies.

“And he got up and spoke totally without notes,” Girvin says. “It was just unbelievable. It was just fascinating.”

Girvin was a frequent visitor to Seattle’s Frye Art Museum and its free classes, where she developed her love of working with oil paint.

“I liked its fluidity,” says Girvin, whose painting process would evolve from the conventional — canvas, easel, paintbrush in hand — to more like watercolor with translucent paint.

“I start with canvas on the floor, thin the paint and pour,” says Girvin of her current process, which is similar to modernist Helen Frankenthaler. As Girvin adds paint and rubs it away, guided by intuition and staying in the moment, the primary question for her is “when to stop.”

FACING PAGE: Spokane artist Lila Shaw Girvin, 93, in her home studio. YOUNG KWAK PHOTO

While in Seattle, Girvin also studied under Kenneth Cal lahan, an internationally known American painter and former Seattle Art Museum curator. Like Girvin, Calla han was influenced by the Northwest landscape and non-Western aesthetics, including pan-Asian culture.

“Lila was in proximity to artists like Callahan,” says Mitchell, “and even though [the MAC] exhibition doesn’t address those relationships explicitly … I think savvy visitors are going to be able to see the more classic expressionist influences in her earliest pieces from the ’60s.”

Viewers will also see the transition from Girvin’s early narra tive style, when she first moved to Spokane in 1958, to an increas ingly abstract and eventually non-referential style of pure shape, line, color and space (versus any recognizable subject matter).

“He Took His Vorpal Sword in Hand” is from the 1960-1980 time period — Girvin rarely assigns a singular date to her artworks. The painting borrows its title from author Lewis Carroll’s poem “Jabberwocky,” in which an unnamed child slays the mythical Jabberwock, but it car ries another message, too.

“That one is about the Vietnam War, which I was very op posed to,” says Girvin, noting that “toward the end of the war, my oldest child got the draft number of 16,” putting him on the short list to serve.

Another of her four children is the subject of “Matthew,” also

from 1960-1980, and its inclusion in the exhibit is deliberate and deeply personal. The painting shows a small, golden-hued child tucked into what reads like a tree trunk of colorful slashes and lines. In 2001, Matthew — Matt — died in a helicopter crash en route to a Mongolian province while on a United Nations mission for its children’s fund.

In response, Girvin painted “Out There” in 2001. The nearly 4-foot-square painting on loan from Gonzaga University’s Jundt Art Museum features washes of ultramarine blue with areas of white and hints of black. If the viewer didn’t know the backstory, they might assume it’s a rendering of the cosmos.

“I believe the creative journey cannot be separated from the personal,” Girvin says. “The loss of a beloved child, a humanitarian dying in an ac cident while helping others causes examina tion of everything.”

Combined, the inclusion of these two paintings conveys Girvin’s willingness to be vulnerable, to connect with others and, ultimately, to understand something about herself through the experience.

After asking her family what they thought of her being featured at the MAC, she also asked herself: “What is there that is negative about it at this time in my life?”

Thus the gift of a moment goes both ways: the gifts Girvin feels she was given and the ones she is sharing with viewers.

“I guess that’s where I said, ‘This is an opportunity to trust.’”

FOUR EVENTS TO LEARN MORE ABOUT THE MAC’S FALL EXHIBITS

TUESDAY GALLERY TALKS

Every Tuesday at 11 am, included with admission

Each Tuesday, a MAC staff member or docent leads a 20-minute, in formal discussion about one of the museum’s current exhibitions. This series offers a chance to engage and learn more about the artworks and/or artifacts on display.

VISITING ARTIST LECTURE SERIES: FELIPE HORTA

Thu, Nov. 3 at 6 pm, included with admission

Felipe Horta has been creating traditional Mexican masks for over 30 years. Hailing from the Tócuaro region of Mexico, his main drive to continue making masks is to keep the traditions of the Purepecha people alive. The program begins with a reception, and a presenta tion of Horta’s work. It ends with a private tour of the “Dancing with Life: Mexican Masks,” exhibit which contains several of Horta’s handcrafted masks.

WILLIAM MERRITT CHASE: IMPRESSIONS OF THE NEW WOMAN

Sun, Nov. 13 at 2 pm, $10 suggested donation

In this installment of the MAC’s art history lecture series, Dr. Mer edith T. Shimizu from Whitworth University considers impressionist paintings by William Merritt Chase and how he subtly expressed the rise of a new feminine identity in the late 19th century through his artwork.

ROBERT HENRI: IMPRESSIONS OF AMERICAN DIVERSITY

Sun, Jan. 8 at 2 pm, $10 suggested donation

Dr. Meredith Shimizu returns to the MAC to discuss the lack of diversity in 20th-century American art — a trend that the works of painter Robert Henri bucked. Henri often painted portraits of people from diverse backgrounds, and Shimizu seeks to highlight his efforts and celebrate cultural diversity in art.

— COMPILED BY MADISON PEARSON

A LASTING IMPRESSION

A collection of paintings by American impressionists is a focal point of the MAC’s fall lineup

BY CHEY SCOTT

There’s magic in seeing art up close and in person. Few forms conjure this sensation as remarkably, perhaps, as impressionist paintings. Such chameleons of color, shadow, shape and texture shift before the eyes in the Northwest Museum of Arts and Culture’s headlining fall 2022 exhibition, “American Impressionism: Treasures from the Daywood Collection.”

Take John Edward Costigan’s “Woman, Boy and Goats,” a pastoral winter scene softly lit by receding afternoon sunshine. Observe the 36-by-40-inch painting from afar, and the ice-enrobed trees and snowy creek bank seem, somehow, to sparkle. Light and shadows dance across the canvas.

Step closer. As each brushstroke begins to sharpen, you begin to notice an unexpected roughness in the leafless branches. Lean in a little further (but don’t get too close). Those shadows in the tree branches don’t look like shadows at all now. They’re smears and even hardened shards of 100-year-old oil paint. Zoomed in, these feathery strokes and streaks of yellow, vermillion, indigo, soft pink and the cleanest white lose all former representation as twigs and snow and sunlight.

“Woman, Boy and Goats” is one of 41 impressionist paintings featured in the exhibit, on loan from the Huntington Museum of Art in Huntington, West Virginia.

The collection’s Spokane stop was yet another COVID-caused delay, says Kayla Tackett, the museum’s director of exhibitions and collections. Originally scheduled for 2020, it’s now finally on display alongside five other exhibitions this fall, and takes center stage in the museum’s large, central gallery.

“Part of the appeal in bringing this exhibition here is that the MAC has a small collection of impressionism, but not much,” Tackett says. “So this is a really great opportunity to bring that movement to Spokane so people can experience it. And, it’s im portant to see the accomplishments of American impressionists.”

While many of us can recall some of the impressionist move ment’s best-known European players — Van Gogh, Monet, Renoir, Degas, Manet, Matisse and others — their American contempo raries are less familiar to the wider public.

“The Americans were just as skilled painters, and also doing interesting things,” Tackett says.

“A Clearing in June” by Charles H. Davis

“A LASTING IMPRESSION,”

The impressionist movement was harshly criticized when it first emerged in France in the 1870s (the style takes its name from Claude Monet’s “Impression, Sunrise”). But artists and collectors soon grew to embrace impressionism, which centrally rejected painting’s academic, structured rules prescribed by the Old Masters.

Impressionism is largely characterized by loose, visible brush strokes, occasional use of bright, unblended colors, and emphasis on depicting the interplay of light and movement. Its early adherents also focused on more ordinary subject matters and scenery such as natural landscapes and domestic life. Many paintings were completed entirely outdoors, or en plein air

More than a century later, impressionism remains widely popular amongst modern artists, art enthusiasts and collectors.

“Some of that has to do with the skill of the painter,” Tackett says. “I think there is something interesting for our brains about capturing the way a landscape feels, even though your brain goes, ‘Well, that’s not what it really looks like.’ It’s something about being able to capture the light and movement and brush strokes that are not photorealistic, but an impression of space and a feeling.”

Among the artists featured in the Daywood Collection are works by John Twachtman, John Sloan, George Inness, William Mer ritt Chase, J. Alden Weir and Robert Henri. All of the included artists’ subjects range from landscapes to still lifes to portraits.

“A lot of the artists in this exhibition studied in Europe, and so they were inspired by European impressionism,” Tackett says. “What you’ll notice in a lot of the pieces in the show is that they apply that technique to the American landscape, from the East Coast all the way out to the Southwest.”

The Daywood Collection was acquired from the 1920s to the 1940s by West Virginia arts patrons Arthur Spencer Dayton and Ruth Woods Dayton. Its name comes from combining his last name with her maiden name. The Daytons’ interest in impressionism began after they were gifted a painting for their 1916 wedding. That piece, “Mu nich Landscape” by Ross Sterling Turner, is featured in the exhibit near one of the gallery’s main entrances.

“That painting was the beginning of a collection that eventually grew to over 200 works,” Tackett says.

The 41 paintings in “American Impressionism” date from 1861 to the late 1930s, a period of change and upheaval in American and global history, including the Industrial Revolution, World War I and the Great Depression. Impressionism was at its height in the U.S. for about two decades, between the 1890s and 1910s, before the emergence of the modern art movement.

The Daytons were both raised in prominent, upper-class families, Tackett says, and acquired art from a variety of sources: dealers, auc tions, exhibitions and, sometimes, directly from the artists they admired.

Ruth Dayton donated their entire collection to the Huntington Art Museum in 1967. The selections now hanging at the MAC have been tour ing the U.S. since 2019, and Spokane is the second-to-last stop on that tour before the art returns home.

AMERICAN IMPRESSIONISM: TREASURES FROM THE DAYWOOD COLLECTION

On display through Jan. 8, 2023

While most of the paintings are landscapes, the settings are as diverse as each artist’s individual tech nique within the realm of the impressionist style. Smaller, snow-covered countrysides in muted hues of brown are contrasted with massive seascapes of white-capped waves under a cerulean sky, crashing onto a rocky coastline. Other scenes center on quaint seaside dwellings under popcorn clouds, with unexpected undertones of pink or red, yet seam lessly blended within the imagery.

It’s been a few years since the MAC has hosted a show consisting solely of noncontemporary, fine art paintings. “Norman Rockwell’s America” opened in late 2019 with 22 oil paintings. Other fine art exhi bitions since focused on other media, including John James Audubon’s original prints and drawings, and Louis Comfort Tiffany’s glass.

“I always think of it as, we want to send things out on loan from the MAC, and that’s bringing them back to the world,” Tackett says. “And then when we bring things in — that’s bringing the world to the MAC.”

MORE EXHIBITS

THROUGH JAN. 22, 2023 GOLDEN HARVEST: FLOUR SACKS FROM THE PERMANENT COLLECTION

Eastern Washington’s wheat industry contributes hundreds of millions of dollars to the state’s economy. This ongoing ex hibit, now extended into January, showcases cloth flour sacks from the MAC’s collection that reflect the important role flour mills had in the early growth of Spokane. The sacks are in pristine condition and feature colorful and striking graphics, which vary depending on the mill and where the flour was exported around the world. Approximately 20 percent of all the flour sacks in this show were designed for export, highlight ing the global significance of the region’s wheat economy in the late 1800s.

Also displayed are several rare objects made from recycled flour sacks, including clothing and quilts. Artifacts in “Golden Harvest” date from the late 1800s to the early 20th century. This exhibit is for the thrifters, farmers and historians inside all of us.

NOV. 11-MARCH 19, 2023 SAVAGES AND PRINCESSES: THE PERSISTENCE OF NATIVE AMERICAN STEREOTYPES

This exhibit combines works from 12 contemporary Native American artists who are using their art to reclaim their identities and dismantle stereotypes plaguing their communities. Each of the 39 artworks in the exhibit seek to re place stereotypical images of Na tive portrayals via the unexpected, and are intended to evoke humor, emotion and shock in the viewer. The art achieves this by reflecting common images and ideas seen in contemporary media that have been slightly altered and replaced with Native imagery, phrases and content.

“Savages and Princesses” encourages viewers to question and challenge stereotypes, even unspoken and unacknowledged ones. Its contributing artists’ hope is that museum-goers sit with the emotions expressed throughout the show, and walk away with a new outlook on the lives of Na tive American people in modern society.

— MADISON PEARSON

FROM TOP: Charles W. Hawthorne’s “The Widow,” William R. Leigh’s “The Pursuit, Kayenta Arizona” and “Kathleen” by Robert Henri

BEHIND THE MASK

The MAC showcases the lively art form of Mexican mask-making and traditional dance

BY MADISON PEARSON

Conjure an image of a piece of art in your head.

What comes to mind?

Is it two dimensional? Is it hanging on a wall?

Behind a pane of glass in a strikingly silent room perhaps?

The Northwest Museum of Arts and Culture’s new exhibit “Dancing with Life: Mexican Masks” shows the more participatory side of art, with a selection of 54 dance masks from the MAC collection. The masks are accompanied by videos and soundscapes that focus on the traditional danzas, or dances, for which the masks are created and worn.

Exhibit curator Pavel Shlossberg experienced these traditional celebrations firsthand during a two-year stint in Mexico, where he researched the masks for his doctor ate. After his time at Columbia University, Shlossberg relocated to Spokane where he is now an associate profes sor of communication and leadership studies at Gonzaga University. The exhibit, on display through April 16, 2023, is the culmination of his research in visual form.

“I spent most of 2003-2005 living amongst these art ists,” Shlossberg says. “Even though I had proper profes sors and teachers at Columbia, I was learning firsthand from these artists, and it was like a second education to me. They taught me just as much as my formal class room teachers at university.”

The masks Shlossberg studied are used in dances celebrating religious holidays, and often depict devils and holy men along with celebrities and politicians. Shlossberg looks to re-examine the art form and dispel the common notion that the masks and the danzas are archaic, indigenous customs that are diminishing in the face of a changing society. His focus lies specifically within the mask-making traditions of the indigenous

Purepecha people of Michoacán, Mexico.

Though the art form has been around since approxi mately the 16th century, the masks used then hardly resemble their modern-day counterparts. Before, the masks were made out of clay, which made them heavier and harder to wear for long periods of time.

Now, they’re mostly created out of avocado wood rather than clay or heavy woods, like pine and cedar. Characteristics and features of the mask are created using car paints, which are pigmented, shiny and long-lasting — the perfect medium to coat the extravagant performance garb that the dancers wear.

Modern-day danzas take place in various regions of Mexico and usually occur in the central town plaza. Performers often repeat certain roles year after year so that they can re-use the mask made for them by local mask-makers.

“What sets this art form apart from others is that it’s very inclusive,” Shloss berg says. “You don’t need a certain set of skills in order to join in on the per formance, and everyone makes masks. Most performances include slapstick depictions of social and political com mentary which is very inclusive and easily understand able to the general public. ”

“There’s a very public aspect to the whole thing,” he says. “And it’s not just dancing, there’s meals and parties. People participate in many different ways. If you want to make the art or if you want to be the viewer, everyone is involved.”

Along the gallery walls are masks portraying some instantly recognizable figures from modern culture: Donald Trump, Pennywise the Dancing Clown and even a Power Ranger. Their faces are caricatured, giving the performances a comedic tone.

“We often attach our beliefs to pop icons,” Shlossberg says. “These dances often seek to explain how the people that we idolize are also problematic and deeply flawed. They make you question your values and commitments and see these contemporary issues in a new light.”

Videos of masked performances are also played in the exhibit. These photos, videos and sounds in the gal lery were captured by Shlossberg, some even taken in the midst of performing in the dances himself.

DANCING WITH LIFE: MEXICAN MASKS

While Shlossberg was in Mexico, he was asked to participate in a danza himself. He says dancers go up to every house in a given neighborhood and ask, “Do you want to do it? Do you want to perform?” If the answer is yes, the performance happens right then and there on the person’s doorstep.

One of Shlossberg’s favorite masks in the collection was made by his friend and mentor, Felipe Horta, one of the most renowned mask-makers of the Michoacán re gion. Horta is visiting the MAC in November to discuss his 30-plus year career as a mask-maker and his desire to keep the traditions alive.

“It’s an honor to have been able to curate this exhib it,” Shlossberg says. “I always want to bring it back to the community and center it back on the artists. Everything I know, I learned from them, so that’s the most important thing to me.” n

Wooden masks worn during traditional Mexican danzas DEAN DAVIS PHOTOS

LOCAL RESORTS

“READY TO RIDE,” CONTINUED...

LOOKOUT PASS

Long known for its cozy, hometown feel and prodigious snowfall totals, Lookout Pass has undergone a massive transformation entering this winter. An expansion onto the higher Eagle Peak, off the backside of the mountain and on the Montana side of the state line, will nearly double the footprint of Lookout’s skiable area.

The 10-year-long process of expansion had a soft opening last season, but without a chairlift only experienced skiers were taken up Eagle Peak by snowcat. This year, the 500 acres and 14 new runs will be accessible to all thanks to a new quad lift.

As warmer winters threaten many ski areas around the world, Lookout Pass is one place that can reasonably expect to get more snow going forward. The Eagle Peak ex pansion adds 640 feet of elevation, and higher elevation means deeper snow. (WILL MAUPIN)

MT. SPOKANE

After a massive upgrade to the Illuminator lift last year, upgrades on other lifts were spread around the mountain this offseason, focusing on maintaining open and operational lifts and providing smooth rides all winter long. An expanded grooming team should allow for smooth rides down the mountain as well.

Off the slopes, visitors can look forward to more options from overhauled kitchens in both Lodges

One and Two. Having spent the past couple of seasons focusing on ef ficiency during the pandemic, with an emphasis on grab-and-go items, the kitchen at Mt. Spokane this year is once again catering to the tastes of individual skiers. New recipes on the menu include expanded vegetarian options, which can be washed down with a growing as sortment of local brews.

Last season’s wildly popu lar Club Shred, which freed up parents to hit the slopes on Friday nights while their kids were given a lesson, dinner and supervised activities, returns this year bigger than before.

(WILL MAUPIN)

SCHWEITZER

Skiers and snowboarders looking to kick off their boots and recover after a long day on the slopes can check out Calbium, Schweitzer’s brandnew spa and treatment center. The 3,600-square-foot spa, which Sch weitzer plans to open around the holidays, has five treatment rooms, changing rooms, and a relaxation and recovery room with views of the mountain.

The North Idaho resort is also upgrading Stella, a high-speed chairlift with access to the Outback Bowl. The resort says the lift will be able to carry an additional 600 skiers per hour and significantly improve wait times.

Sean Mirus, Schweitzer’s mar keting and special events director, says all forecasts point to a solid sea

son with above-average snowfall. But even if the snow isn’t as heavy as expected, there’s no reason to worry: The resort is also adding four new snowmaking guns this year and expanding snowmaking to Hermit’s Hollow, a 100-yard tubing hill. (NATE SANFORD)

SILVER MOUNTAIN

Silver Mountain has 82 runs for snow sport fanatics, and the team up on the mountain is dedicated to ensuring that those runs are in tip-top shape. This year, another groomer has been added to the fleet of vehicles that maintain the slopes.

“We got great feedback at the end of last season about how well we maintain our terrain,” says Gus Colburn, Silver Mountain’s marketing coordinator. “Adding another vehicle makes sure that everyone on the mountain has the best experience possible.”

Silver Mountain is also ex panding its in-bounds terrain with a new run off Chair 2. Though the run is yet to be named, the area is naturally gladed and known to hold a tremendous amount of powder, perfect for navigating the mountain with ease. The Jackass Snack Shack, located at Midway Chair 4, is reopening this season for the first time in a couple of years, bringing back its popular snacks, beverages and restroom.

Lookout Pass has always had the best powder—and this year there are 500 new acres of it. Our new Eagle Peak expansion means fresh terrain, 14 new runs, and a second quad chairlift. It’s an affordable family and friends ski day that’s easy to reach via I-90.

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The village at Schweitzer. SCHWEITZER PHOTO

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BUCKET LIST GETAWAYS

Now’s the time to start planning to visit one of these world-class destinations in our own backyard BY TED S. McGREGOR JR.

LAKE LOUISE

Lake Louise, Alberta • skilouise.com 4,200 skiable acres • 3,250 vertical feet • 164 runs across four mountains If you want to bask in the most epic mountain scenery, the Canadian Rockies have it — and the area around Banff is perhaps the prettiest part. There are actually three ski resorts to choose from: Lake Louise, Banff Sunshine and Mt. Norquay (check out package deals at skibig3.com). Since 1980, Lake Louise has been home to the biggest ski racing event in Canada, the Winterstart World Cup — a rarity in that it features both men and women in speed events. It’s been canceled for two years,

but is back this Nov. 25-Dec. 4. (Visit lakelouiseworldcup. com for details.) You can also check out other wonders, like actual Lake Louise (hike out to the Lake Agnes Tea House if you can), and some of the grand old hotels of the Canadian Pacific Railroad days, like the Fairmont Chateau Lake Louise and the Fairmont Banff Springs, which is not far from the actual Banff Upper Hot Springs where you can take a steamy dip.

Ski into a postcard at Lake Louise. JOHN PRICE/LAKE LOUISE PHOTO

“BUCKET LIST GETAWAYS,” CONTINUED...

MT. BACHELOR

Bend, Oregon • mtbachelor.com

4,323 skiable acres • 3,365 vertical feet • 101 runs

There’s only one Cascade volcano you can ride to the top of via chairlift. By now you’ve caught on that it’s Mt. Bachelor, which, if you’re a geol ogy nerd, is actually a dormant stratovolcano on top of a shield volcano. Sounds scary, but they say it’s not set to blow, so check it out! On a clear day from the 9,065-foot summit, you can see the Three Sisters, Mount Hood and even Mount Adams. While 400 miles from Spokane, it’s just 22 miles from Bend, land of plenty… of breweries. Seriously, a 2019 study found there was one brewery for about every 3,000 Bend residents, making it the third most beer-soaked town in America. If you can tear yourself away from the Bend Ale Trail, the skiing is pretty legendary, too, with more than 450 inches of snow a season. For snowboarders, there are six different terrain parks, and skiers won’t wait long for a ride, with eight high-speed quad chairlifts.

Ski a real (albeit inactive) volcano.

MT. BACHELOR PHOTO

BLACKCOMB

Whistler, British Columbia • whistlerblackcomb.com

8,171 skiable acres •

5,020 vertical feet • 200+ runs

People in the Pacific Northwest have known about Whistler Blackcomb forever, but the resort really picked up notoriety when Vancouver hosted the 2010 Winter Olympics. Today, everything about Whistler is world-class. You could do a Whistler trip and just make it a foodie excursion and be happy. Araxi (get your reservations like a month ago) and Bearfoot Bistro (featuring an ice room vodka bar) are just two of the options. The village is filled with five-star hotels, too, all adding up to quite the international scene that should be bouncing back this year, with Canada’s border now fully reopened. (And the American dollar getting you around $1.35 Canadian is a nice incentive.) But with the most acreage in North America and a ridiculous 5,000 vertical feet of drop, even people who are happy to sleep in the back of a van and eat peanut but ter sandwiches on the chairlift rate it as one of the top ski experiences in the world.

Oct. 29.

GEAR GET PREPPED

It’s almost time to hit the slopes! This annual ski swap gives experienced and beginner snow sport athletes alike the opportunity to upgrade their gear in preparation for the upcoming season. For just $5 at the door, you’ll leave with valuable information and gear to last you a season or two. At the event, local ski patrollers, shop employees and volunteers are on hand to help determine what gear is best suited for your personal skill level and ability. Don’t miss out on the region’s largest ski swap.

— MADISON PEARSON

Mt. Spokane Ski Patrol Ski Swap • Sat, Oct. 29 from 9 am-5 pm and Sun, Oct. 30 from 9 am-noon • $5 • Spokane County Fair & Expo Center • 404 N. Havana St. • skipatrolskiswap.com

FILM SKI SHOTS

Warren Miller’s ski and snowboarding films are, to say the least, iconic. They’re action-packed and an absolutely thrilling watch for any snow sports enthusiast. Daymaker completely rewrites the rules of adaptive backcountry riding and showcases the neck-deep powder in British Co lumbia’s Monashee mountain range. The 73rd annual film features winter athletes like Karl Fostvedt, Michelle Parker, Katie Burrell and even some of Europe’s most legendary mountain guides as they traverse rugged terrain and highlight some of the world’s most extreme runs.

— MADISON PEARSON

Warren Miller’s Daymaker • Sat, Oct. 29 at 4 and 7 pm • $19-37 • Bing Crosby Theater • 901 W. Sprague Ave. • bingcrosbytheater.com • 509-227-7404

Coyote, Come Home

Josephine Keefe is paying homage to her family and tribe with a revival of According to Coyote

BY E.J. IANNELLI

Long ago, or so the story runs, Coyote happened upon an im pressive waterfall. Five sisters had lived near this place since ancient times, and Coyote, the eldest of the Creator’s chil dren, was disappointed to see that they had dammed the river with rocks to prevent the migrating salmon from swimming upstream.

Ever the trickster, Coyote hatched a plan. He leapt into the river and mimicked the cries of a baby. The maidens heard his distress, rescued him and took him in. Only the youngest was skeptical.

“That is Coyote,” she warned her sisters. They shushed her, worried that she would hurt the poor waif’s feelings.

At an opportune moment, Coyote escaped the sisters, ran to the dam, and tossed aside the offending rocks. The waters of the river began flowing again. The salmon were then free to swim up and beyond the falls, where some of their number could be fished and nourish others.

That is how Celilo Falls on the Columbia River came to be.

Coyote is a central figure in many more Native American my thologies of places and peoples. These stories were familiar to the Nez Perce actor and playwright John Kauffmann, who collected several of them in a monodrama — that is, a one-person play — titled According to Coyote. It debuted at the Kennedy Center for the Performing Arts in Washington, D.C., in 1987.

Spokane Ensemble Theatre co-founder Josephine Keefe has distinct memories of According to Coyote. Kauffmann was her uncle, and after his death in 1990, her aunt, Carlotta Kauffmann, took up the role of Coyote.

“One of [Carlotta’s] performances was my first experience see ing Coyote live,” Keefe says. “Also, at a young age, I would watch these very grainy VHS video recordings of John performing Ac cording to Coyote at the Kennedy Center.”

“Those were some of my earliest childhood memories, not only knowing who John was and his legacy to our family, but it was also my introduction to storytelling and the performing arts,” she continues. “It was a strong component in my own journey into the pursuit of acting.”

Kellen Trenal Lewis performs According to Coyote at the Riverfront Pavilion on Indigenous Peoples’ Day, Oct. 10, 2022. YOUNG KWAK PHOTOS

Today, roughly 30 years after her first brush with Coyote as re-enacted by her aunt and uncle through acting, song and dance, Keefe is reviving According to Coyote. With the help of an almost entirely Indigenous team, plus partnerships with Red Eagle Soaring and One Heart Native Arts and Film Festival, she hopes to “find the confluence” between the traditional story telling that sparked her love of the performing arts and the work she wants to stage professionally.

ACCORDING TO COYOTE

To play Coyote, Keefe tapped her childhood friend and fellow Nez Perce tribal member Kellen Trenal Lewis. He has a long professional résumé in dance and theater, with a recent appearance on Sterlin Harjo and Taika Waititi’s critically ac claimed series Reservation Dogs

“I knew that this role would require an artist who could embody Coyote and take on the physical endeavors of this role,” Keefe says. “For a text like this, especially with his background in dance and performance, I couldn’t think of anyone other than Kel len. Kellen also reminds me of my Uncle John. In essence, what I’m trying to do with this production is to bring Coyote home.”

Lewis says he relished “being able to dive deep into the text and a lot of the stories that I grew up with.”

“Through these small legends and stories, we get an entire arc. And I’m really hoping that these stories will resonate with the audience,” Lewis says. “We’re portraying a wide range of emotions and experiences in a short amount of time and a compact space.”

There have already been two recent public performances of According to Coyote in Riverfront Park in honor of Indigenous Peoples’ Day, on Oct. 10, and there’s another show to come this weekend at the MAC’s outdoor amphitheater. Later this fall, Ac cording to Coyote will play at other Spokane-area venues. Keefe says there are even plans brewing for cross-state and national tours.

For both her and Lewis, one aim of this production is to reintroduce audiences of all ages to the mischief of Coyote and, by extension, to the world around them.

“These are the stories that are evident in the landscapes of our traditional homeland — the routing of the rivers, the large rock formations — and they’re being passed down through this oral history,” Lewis says. “Yes, they’re grand and hilarious and sometimes even ridiculous, but they have value.”

That value becomes evident when you pause to recall that Celilo Falls no longer exists.

The U.S. Army Corps of Engineers undid Coyote’s work when, in 1957, the completion of The Dalles Dam caused the waters of the Columbia River to submerge the roaring falls. The village of Celilo and its nearby fishing platforms became the bot tom of Lake Celilo.

Yet it’s through the tales of Coyote’s adventures and exploits that places like Celilo Falls endure across the generations. n

E.J. Iannelli has been a contributing writer for the Inlander since 2010. Although he has covered everything from small business to steamboat history, his primary focus is on theater, literature and classical music. In 2022, he joined Spokane Public Radio, where he works as the arts and music director.

According to Coyote director Josephine Keefe (left) and lead actor Kellen Trenal Lewis.

A Sense of Belonging

The journey of Vytal Movement Dance is illustrated in its upcoming performance, “Sanctuary”

BY SAMANTHA HOLM

There’s nothing like having a place to call your own.

In February, members of Vytal Movement Dance settled into their new studio on South Howard Street, nestled in the heart of downtown Spo kane. Since then, the whole company has collaborated to make the space uniquely theirs.

Paintings by company dancer Grace Barnes are mounted on the studio’s cheery, lime green walls. Barnes’ muses are her fellow dancers, whom she depicts in vary ing dance poses in each of her pieces.

Vincas Greene, Vytal Movement’s artistic director, says the dancers and their spouses touched up paint on the walls, hung curtains and adjusted lighting in prepara tion for their upcoming performance, “Sanctuary.”

“They’re fully invested in this room,” Greene says.

Greene founded Vytal Movement in 2016, previously holding rehearsals in spaces provided by Spokane’s Pro fessional Ballet School and Company Ballet School. Over the next few years, the company expanded from a couple dancers to over a dozen.

Greene never planned to start his own dance en semble.

“I started teaching an open class at Gonzaga, and dancers just started to come because there were no adult contemporary dance classes,” he says. “I started to meet people and got asked to do projects... Out of that [I real ized], ‘I think we need to start doing something for the dancers that are here.’”

Vytal Movement currently is Spokane’s only profes sional dance company for adults.

Its mission is to enrich the community with highquality dance performances and to serve that same community by providing professional opportunities for Spokane-based dancers wishing to further their careers.

“I want the community to feel like the dancers who dance here are their dancers,” Greene says.

The performance of “Sanctuary” draws upon this idea. With a studio for Vytal Movement to call home, and the ability to share it with others after the past few years of separation, isolation and fear, the theme of this concert deeply resonates with the troupe.

“I haven’t performed for an entire year because of COVID, so I was so excited to have a performance op portunity,” says dancer Liz Booth.

Company dancer Lexie Powell is presenting her own choreography in “Sanctuary.” She expanded upon the performance’s theme and her artistic interpretation of it.

“For me, it was [about] having a space, because this was the first time that we had our own home,” Powell says. “It was [about] having a little sanctuary to create.”

Greene’s four choreographed dances in the concert address the theme of a sanctuary metaphorically. In one of those pieces, three brand-new Vytal Movement danc ers perform as a trio. This dance, he says, will be “about them finding their place together, while maintaining their individuality.”

In addition to Powell and Greene, dancers Chris topher Lamb, Melanie Huff and Hannah Donk also present their own choreography in “Sanctuary.” Choreog raphers dance in one another’s pieces, a testament to the troupe’s cohesion and synergy.

Performances are held in Vytal Movement’s new stu dio in front of an audience of about 40 people per show for a deeply personal and intimate experience.

“I don’t think we’ve ever done as intimate a full con cert before,” Powell says. “We’ve done other events, but this is the first time we’re doing a concert in a venue like this, so I think that’s going to be very special and unique.”

“Sanctuary” offers a glimpse of the lengths Vytal Movement’s dancers and leaders have gone to establish the company, and reflects on ideas of separation and togetherness, to which audiences can deeply relate. n

Sanctuary • Fri-Sat, Oct. 14-15 and Oct. 20-21 at 7:30 pm • $25-$35 general; $10 students • Vytal Movement Dance Studio • 7 S. Howard St., Suite 202 • vytalmovement.org

Vytal Movement’s Melanie Huff (top) and Artistic Director Vincas Greene (above) rehearse “Sanctuary.” CHIANA McINELLY PHOTOS

WE CAN TREAT CANCER WI TH RADIATION BEAMS

THE WID TH OF A HAIR. WE CAN ALSO HELP YOU FIND CHILDCARE.

It's called a linear accelerator, and it's used to treat cancer at MultiCare's Comprehensive Cancer Center. It's noninvasive, precision radiation capable of treating tumors anywhere in the body. What it can't do is provide emergency childcare. Which is why, along with precision cancer treatment, MultiCare partners with Vanessa Behan, giving parents a safe place to bring their children in a time of stress. Because healthy communities need more than health care. See how we're supporting communities at multicare.org.

We're here for you.

NOISE!

Ten ways to beat back the terrifying sounds of silence

BY NATE SANFORD

It feels like everyone is anxious, distracted and hav ing trouble sleeping these days. If you’re looking for an easy, non-pharmaceutical fix, try listening to noise.

Search “background study sounds” on Spotify or YouTube and you’ll find tens of thousands of 10-hour loops from people hoping to cash in on the growing cottage industry. Sometimes, the track is a recording of a sound like “ocean” or “campfire” that actually exists in real life. Other times, it’s just the static hum of a resonant frequency.

I just moved into a new neighborhood that feels too quiet, so I’ve been exploring a lot of background noises. Read on for a rundown and ratings of some of the best and worst tracks to chill/sleep/study/relax/go insane to.

1. WHITE NOISE

This is the bread and butter of the genre. It’s the subtle, resonant hum of everything all at once. Sharp wind. Airplane jets and sterile waterfalls. This is what televisions used to do back in the day when you turned them to a dead channel.

White noise is created by playing every frequency audible to the human ear at the same time and volume. The effect can be calming at first, but the uniform totality of it all starts to feel a bit overwhelming after a while. Listen too long and you’ll start hearing super market ads in the static. (6/10)

2. PINK NOISE

This one feels like white noise’s aggressive cousin. Standing up too fast and feeling the blood rush to your head. Opening a can of soda but the fizzing never stops. I’d recommend passing on this one. (4/10)

3. BROWN NOISE

Brown noise — the best background noise by far — is named for 19th-century Scottish botanist Robert Brown, who was amazed by the way pollen grains moved and danced in seemingly random directions when observed through a microscope. Scientists would later refine the concept and call it “Brownian Motion.”

Brown noise follows this pattern. Frequencies, like suspended pollen grains, dance and move at random. They soar from high to low in a soothing chaos that

sounds like the distant roar of a waterfall or an infinite wave that just keeps crashing. It’s a bit like white noise, but somehow lower and calmer. The result is every thing you could want from background noise. (9.5/10)

4. RAIN NOISES

This one is nice because for just a second you forget that our region is in the midst of a water crisis. (7/10)

5. U-BOAT ENGINE ROOM 12-HOUR LOOP

When I randomly came across this track on Spotify, I pictured the hellish claustrophobia of the 1981 West German war film, Das Boot. But there’s something surprisingly calming about the mechanical urgency of a submarine engine noise. You’ll drift off feeling cocooned in a metal hull hundreds of feet beneath the sea. (7.5/10)

6. PODCASTS ABOUT THINGS YOU DON’T UNDERSTAND

Falling asleep in class came naturally to me, so I tried listening to a podcast from the University of Oxford called “Hydrodynamics of Quantum Many-Body Systems Out of Equilibrium.” I expected to zone out instantly, but the topic was surprisingly engaging. I might have actually learned something! (For sleeping: 2/10. For learning: 7/10)

7. BRIAN ENO’S AMBIENT 1: MUSIC FOR AIRPORTS (1978)

This album essentially invented the concept of ambi ent noise. It’s the “Citizen Kane” of the genre. A little dated, but still effective. (8/10)

8. A RECORDING OF A FAN

There are hundreds, perhaps thousands, of fan noise loops on Spotify and YouTube. My favorite is called “10 hours of Box Fan White Noise | Sounds for Sleep ing (Medium Speed).” (8/10)

9. AN ACTUAL, REAL-LIFE FAN

Not so sure about this one. It makes the room chilly and juices your energy bill. Sometimes the simulation of the thing beats the thing itself. (5/10)

10. YOUR OWN INTERNAL MONOLOGUE

This one isn’t actually that bad? (??/10) n

BUZZ BIN

PROFESS, FLETCH

Why exactly did Paramount Pictures put in zero effort to promote CONFESS, FLETCH? Do they think there’s no audience for finely crafted comedic mysteries? Do they not want to distract Jon Hamm from his pursuit of Flo from Progressive? Whatever the reason, Confess, Fletch is one the best movies I’ve seen in 2022 (it’s already out of theaters, but still available VOD). Hamm plays the titular wisecracking, former investigative reporter who gets framed for murder while he’s in Boston trying to uncover the mys tery behind a European art theft. Hamm has so much fun in the role as Fletch tries to clear his name and find the paintings while encountering some seriously funny characters. From Greg Mot tola’s directing to each performance to the grounded, razor-sharp script, everything about this film is so finely tuned in a way that’s rare in the modern cinematic comedy realm. It’s a true shame most people don’t know it exists. (SETH SOMMERFELD)

A DICEY MEAL

I constantly fall victim to the endless doom scrolling that TikTok provides. Usually the videos are subpar attempts at comedy, but sometimes I stumble upon a gem. Recently, I became aware of ROLL FOR SANDWICH, a game created by TikToker “AdventuresInAardia” to make lunchtime a bit more unpredict able. He lets a set of Dungeons & Dragons dice decide what in gredients go onto his sandwich for the day. The numbers on each dice correspond to a list of ingredients the creator has in his kitchen. I’m hooked. I go back everyday to find out what madness his 20-sided die (or D20, in gamer parlance) sauce roll will bring to the sandwich. Sometimes mayo, but other times, chocolate syrup. The dice don’t always go his way, but that’s what makes this account worth a follow. (MADISON PEARSON)

THIS WEEK’S PLAYLIST

Noteworthy new music arriving in stores and online Oct. 14:

ENUMCLAW, SAVE THE BABY

Seattle’s buzziest new band (actu ally from Tacoma) delivers a debut LP full of distorted Northwest alt-rock noise.

WILD PINK, ILYSM. Some rock critics who’ve heard the Brooklyn group’s upcoming album of beautiful hushed indie rock have compared it to Wilco’s classic Yankee Hotel Foxtrot. Enough said.

THE 1975, BEING FUNNY IN A FOREIGN LANGUAGE. The British pop-rock band tries to rein in their expansive sound for a tighter 11-song LP (that’s still sung in English and isn’t exactly hilarious).

(SETH SOMMERFELD)

The right kind of ambient sounds can soothe.

Laughs ‘Wanted’

Internationally known comedian Vir Das brings his globally unifying humor to Spokane

BY NIC RENSHAW

To millions of his fans, Vir Das has been a trusted name in comedy for a long time.

Yet ahead of his performance at Spokane’s Bing Crosby Theater, the Dehradun, India-born stand-up quickly admits that he’s “not sure how many people know me over there.”

It’s a position that’s surely familiar to Das by now. His 2017 Netflix special Abroad Understand ing made a point of cutting back and forth from a packed theater in his home country of India to a decidedly cozier club in New York City. It was an inspired editing choice for a special that served as both Das’s proper debut to an international audi ence and the culmination of a full decade spent honing his talents in Indian film and television.

Though Das enters Washington state on his new Wanted world tour a seasoned pro, his perfor mance nonetheless promises to be a breath of fresh air. Far from any grumbling over smaller audience sizes, Das seems thoroughly energized by the prospect of sharing his singular perspective with a new audience.

“It gets tougher and tougher, honestly,” he says of the rigorous process of creating a new TV special and tour. “Right now, I’m focusing on just trying to get it out in front of as many different crowds as I can. I just did six weeks in the U.K., so I know that British people like it. I also did a week in Canada, so I know that Indian people like it!”

Indeed, Das’s blend of topical jibes, offbeat personal anecdotes and broad pop-culture musings seems to be as much of a one-size-fits-all proposi tion onstage as it is on paper.

“It really boils down to rooms, and alcohol, and energy, far more than nationality,” Das says, reflecting on crowd reactions to his new material. “I think anyone who knows comedy knows that it’s all about a specific room on a specific night.”

True to those words, a specific room on a specific night looms large over Wanted: the Kennedy Center for the Performing Arts on Nov. 12 in the nation’s capital, where Das first performed his nowinfamous “Two Indias” monologue, contrasting pride in his people and culture with the reactionary currents that threaten to undo its decades of hardfought progress.

“Two Indias” immediately became the flash point for a heated debate over India’s social politics and the way the country is often perceived by the rest of the world. In addition to the expected online deluge of disgruntled non-fans, members of India’s right-wing Bharatiya Janata Party quickly moved to ban Das from performing in his home state and even to file sedition and defamation lawsuits. On his flight home, Das confronted the possibility of an immediate arrest on arrival.

Understandably, he expresses some reluctance to milk such a nerve-wracking ordeal for laughs, citing his rule that “content can become contro versy, but controversy should never become your content.”

“I think comedians often romanticize how much they are ‘truth-speakers,’ and how they speak truth to power,” Das continues. “I wanted to take a much more humble, inward look at things, rather than any kind of posturing.”

Nonetheless, he’s sought after the kernels of universality in the political and media circus that surrounded him.

“It’s a lot funnier than the average person might expect… Once you get a little goddamn distance from it!” Das says. “I wouldn’t wish a whole coun try’s anger on anybody, but in a certain sense, we’ve all experienced some version of that.”

In keeping with this desire for a more grounded, less ego-driven show, Das has also done away with the stage dressing and ritzy wardrobes of his previous specials, avoid ing a trajectory he describes as “same comic, fancier suit, bigger venue.”

Still, though his current onstage attire may be more laid-back, it’s no less deliberate, a direct result of Das’s experiences in screen acting.

“If you work in Bollywood or in Hollywood, or do a certain amount of acting, you start to sense how your stand-up image blends into your acting image, and can sometimes hamper the suspension of disbelief when people see your face,” he says.

With Wanted on its way to Netflix and a very literal world of comedic possibilities in front of him, Das expresses a refreshing optimism sur veying the state of his field.

“I think what’s most exciting is that we’re in an era of asking what comedy is right now, and nobody seems to have the answer,” he says. “For me, as an outsider, that means open season, that’s my time to shine.”

Despite his tumultu ous past year, Das is more determined than ever to do what comedy does best: bring people together.

“We’ve never had more global common ground in the world,” he says. “I could not be more excited to be a global comic.”

Vir Das • Sat, Oct. 15 at 7 pm • $41.50$115 • All ages • Bing Crosby Theater • 901 W. Sprague Ave. • bingcrosbytheater. com • 509-227-638

Vir Das has been acting and performing stand-up for over a decade.

LOCAL GOODS

On the Inside

Restaurant and grocery supplier Angus Meats celebrates 50 years, expands its retail line

BY CARRIE SCOZZARO

When your restaurant’s reputation relies on providing fresh, beefy burgers, affordably priced and served up fast, you’re particular about the provider of your patties. And when those patties need to be the same shape, size, texture and taste your customers have enjoyed for decades, you need a vendor that can deliver — literally — as much meat as hungry diners demand.

For Spokane’s D. Lish Hamburgers, that provider is Angus Meats, a distributor that also performs select meat processing and packaging. Angus serves primarily whole sale — restaurants, hotels, schools, grocery stores — with an evolving retail market offering.

Angus Meats, which recently celebrated 50 years in business, has outlasted its competitors by offering quality products, building relationships with chefs and continu ously adapting its business model.

“We’ve been using Angus since we opened,” says Mike Lish, whose parents and a former business partner opened the hamburger joint in 1998.

D. Lish goes through a lot of meat, which gets deliv ered several times a week, because their business model focuses on fresh meat. During a recent 10-day period, D. Lish went through 111 cases of burgers, or roughly 7,700 patties, Lish says. All of it from Angus.

“They just had the best tasting meat,” he adds.

Ditto, says Christopher J. Beck, chef de cuisine at Spencer’s For Steaks and Chops in downtown Spokane, which has sourced from Angus for more than 20 years.

“Using Angus gives us the best product around and a better customer service unlike anyone else,” Beck says.

Customer service at Angus Meats means Tom, says Curtis Smith, a longtime instructor at Spokane Com munity College’s culinary program. He’s talking about Angus co-owner Tom Stachecki.

Tom’s father, George, founded the business in 1972, and Tom worked his way up through the company since his teens, learning all the bones of the business.

Now, Stachecki handles production, while his wife, Leslie, is the detail person for the company, including managing the staff of 24.

Together, the couple have beefed up Angus Meats considerably since purchasing it from Stachecki’s parents in 2000. Although it’s still called Angus Meats, a more accurate term would be Angus Brands, the umbrella over both the wholesale and small-but-growing line of retail products like bulk meat packages.

Smith first heard about Stachecki and Angus Meats in 1993 when he was helping open Tito’s Italian Grill & Wine Shop (when it was Tito Macaroni’s), inside the Coeur d’Alene Resort Shops.

“Tom was the primary meat purveyor for the resort because he was local and he would cut anything any way you wanted, no matter how unique you wanted it,” Smith says.

Angus Meats still does that, like for downtown’s Wooden City Spokane, which wanted a bone-in pork chop with the fat cap and deckle attached, similar to the

prized parts of a bone-in beef ribeye.

“Most large cutters or producers aren’t selling this product despite the fact that it’s the best way to enjoy a pork chop,” says Wooden City co-owner, Jon Green.

When customers call Angus Meats about an order, says Smith, they get Stachecki and they get answers. If there’s an issue with a steak, for example, Stachecki “can walk out of his office and walk into the production room and talk to the guy who is cutting that steak.”

You don’t get that with a generalized food distribution company, says Smith. Stachecki earned respect from the chefs he works with by asking for feedback and attending and supporting events.

“He was always a local supporter of chefs,” Smith adds.

Stachecki is also a bit of a meat geek. He can tell you how D. Lish’s burgers are made and why they’re superior. For D. Lish’s burgers and similar accounts, Angus Meats blends 95 percent lean beef with steak trimmings, keeping the mix at a bracing 28 to 29 degrees.

“Temperature is critical for a longer shelf life and bet ter beefy taste,” Stachecki says.

The company’s patented patty-making machine helps align the meat fibers in a vertical pattern as it extrudes them quickly and efficiently in seconds, a “whak, whak, whak” sound continuous on the processing floor.

Making patties this way, explains Stachecki, pro motes more even cooking. “This allows the internal temperature to get to 160 degrees quicker without mak

Angus Meats’ owners Leslie and Tom Stachecki ERICK DOXEY PHOTO

ing the patty dry,” he says. “A dry patty also loses most of its beef flavor.”

In addition, the 40-yearold machine makes them the same way now as it did when Mike Lish’s dad, Dave, first began ordering burgers from Angus Meats.

How does the compa ny’s model translate to home cooks? It’s a work in progress.

In 2008 Angus Meats contracted chef Smith with SCC to develop meal kits, which were available at local grocers.

“It’s like anything else out there,” says Leslie Stachecki. “You create something, you try it in the market, and then you see what was successful.”

Although the meal kits met stiff industry competi tion and have been suspend ed for now, Angus Meats found a better niche in bulk meat packages, especially since the pandemic. The company now offers a range of packages — beef, chicken, pork, lamb — with shipping and local delivery options. (Order at angusbrands.com.)

The 35-piece seasonal pack ($80) is very popular. It includes 20 chicken breasts, four petite sirloin steaks, four 1-pound packs of lean ground beef, two packages of sausage links, a pound of beef stew meat and eight pork loin chops.

“There’s probably close to 50 different products,” says Ruth Morgan, Angus Meats’ business manager, who joined the company during the pandemic and has been helping amplify its online presence. “But you can also buy one-offs if you want, like, you could buy a single pound of bacon if you wanted to.”

The number of products could and probably will change, depending on feedback from customers, which, says Morgan, is one of the strengths she’s ob served with the company’s business model.

“I think if you don’t have that, no matter what you are, if you’re a business or just an individual, you would have kind of a hard time growing and rolling with the punches.”

ESSAY

FLEEING FROM TERROR

A fittingly timid defense of not liking horror movies

BY SETH SOMMERFELD

Look, there’s simply no other way to put this: I’m a big scaredy cat.

While I’ll sample almost any cinematic flavor, I simply can’t handle horror movies. This time of year, that becomes especially problematic. It’s usually easy enough to avoid cinematic horror — that is, until the calendar turns over to October and the fear-inducing becomes the default state.

I know I’m not alone in my anti-horror stance, but I still feel like my fellow fear-averse folks are looked down upon during the spooky season. But I feel our collective perspective is pretty easy to grasp if y’all stop looking down on us with your vacant Michael Myers death glares.

My aversion to big-screen scares runs deep. As a kid, I remember hating trailers before movies because some times there were scary ones. I’d bury my head deep in my lap and plug my ears in hopes of not even letting a solitary image or sound that might spook me enter my brain.

It comes down to a very basic truth: Fear is a bad feeling. It’s literally biologically wired to make us get out of dangerous situations. While clearly many people love manufacturing the feeling from the safety of a movie theater or their couch, the whole concept makes no sense to me. It must generate endorphins in some brains, but mine is just left with bad feelings and scarring images of things I can’t unsee. My own brain can’t fathom choos ing to subject itself to fear over the joy of laughter a good comedy can provide.

It’s not that I’m against movies that make you feel bad. I think there’s value in a good sad cry movie. Films that make you cry are connecting you to humanity and empathy that we sometimes keep bottled up. It’s a release. On the other hand, horror movies actively remove you from that humanity, instead tapping into the fight-or-flight subconscious animal instincts of your brain.

Here’s how bad my horror aversion is: I hadn’t seen the original 1978 Halloween until 2019, and my mom is in the movie! (She’s only momentarily in the movie — a parent Michael Myers watches leave a house so that he can get to more killing — but still!)

There are so many classics of the genre which I’ve ac tively avoided for years. I’ve never seen entries in massive franchises like Nightmare on Elm Street, Friday the 13th, Scream, Texas Chainsaw Massacre, It, or Hellraiser. I’ve also avoided other lauded standouts ranging from old standbys The Omen, The Exorcist and The Thing to sensa tions during my youth like The Ring and The Blair Witch Project to contemporary critical darlings like Midsommar, Us, The Witch, and Hereditary.

I particularly loathe slasher flims loaded with jump scares, gore and torture. I’ve always found jump scares to be cheap, manipulative filmmaking at least 90 percent of the time (especially when a jarring music or sound sting is added to trick our brains into thinking the image is even more intense). And scenes of gore and torture just don’t fascinate me. While some horror movie makeup

can be a pure work of inventive art, in general it’s mostly low-brow provocateur nonsense that boils down to being something icky I didn’t need to ever see.

All that said, I still don’t want to be the total cin ematic horror rube, so I do try to subject myself to a few movies in the genre each year around this time. It’s a lot easier with some of the much older classics like Nosferatu, The Birds, Night of the Living Dead, and Psycho, since their directors are less desperate for their big scares. There’s a whole section of thrillers and weirder art films that I enjoy, those often labeled horror films despite not totally fitting the template: Silence of the Lambs, Get Out, The Light house. Others I’ve taken in because I know the directors: Jaws, Alien, the Evil Dead films, The Shining.

But my real horror sweet spot is movies that use horror motifs without scaring you as their primary objec tive. My favorite horror flick is Let the Right One In, the romantic Swedish horror film which moodily dwells on the relationship between a young-looking vampire and a 12-year-old boy, but is almost completely unconcerned with being scary. On the other side of that coin, I can get a real kick out of elite-level horror comedies like Shaun of the Dead and Tucker and Dale Versus Evil

What will I choke down this year, watching the screen through the slits between the fingers covering my face? The Cabin in the Woods? One Cut of the Dead? Sleepaway Camp? Time will tell.

But I am dreading it. n

The faces of fear I avoid.

Let

Halloween’s horror slasher has cheated death countless times, whether we wanted it or not

BY CHASE HUTCHINSON

Michael Myers just keeps coming back. An unrelenting masked killer common ly referred to as “The Boogeyman” and whose weapon of choice is a kitchen knife that never seems to dull, he is basically as unkillable as the Halloween franchise itself. Across the various Halloween movies, he has been repeatedly shot, stabbed, blown up and, at one point, seemingly decapitated. Yet through all the many cinematic misfires and meandering timelines, director John Carpenter’s creation remains one of the most iconic horror figures after over four decades.

The character has endured despite a death march of sequels, remakes and reimaginings that have dampened the menacing mystique that was first unleashed in the original 1978 Halloween Whenever one revisits that film (one Carpenter wrote with the late Debra Hill), it is hard to shake how wonderfully sinister and simple their work re mains. It is just about a masked man who wreaks havoc on the sleepy suburb of Haddonfield, Ill. and how babysitter Laurie Strode (Jamie Lee Cur tis) fights to fend him off. There was an efficient explanation for Michael’s origin as what mattered is he just keeps coming no matter what is thrown in his way. The sublime synth score, also created by Carpenter, sets the tone perfectly and remains immediately recognizable for a reason.

The subsequent films that preceded the original have only occasionally justified their existence. Halloween 2 picked up right after the original and remains somewhat engaging, while still being a major step down — trying to give Michael a motive by establishing Laurie as his sister. This was only the beginning. Halloween 3 that had nothing to do with Myers and was instead a failed attempt to turn the series into an

anthology of sorts where scary things happen on Oct. 31. The fraught fourth and fifth movies ditched this approach, bringing Michael back for another personal vendetta, this time against his niece. The sixth entry, The Curse of Michael Myers, boldly attempted to give Michael a supernatural origin related to a cult.

Then there was the first hard reset that erased most everything before it. Halloween H20 and Halloween: Resurrection introduced a different version of Strode, again played by Curtis, and again being tracked down by the slasher. H20 wasn’t half bad, ending in rather triumphant fashion, though Resurrection undid all of this and threatened to kill any remaining audience inter est. However, it did include a monologue where Busta Rhymes described Michael as a “killer shark in baggy-ass overalls,” so it wasn’t a total wash. The second reset came via Rob Zombie’s Halloween remake and Halloween 2, which also were in their own timeline, followed by a third with the recent trilogy of films by director David Gordon Green, which now comes to a close with this week’s release of Halloween Ends

This most recent attempt at a jumpstart began with Halloween in 2018. It was a strong direct se quel to the original, which ignored the nine mov ies made in-between. It brought Curtis back again as a lonely Laurie, who had been consumed by fear and plenty of trauma about Michael’s return. Add to that a striking new score by Carpenter, his most significant involvement in the franchise in decades, and you had a surprising hit that was the best the franchise had been since it began. It should have ended there, as it managed to be a fitting full-circle moment for the characters.

Of course, with more money to be made, we got the baffling sequel Halloween Kills three years later that sidelined Laurie in a hospital and had characters roam around repeating the line “evil dies tonight” until it was us as the audience who wanted to die. It killed any intrigue in the closing chapter of Halloween Ends, now getting a theatrical and streaming release on Peacock.

For every glimpse of success the Halloween franchise takes, the story takes several steps back wards. However this latest entry ends, it is high time to let Michael stay dead for a good while. If the last 40-plus years have shown us anything, we ought to allow iconic works of horror like Hal loween time to rest, rather than dampening them with so many unimagative revisitings. n

Halloween Ends opens in theaters on Oct. 13 and streams on Peacock starting Oct. 14.

MOVIE TIMES

SEARCHABLE

by Time,

Theater

Movie

Every Theater.

Still stabbing after all these years...

Playing a New Track

How The Podium transformed into Spokane’s newest concert venue

BY SETH SOMMERFELD

It’s a tale as old as time... a new concert venue emerges because a sporting complex wanted to host graduations.

Wait... what?

The Podium, the indoor track-and-field/multiuse sports facil ity that opened next door to Spokane Arena in fall 2021, is now hosting live music. The path to get there has more turns than the building’s track.

Originally, the Spokane Public Facilities District (PFD) — which also operates the Spokane Arena, Spokane Convention Center and First Interstate Center for the Arts — planned for the Podium to be a sports-only building. But the structure was con structed with a design-build process, meaning one where the plans aren’t really set in stone until the building is done.

The PFD realized that with some tweaks, the space could host graduation ceremonies that had been taking place at Spokane Arena, opening up more dates for Spokane Arena concerts, which is really the cash cow that keeps the rest of the PFD buildings (which operate at a loss) financially afloat.

That financial reality isn’t something to gloss over. The Spo kane PFD feasibility studies projected the Podium to initially lose about $350,000 to $400,000 per year in operations costs, subsi dized by Arena revenue.

And although the Convention Center made its first profit in 2019, things have yet to pick back up in the wake of COVID.

So rather than having the Podium sit dormant for the majority of the year (the prime indoor track season is December through March), bringing concerts into the fold would help subsidize the

space. The PFD projects that hosting six to eight concerts per year should be enough for the building to break even financially.

The Podium’s capacity of around 4,000 (similar to the out door concert venue at Northern Quest Resort & Casino, which can hold 5,000) is ideal for acts too big for a place like the Knit ting Factory (1,500 capacity), yet too small for Spokane Arena (12,000 capacity).

“It’s basically just a Knitting Factory on steroids,” says Paul Christiansen, the PFD’s director of sports. “It’s a [general admis sion] venue. We’re not going to sell seats. We’re not going to put chairs on the floor. And so that’s a little bit different than the Arena, because a lot of times we’re putting chair seating on the floor. I would think of it more as bands that could easily fill the Knitting Factory and then some are what we’re looking for.”

Matt Meyer, director of entertainment for the PFD, might be a bit more ambitious in his live music vision for the Podium than the sports-focused Christiansen. While six shows a year at the Podium is the low-end goal to help balance the budget, Meyer suggests interest from promoters could mean that 10 to 15 genrespanning shows per year might be more realistic.

“It’s not just going to be the typical country and rock,” says Meyer. “We’ve got plans for some hip-hop coming through here. Working on some midtier EDM shows as well.”

The biggest hurdle for the Podium becoming a concert venue? The sound.

It’s not merely that the Podium wasn’t designed for

The Podium in action

first concert

UP NEXT

A Day to Remember, The Used,

Park

DAN SNOOK/INTEGRUS ARCHITECTURE PHOTO

concert acoustics. After construction, PFD staff found that the noise levels were even terrible for some sports.

“The Pacific Northwest qualifier volleyball tournament was hosted here last March,” says Christiansen. “Sixteen courts, 64 teams at any given time. And it was ridiculously noisy in here. I mean... if you were out on that event floor, you were basically wearing earplugs because it was so loud.”

The PFD conducted a study on how to improve the acoustics. With wall treatments and curtains, they were able to drastically decrease the bounce rate of reverberated sound in time to host graduation ceremonies in June 2022. The large black curtains do the bulk of the acoustic work while also cutting off space to make the Podium floor feel slightly less massive.

There was also the major issue of protecting the Podium’s $5 million track, which varies in how much weight can be placed on spots depending on if the flooring is over straightaways, turns, etc. The crew first puts down a thick tarp over the track to prevent damages from drink spills (there’s a beer garden on the Podium floor for concerts in addition to concessions on the concourse level) and other accidents. Then that tarp is covered with a $1 million Terraplas-HD floor. Each panel is 39-by-39 inches with interlocking tabs to spread the weight load.

Once the floor is down, it takes the crew roughly 12 hours to get the space set up for a concert — setting up the curtains, build ing the stage, etc.

T

he Podium got its first test run on Oct. 1 with a lineup headlined by theatrical hard rock/metalcore band In This Moment.

The space feels cavernous. The Podium floor is 75,000 square feet, which even dwarfs the Spokane Arena’s 52,000-square-foot floor. In This Moment drew just under 2,000 attendees, so the wide sides of the floor were very empty, but that also means it didn’t feel overly crowded.

For a first run, everything seemed relatively solid. It’s obvi ously not a venue designed for concert acoustics, but there was nothing really to complain about sound-wise (the sound quality fades on the far sides of the Arena, but that’s expected; if you’re attending, try to get more centered in the stands or on the floor). Really, the Podium reminded me a lot of WAMU Theater in Seattle, a similarly cavernous convention center-style space that might not be the ideal place to see shows, but fits a venue niche for not-quite-arena-level acts and has good enough sound.

Christiansen notes that there will be adjustments for future shows. For example, some of the curtains to help with acoustics didn’t arrive in time for the first show, and the PFD might con sider bringing the stage closer to the stands for smaller shows in the 2,000 capacity range.

“We would like to create much more of a club atmosphere,” says Christiansen. “Right now, it kind of felt to me more like an arena atmosphere.”

The Podium crew will get a chance to make some of those adjustments before their next show, featuring the metalc ore/pop punk hybrid A Day to Remember and screamo standouts the Used on Oct. 14.

While it’s the only other show announced at the Podium, it certainly won’t be the space’s swan song. Promoters from Live Nation flew in to check out the In This Moment show, and Christiansen says they were excited about the prospect of routing tours to stop to The Podium. He even suggested a “pie in the sky” idea might be to create a music festival that would use all of the nearby PFD facilities once the downtown soccer stadium is built.

“We’re now kind of putting together a sports and entertain ment district,” he says. “It’s not necessarily a formal thing that we’ve been trying to put together, but… the stadium [is] going in with the Podium right across the street and the Arena in close proximity, [plus] the Pavilion in the center of the park. Matt Meyer has been kind of kicking around some idea of a music festival where we could be using all of the buildings. I mean, if you throw in the [First Interstate Center for the Arts]... it could be a really neat setup.”

ALT-ROCK EVERCLEAR

J = THE INLANDER RECOMMENDS THIS SHOW

J = ALL AGES SHOW

Thursday, 10/13

CHECKERBOARD TAPROOM, Weathered Shepherds

COEUR D’ALENE CASINO, Aaron Lewis

COEUR D’ALENE CASINO, Bruiser

J J MARTIN WOLDSON THEATER

AT THE FOX, Everclear, Sponge

J THE MASON JAR, City of Ember

J QQ SUSHI & KITCHEN, Just Plain Darin

J J SPOKANE ARENA, Scorpions, Thunder Mother

STEAM PLANT RESTAURANT & BREW PUB, Ron Greene ZOLA, Desperate8s

Friday, 10/14

J THE BIG DIPPER, No Soap, Radio, TheWorst, Roderick Bambino BIGFOOT PUB, WhiteNoise

J BING CROSBY THEATER, Pigs on the Wing

J BLACK ANGUS STEAKHOUSE, Into the Drift Duo

CHAN’S RED DRAGON ON THIRD, Bobby Patterson and the Two Tones

COEUR D’ALENE CASINO, Kicho

J THE HEARTWOOD, Matt Mitchell Music Co., Little Wolf LUCKY YOU LOUNGE, Apres Moi, Le Deluge, Threar, Hemwick, Gotu Gotu

OSPREY RESTAURANT & BAR, Son of Brad

J PEND D’OREILLE WINERY, Bright Moments

THE RIDLER PIANO BAR, Just Plain Darin

J J THE PODIUM, A Day to Re member, The Used, Movements, Magnolia Park

FOLK JUDY COLLINS

Saturday, 10/15

J THE BIG DIPPER, Chase The Sun, Outer Resistance, Enemy Mine

BIGFOOT PUB, WhiteNoise

CHAN’S RED DRAGON ON THIRD, Steve Livingston

COEUR D’ALENE CASINO, Kicho EMERGE, Cicada Sessions: Hanna Rebecca and Willow Tree

THE HEARTWOOD, Aaron Crawford

THE KENWORTHY, Pigs on the Wing

J KNITTING FACTORY, Spencer Crandall, Avery Anna LUCKY YOU LOUNGE, Imagine Collective LUCKY YOU LOUNGE, Ivan & Alyosha, Evan Bartels, Alec Shaw OSPREY RESTAURANT & BAR, Son of Brad

J PEND D’OREILLE WINERY, Zach Simms

T’S LOUNGE, Squish!

It can be unsettling to really sit down and think about how long ago the ’90s actually were, but Everclear touring in celebration of the band’s 30th anniversary (led by frontman Art Alexakis, who turned 60 this year) certainly snaps the passage of time into focus. Emerging from Portland when grunge was booming up I-5 in Seattle, the band’s melodic alternative sound was tailor-made for that era’s rock radio, leading to a slew of platinum albums and hits like “Everything to Everyone,” “Father of Mine,” “Wonderful” and “Santa Monica.” Alexakis’ songwriting always had a knack for capturing the wonder, pain and alienation of growing up as a kid in troubled environments. It doesn’t matter how many years have passed, the youth ful zeal of those Everclear songs still rings true.

— SETH SOMMERFELD

Everclear, Sponge • Thu, Oct. 13 at 7:30 pm • $35-$332 • All ages • Martin Woldson Theater at the Fox • 1001 W. Sprague Ave. • foxtheaterspokane.org

It’s hard to contextualize the true breadth of Judy Collins’ career, but here’s a tidbit: The folk icon earned a Grammy nomination for her 2017 album, Silver Skies Blue, 42 years after her most recent previous Grammy nomination… which she received 26 years into her career. Her soaring voice has made hits out of songs by Joni Mitchell and Stephen Sondheim, and her version of “Amazing Grace” has been preserved by the Library of Congress. Collins’ voice is still a marvel at age 83, garnering almost univer sally positive reviews with the 2022 release of her 29th album, Spellbound

— SETH SOMMERFELD

Judy Collins • Tue, Oct. 18 at 8 pm • $35-$99

• All ages • Bing Crosby Theater • 901 W. Sprague Ave. • bingcrosbytheater.com • 509-227-7638

ZOLA, Blake Braley

Monday, 10/17

RED ROOM LOUNGE, Open Mic Night

Tuesday, 10/18

J J THE BIG DIPPER, The Queers, Teenage Bottlerocket

J J BING CROSBY THEATER, Judy Collins

LITZ’S PUB & EATERY, Shuffle Dawgs

LUCKY YOU LOUNGE, Zonky Night

J NORTHERN QUEST RESORT & CASINO, Peter Cincotti ZOLA, The Night Mayors

Wednesday, 10/19

J HISTORIC DAVENPORT HOTEL, Steven King

J KNITTING FACTORY, The Movement, The Elovaters, Cydeways

J PEND D’OREILLE WINERY, Bob Beadling

RED ROOM LOUNGE, The Roomates

ZOLA, Runaway Lemonade

Coming Up ...

J J THE BIG DIPPER, Nixon Rodeo 10 Year Anniversary Party, Oct. 21, 8 pm.

J J THE BIG DIPPER, Monumental Shows Halloween Cover Show, Oct. 28, 8 pm.

J J THE BIG DIPPER, Itchy Kitty, Biblioteka, Gotu Gotu, Oct. 29, 8 pm.

J BABY BAR, Baby Bar Halloween Covers Show, Oct. 29, 9 pm.

J NORTHERN QUEST RESORT & CA SINO, Night of the Rocking Dead, Oct. 30, 7:30 pm.

J LUCKY YOU LOUNGE, MAITA, Atari Ferrari, Nov. 4, 8 pm.

J J MARTIN WOLDSON THEATER

AT THE FOX, Scott Bradlee’s Postmodern Jukebox, Nov. 6, 7:30 pm.

J J SPOKANE ARENA, The Smash ing Pumpkins, Jane’s Addiction, Poppy, Nov. 9, 6:30 pm.

J COEUR D’ALENE CASINO, The Commodores, Nov. 10, 7 pm.

J SPOKANE ARENA, Walker Hayes, Parmalee, Nov. 10, 7 pm.

J J KNITTING FACTORY, Phantogram, GLU, Nov. 12, 8 pm.

J J KNITTING FACTORY, The Flaming Lips, Nov. 13, 8 pm.

J J KNITTING FACTORY, Tai Verdes, Nov. 15, 8 pm.

J J KNITTING FACTORY, Modest Mouse: ‘The Lonesome Crowded West’ 25th Anniversary Tour, Nov. 19, 8 pm.

MUSIC | VENUES

219 LOUNGE • 219 N. First Ave., Sandpoint • 208-263-5673

ARBOR CREST WINE CELLARS • 4705 N. Fruit Hill Rd., Spokane Valley • 509-927-9463

BABY BAR • 827 W. First Ave. • 509-847-1234

BARRISTER WINERY • 1213 W. Railroad Ave. • 509-465-3591

BEE’S KNEES WHISKY BAR • 1324 W. Lancaster Rd.., Hayden • 208-758-0558

BERSERK • 125 S. Stevens St. • 509-315-5101

THE BIG DIPPER • 171 S. Washington St. • 509-863-8098

BIGFOOT PUB • 9115 N. Division St. • 509-467-9638

BING CROSBY THEATER • 901 W. Sprague Ave. • 509-227-7638

BLACK DIAMOND • 9614 E. Sprague Ave. • 509891-8357

BOLO’S BAR & GRILL • 116 S. Best Rd., Spokane Valley • 509-891-8995

BOOMERS CLASSIC ROCK BAR • 18219 E. Appleway Ave., Spokane Valley • 509-368-9847

BUCER’S COFFEEHOUSE PUB • 201 S. Main St., Moscow • 208-596-0887

THE BULL HEAD • 10211 S. Electric St., Four Lakes • 509-838-9717

CHAN’S RED DRAGON • 1406 W. Third Ave. • 509-838-6688

COEUR D’ALENE CASINO • 37914 S. Nukwalqw St., Worley • 800-523-2464

COEUR D’ALENE CELLARS • 3890 N. Schreiber Way, Coeur d’Alene • 208-664-2336

CRUISERS BAR & GRILL • 6105 W Seltice Way, Post Falls • 208-446-7154

CURLEY’S HAUSER JUNCTION • 26433 W. Hwy. 53, Post Falls • 208-773-5816

EICHARDT’S PUB • 212 Cedar St., Sandpoint • 208-263-4005

FIRST INTERSTATE CENTER FOR THE ARTS • 334 W. Spokane Falls Blvd. • 509-279-7000

FOX THEATER • 1001 W. Sprague Ave. • 509-624-1200

IRON HORSE • 407 E. Sherman, Coeur d’Alene • 208-667-7314

IRON HORSE BAR & GRILL • 11105 E. Sprague Ave., Spokane Valley • 509-926-8411

JOHN’S ALLEY • 114 E. Sixth St., Moscow • 208-883-7662

KNITTING FACTORY • 911 W. Sprague Ave. • 509-244-3279

LEFTBANK WINE BAR • 108 N. Washington St. • 509-315-8623

LUCKY YOU LOUNGE • 1801 W. Sunset Blvd.

509-474-0511

MARYHILL WINERY

509-443-3832

THE MASON JAR

MAX AT MIRABEAU

MILLIE’S

1303 W. Summit Pkwy.

101 F St., Cheney

509-359-8052

1100 N. Sullivan Rd., Spokane Valley

509-922-6252

28441 Hwy 57, Priest Lake

MOOSE LOUNGE

208-443-0510

401 E. Sherman Ave., Coeur d’Alene

NORTHERN

208-664-7901

THE

MUSIC STILL STINGING

Nearly everyone in the States knows the Scorpions for the Ger man hard rock/heavy metal band’s mid- to late ’80s peak with platinum albums like Love at First Sting and ubiquitous singles including “Rock You Like a Hurricane,” but radio rock is just part of the equation. Like, did you realize the band was actu ally formed in 1965?! Are you aware of how huge their single “Winds of Change” is because it became a worldwide anthem that coincided with the unraveling of the Soviet Union? It’s a Top 20-selling single of all-time, higher than any song by The Beatles. Needless to say, there is plenty of history for The Scorpions to draw from when they rock the Spokane Arena. But most importantly? The guys have never slowed down their headbanging ways.

— SETH SOMMERFELD

Scorpions, Thunder Mother • Thu, Oct. 13 at 6:45 pm • $50-$296 • All ages • Spokane Arena • 720 W. Mallon Ave. • spokanearena.com

VISUAL ARTS CREEPY CREATIVES

Spokane has a plethora of independent bookstores, but none of them are quite like Giant Nerd Books. Located in the Garland District, this one-of-a-kind gem of a bookstore carries comics, occult books, vintage reads and an entire wall dedicated to horror books — so it’s no surprise that it also hosts Spokane’s largest Halloween-themed art show. Though the store carries local oddities and art year-round, “Spookaloo” is when the creepy crawlies really come out and shine. Find work from featured artists like Damon Bauer, Mikal Vollmer, Izzy Comito, Chad Scheres, Ashley Mileson and the Inlander’s own graphic designer/artist Derrick King, plus others. Don’t forget to bring a brave-souled friend in case you need a hand to hold.

— MADISON PEARSON

Spookaloo Halloween Art Show • Fri, Oct. 14 from 5-8 pm • Free • All ages • Giant Nerd Books • 607 W. Garland Ave. • instagram. com/giantnerdbooks • 509-868-0420

MUSIC MEDITATIVE MELODIES

Music is a universal language. No matter where you are on the globe, music is always there to keep us grounded and feeling at ease. Raga is a melodic framework that is used in Indian classical music as a basis for improvisation, and is often used as meditative and relaxing music. “Shanti Ragas: Peaceful Melodies” at Unity Spiritual Center features intricate rhythms, melodic exploration and a massive amount of improvisational interplay. The featured musi cians — Phil Scarff, Anjan Saha and Arup Chattopadhyay — show off their musical chops and ease listeners into a calming state. Because there’s no melodic system akin to raga in classical European music, it’s sure to be a sonic experience like you’ve never heard before.

— MADISON PEARSON

Shanti Ragas: Peaceful Melodies • Sat, Oct. 15; dinner at 5:15 pm, show at 6:30 pm • Free • All ages • Unity Spiritual Center • 2900 S. Bernard St. • unityspokane.org • 509-467-5558

GET LISTED!

Submit events online at Inlander.com/getlisted or email relevant details to getlisted@inlander.com. We need the details one week prior to our publication date.

WORDS SPOOKY… SCARY!

Fall’s chill may be a little late to arrive this year, but that doesn’t mean we haven’t already started planning our Halloween costumes or sipping PSLs ev ery day. Get even more into the spirit of the season with the next installment of Lilac City Live! — Spokane Public Library’s monthly late-night talk show. Hosted by the always-entertaining Ryan Dean Tucker, this month’s lineup offers some eerie topics of interest. Tucker’s guests are Spokane-based paranormal investigator Amanda Paulson (pictured), whom we profiled in the Inlander a year ago (follow her on social media @prettyfnspooky). She’s joined by owners of the local oddity shop Petunia & Loomis, Samantha Fet ters and Jesse McCauley. Visit in person to check out their curated inventory of all things creepy and curious. To get the audience movin’ and groovin’, local electronic band Bandit Train is this month’s musical guest.

— CHEY SCOTT

Lilac City Live! Haunted Edition • Thu, Oct. 20 at 8 pm • Free • All ages • Central Library, nxwyxwyetkw Hall • 906 W. Main Ave. • spokanelibrary.org • 509-444-5300

ARTS QUILTER’S QUEST

When I was 10 years old, I made a quilt. It was nothing fancy, just a simple nine-block pattern of bright calico scraps pulled from the shelves of my grandmother’s sewing room. But I was so proud of that quilt, keeping it draped across on the end of my bed through college. Quilts are sentimental like that (and immensely time consuming to make, a true labor of love), but also works of functional textile art. They’re pretty and keep you warm! See some of the most stunning home-sewn quilts at the annual Washington State Quilter’s show. More than 600 quilts of all sizes, from tiny (12-by-10 inches) to huge (9.5-feet square) are displayed. Experts of the craft also host demonstrations, and there’s a merchant mall if you’re into fabric arts and seek to restock your own sewing stash. This year’s raffle quilt (pictured) is a beautiful blue-toned piece, and there’s lots more in store.

— CHEY SCOTT

Washington State Quilt Show • Oct. 14-16, Fri-Sat from 10 am-6 pm, Sun from 10 am-4 pm • $10 (all weekend) • Spokane County Fair & Expo Center

I SAW YOU

PAGE SIX Dear Page Six, I saw you, twice!!! Me, sitting at the bar, reading the Inlander as usual. You, More than a Meal, Dining Out 2022 edition. I turn to page six and find myself reading “Let Go and Savor, continued...” continued from where? The only pages preceding it were advertisements and table of contents. Imagine my relief when I found the true Page 4 nestled between 22 and the Green Zone. All in good fun - these things happen. Thanks for being my bar-time entertainment.

GOOD MORNING AT WALMART I saw you Saturday morning, Oct. 8th, just after 6 am at the Shadle Walmart. You were the handsome bearded man I passed in the clearance area. I randomly said “good morning” to you, and you had the most genuine smile and simply said “good morning” back. I know it was a simple exchange, but sometimes it is the little things that can start your day out right. Maybe I will see you again on a Saturday morning, right at opening and see your handsome smile.

HOOAH DELIVERY GUY Bummed you’re gonna be gone on assignment for a while and not delivering to me. Maybe when you come back you can show me your lime green truck. Don’t die. ;)

“EL RODIO” HAS MEANINGS You know, I was at Target the other day. Can’t remember what I was wearing though. I did recently

wear a gray shirt and blue jeans. Seeing me at Target is indeed a rare coincidence. And no, you can’t MAKE someone heal. Trying to force healing on anyone can actually cause more damage, and you’re probably a do-ityourselfer and not a licensed shrink, so you probably couldn’t even HELP someone heal. Healing takes time. Thanks for not startling me; that was very mindful of you.

Luckily, I was distracted and didn’t notice you. Btw, I’m a girl and “El Rodio” has a few meanings, so I’m not sure quite what you mean, or if I’m even the one.

CHEERS

BIRTHDAY AT RED ROBIN Thank you to a young lady for showing the love of Christ by paying for my birthday dinner out of the blue. Totally unexpected and so appreciated! Don’t ever lose that kind heart and generous spirit.

JEERS

HOUNDING POOR PATIENTS If you want a depressing example of the grotesque contortions built into our health care system, look no further than the recent debtcollection practices of Providence Health & Services. Providence is one of the biggest hospital chains in the country and operator of 14 hospitals in Washington, including Sacred Heart and Holy Family in Spokane. It is legally obliged to provide free care to low-income patients as a requirement of its tax-free, not-for-profit status, which saves the chain more than $1 billion in taxes every year. What it’s done instead, according to the allegations in a lawsuit from the state attorney general and a broader new investigation from The New York Times, is develop “elaborate systems to convert needy patients into sources of revenue.”

“The result, in the case of Providence, is that thousands of poor patients were saddled with debts that they never should have owed,” the Times reported last month. In other words, instead of caring for the neediest people at no cost – as the law requires – it hounded them without even mentioning the possibility of charity care and turned them over to debt collectors.

“These aggressive collection measures capitalize on the power and knowledge imbalance between Providence and its patients,” the lawsuit says. “Providence is fully aware of the availability of charity

care. Many of Providence’s low-income patients, however, are not.”

HOMEGROWN COMMUNISM Hey Idaho, there’s nothing better than homegrown things. Homegrown fruit, wheat, flowers — communism. That’s right, communism. Trying to prevent abortions is bad enough, but then you have college staff scared to

I was trying to get your male companion to not crush the 5-year-old behind me as you were both inebriated and barreling through like tantruming water beasts. Telling you to go around the kids was not a ridiculous request. I understand you needed to leave, but my daughter and the kid behind me were at risk of your ignorant, abhorrent grudge match to anyone who dared not

Christian forgiveness was reserved for those who repent, but apparently this doesn’t apply to the sheeple Evangelicals in Georgia and elsewhere who still support Herschel Walkout on Her. The evidence that Walkout paid for one abortion and urged a second abortion with the same woman continues to grow, and he continues to deny that these events ever happened. Of

talk about preventing pregnancy with birth control methods. Some of them like birth control pills help women with other health problems too. THEN as if that wasn’t bad enough, you allow Boundary County to terrorize librarians to remove any and all books talking about anyone not White or straight. THIS is how communism starts!! This is what your grandads, dads and some moms fought against in all those previous wars!! Apparently communism is bad unless it’s our own homegrown Communism. We already can’t say much as it is pretty soon we will all be living the NK lifestyle.

YO MAMA IS PROUD Passenger prince in Jeep Monday on Pines Driveway of Chevron. As your driver was crowding the middle of the driveway I nodded to her and said “you’re fine” as I could get in to the driveway where she was. No worries. You can imagine my puzzlement on exiting my car a full three minutes later after parking to hear a male raging. Looking about to see if danger was impending, I hear it is from said Jeep… still there. Your rant was frightening enough, but the one-fingered peace sign had me worried for the future of your female driver. If you get that enraged over a perceived slight, I can only imagine what you will do if she overdrafts a bank account, burns your toast or doesn’t please you in any way. Run, sweet driver, this boy is no buenos.

ACES HIGH, FACULTIES LOW To the woman who decided to punch me in the face multiple times at the Iron Maiden concert.

acknowledge the sanctity of stupidity. Next time you cannot hold your alcohol, maybe recognize alcohol won (you did not). Perhaps, see others who were simply attempting to enjoy the concert, and in turn trying to protect kids from your little tirade. I would say you ruined the concert, but it was one of the best shows I had seen in spite of your little intermission. Me choosing to not fight back is because I want my kid to know she is safe, not that her parent has something to prove. Just know you likely won’t be so lucky with the next person you swing on. I don’t regret how I behaved. Do you?

A HOUSE OF CARDS It is estimated that around 2 million people in the U.S. are addicted to gambling, and that for as many as 20 million the habit seriously interferes with work and social life. Gambling is when an individual risks something of value in the hope of getting something of even greater value. Gambling addiction is the uncontrollable urge to continue gambling despite the toll it takes on one’s life. Gambling is addictive because it stimulates the brain’s reward system much like drugs or alcohol can. In fact, gambling addiction is the most common impulse control disorder worldwide. There are many factors that can contribute to the development of a gambling addiction, including desperation for money, the “high” that comes from the thrill of betting and the intoxicating atmosphere of the gambling scene.

ROUNDING UP THE SHEEP Last I heard,

course he’s anti-abortion… now. He needs the Sheeple Vote. This unrepentant liar, schooled in the art of deception by his mentor and master prevaricator Donald Trump, still has a chance to win. Let’s be clear. Mindless support for any candidate Trump pushes is what’s really happening here. Walker is just the most obvious example of this terrible truth.

CATHY MCMORRIS REALLY? Your TV ads are ridiculous. Why are you trying to take credit for what you haven’t done? Lowering gas prices? Biden already did that, and you voted against a bill to cap gas prices, and want to stop relying on foreign oil; we need renewable energy, so that we don’t have to rely on foreign countries, and by the way, why didn’t you do that when Trump was in office; also inflation, that was partly caused by a COVID-19 pandemic, that was ignored; also you want to hold Biden responsible, when no one held Trump responsible. I think you need a new platform, and Washington needs a new candidate that stands for the people, not for politics from 2020. n

is

BENEFIT

WHAT SHE SAID: THE DIVA CON CERT Critically-acclaimed jazz vocalist/ producer Sandra Marlowe and awardwinning actress/director Gaye Kruger Ribble perform a unique concert in cabaret format. Proceeds benefit Unity Spiritual Center. Fri, Oct. 14 from 7-9 pm and Sun, Oct. 16 from 3:30-5:30 pm. $30. Unity Spiritual Center Spokane, 2900 S. Bernard St. unityspokane.org

BEYOND PINK DESIGNER FASHION SHOW & AUCTION This fashion show and auction benefits a charity that helps local women receive thermogra phy and breast cancer screenings. Oct. 15, 5:30-10 pm. $110. Davenport Grand Hotel, 333 W. Spokane Falls Blvd. be yondpink.net (509-688-3276)

RELAY FOR LIFE SPOKANE The dona tion drive and walk helps fund cancer research and patient care programs. Oct. 15, 3-8 pm. By donation. Ridgeline High School, 20150 E. Country Vista Dr. cancer.org

THE PUMPKIN BALL The 19th annual evening of elegance and entertainment raises funds to support Vanessa Be han’s mission of keeping kids safe while strengthening and supporting their families. Ages 21+. Oct. 22, 5:30-11 pm. $150-$1,200. Davenport Grand Hotel, 333 W. Spokane Falls Blvd. thepump kinball.org

COMEDY

JOHN HEFFRON Heffron shares an ar ray of relatable experiences from his childhood and life as a married father.

Oct. 13, 7:30 pm, Oct. 14, 7:30 & 10:30 pm and Oct. 15, 7:30 & 10:30 pm. $15$30. Spokane Comedy Club, 315 W. Sprague. spokanecomedyclub.com

BOONE STREET HOOLIGANS This comedy show features original scripts written by Gonzaga students. Oct. 14-15, 7:30 pm. By donation. Gonzaga Magnuson Theatre, 502 E. Boone Ave. gonzaga.edu/theatreanddance

NO CLUE! Follow the mayhem of being trapped in an inn full of quirky charac ters. When the evening is over decide who’s responsible for all the dead bod ies. Fridays in October at 7:30 pm. $8. Blue Door Theatre, 815 W. Garland Ave. bluedoortheater.com (509-747-7045)

SAFARI A fast-paced, short-form co medic improv show. Saturdays from 7:30-9 pm. $8. Blue Door Theatre, 815 W. Garland Ave. bluedoortheatre.com

VIR DAS Das has five Netflix comedy specials and has starred in over a doz en films. Oct. 15, 7 pm. $42-$115. Bing Crosby Theater, 901 W. Sprague Ave. bingcrosbytheater.com

KENNY DEFOREST Kenny is a stand-up comedian, writer, and actor best known for his appearances on Late Night with Seth Meyers and The Late Late Show with James Corden. Oct. 16, 7:30 pm. $15-$22. Spokane Comedy Club, 315 W. Sprague. spokanecomedyclub.com

COMMUNITY

FINDING OUR PLACE IN THE INLAND NORTHWEST Hear different perspec tives in table group discussions about realities and challenges that shape life in the Inland Northwest. Oct. 13 and 27 from 6-8 pm. Free. St. Luke’s Episco pal Church, 501 E. Wallace Ave., Coeur d’Alene. hrei.org (509-664-5533)

SPOCANOPY TREE PLANTINGS

ter to volunteer on a day that correlates with your neighborhood of choice. Oct. 11-13 from 9 am-1 pm. Free. landscoun cil.org (509-838-4912)

A HALLOWEEN COVEN

King family Halloween display. A creepy coven of witches has gathered. Climb into the cauldron for a photo op. The family is accepting non-perishable food donations for the food bank and cash for Make-A-Wish. Located at 15604 N. Freya, Mead, WA. Oct. 14-31, Fri-Sat from 7-9 pm. Free. thekingfamilyhaunt edhouse@gmail.com

NEON JUNGLE

through experience under black lights features a glowing jungle and a mythi cal forest filled with plants, creatures and other surprises. Proceeds benefit Wired2Learn Foundation, a Post Fallsbased education nonprofit. Oct. 14-16 and Oct. 20-23 from 5-8 pm, sessions start on the hour. $10. Kootenai County Fairgrounds, 4056 N. Government Way. w2lfoundation.com (208-765-4969)

PUMPKIN PATCH & FALL FEST

fall festival includes U-Pick pumpkins, hay rides, a petting zoo, live music and more. Oct. 7-30, Fri-Sun from 10 am-5 pm. $3-$5. At 7412 S. Keene Rd., Medi cal Lake. rusty-truck-ranch.com

SPECTACULAR SPOOKTACULAR NIGHT MARKET

vendor fair with immersive art and live music. Costumes encouraged but not required. Oct. 14, 5-9 pm. Runge Furniture, 303 E. Spokane Ave., Coeur d’Alene. thewavybunch.com

FERRIS SAN ARTS & CRAFTS SHOW

This craft show celebrates its 29th year with over 100 vendors selling crafts and handmade goods. Oct. 15-16, 10 am-5 pm. $3. Ferris High School, 3020 E. 37th Ave. spokaneschools.org/ferris

COMPOSTING DAY AT THE LIBRARY

Learn about different composting methods and view a hands-on demo by master composters and recyclers. Oct. 15, 11 am-1 pm. Free. Shadle Library, 2111 W. Wellesley Ave. spokanelibrary.org

GARLAND MERCANTILE PUMPKIN PATCH A pumpkin patch and other activities. Every Sat-Sun in Oct. from 10 am-5 pm. Garland Mercantile, 823 W. Garland Ave. (509-315-4937)

THE GREAT PUMPKIN RACE & FAMILY CARNIVAL

and decorate your own pumpkin race car or just watch the pumpkin racers roll toward the finish line. Also includes trick-or-treating, a vendor fair, food trucks, costume contest, live music, prizes and more. Oct. 15, 11 am-2 pm. Free. Riverfront Park, 507 N. Howard St. mowspokane.org (509-456-6597)

HARVEST FESTIVAL CRAFT FAIRE

Arts and crafts vendors, food trucks and more. Oct. 15-16, 10 am-4 pm. Free. Green Bluff Grange, 9809 Green Bluff Rd. greenbluffgrowers.com (979-2607)

JIGSAW PUZZLE & BOARD GAME

SWAP Trade in puzzles you’ve com pleted and board games you’re done playing for a new challenge. Only bring puzzles/games that have all pieces. This event also takes place at other branch es, see website for specifics. Oct. 15, 10 am-1 pm. Free. Deer Park Library, 208 Forest St. scld.org (509-893-8300)

REFOREST SPOKANE DAY trees as a community so future genera tions in the Inland Northwest are sur rounded by one million trees. Located at Thompson Creek in Newman Lake.

FILM

MAGIC HOUR Teton Gravity Research

kicks off the season with a new featurelength ski and snowboard film. Oct. 13, 7:30-9 pm. $9-$17. Bing Crosby Theater, 901 W. Sprague Ave. bingcrosbytheater. com (509-227-7638)

THE POWER TO TELL (EL PODER DE CONTARIO) An original documentary produced by MiA (Mujeres in Action), a local Spokane nonprofit that advocates for survivors of domestic violence within the Latinx community. Oct. 13, 6-8 pm. By donation. Gonzaga University, 502 E. Boone Ave. gonzaga.edu

ONE HEART NATIVE ARTS & FILM FES

TIVAL This program includes the world premiere of Handsome Man directed by Spokane director Misty Shipman and more. Oct. 14-15, 6 pm. Magic Lantern Theatre, 25 W. Main Ave. oneheartfesti val.org (509-209-2383)

INTR TO FINAL CUT PRO Learn video editing basics. Practice how to structure files for video production, including cre ating libraries, scratch disks, backup files, quick keys and more. Ages 12+. Registra tion required. Oct. 15, 1-3 pm. Free. Spo kane Valley Library, 12004 E. Main. scld. org (509-893-8400)

NATIONAL THEATRE LIVE: FRANKEN

STEIN This production sees Benedict Cumberbatch and Jonny Lee Miller alter nating between the roles of Victor Fran kenstein and his creation. Oct. 16, noon. $10-$12. The Kenworthy, 508 S. Main St. kenworthy.org (208-882-4127)

THE STORY OF PLASTIC Join Spokane

Zero Waste for a viewing of the docu mentary The Story of Plastic with an ac companying discussion. Oct. 17, 6:15-8:15 pm. Free. Shadle Library, 2111 W. Welles ley Ave. spokanelibrary.org

TOTALLY TUBULAR TUESDAY A weekly screening of a throwback film. Check the website for each week’s film. Every Tues day at 7 pm. $2.50. Garland Theater, 924 W. Garland Ave. garlandtheater.com

THE SHINING This Moscow Film Society event is 80s-themed. No one under the age of 17 is permitted unless accompa nied by an adult. Oct. 19, 7 pm & mid night. $6. The Kenworthy, 508 S. Main St. kenworthy.org (208-882-4127)

THIRD THURSDAY MATINEE MOVIE: LEADBELLY Director Gordon Parks tells the story of African American musician Lead Belly, one of the most influential songwriter and folk singers of the 20th century. Oct. 20, 1 pm. $7. The MAC, 2316 W. First Ave. northwestmuseum.org

FOOD &

DRINK

FIRESIDE DINNER & MUSIC SERIES

Enjoy food from Arbor Crest’s seasonal menu along with wine from Square Wheel Brewing. Live musicians vary, see website for full lineup. Every Thu-Sat from 6-8 pm. $50-$60. Arbor Crest Wine Cellars, 4705 N. Fruit Hill Rd. arborcrest.com

BEVERLY’S WHISKEY DINNER A sixcourse menu crafted by executive chef Jim Barrett and sous chef Taylor Wolters. Guests also learn about and taste awardwinning whiskies. Oct. 15, 6-9 pm. $136. Beverly’s, 115 S. Second St. cdaresort.com

DRY FLY DISTILLING LAKE CRUISE This lake cruise features Dry Fly tasting flight with tasting tips and information and gourmet hors d’oeuvres by the culinary team at The Coeur d’Alene Resort. Oct.

15, 5-7 pm. $75. The Coeur d’Alene Re sort, 115 S. Second. cdacruises.com

JERKY MAKING BASICS Learn the steps to safely make your own jerky at home from Anna Kestell, Food Preservation and Safety Education Coordinator with WSU Extension. Registration required. This class is also offered at other library branches; see website for details. Oct. 15, 2-3 pm. Free. North Spokane Library, 44 E. Hawthorne Rd. scld.org

LIBERTY LAKE JUICE CO. SPOKANE

OPENING Liberty Lake Juice Company celebrates its second location’s grand opening in downtown Spokane. Oct. 15, 8 am-5 pm. Free. Liberty Lake Juice Com pany, 180 S. Howard St. libertylakejuice. com (509-995-9329)

BOTTOMLESS(ISH) MIMOSA BRUNCH

features works by Tchaikovsky, Debussy and Ravel. Oct. 17, 7:30 pm. $14-$18. Myr tle Woldson Performing Arts Center, 211 E. Desmet Ave. gonzaga.edu/gso

EWU FACULTY CONCERT This annual show features EWU’s music faculty in concert. Oct. 19, noon. Free. EWU Music Building Recital Hall, Music Building 119. ewu.edu/music (509-359-2241)

OKTUBAFEST: GENEVIEVE CLARKSON, YOON-WHA ROH This year’s guest artist is Genevieve Clarkson (Associate Profes sor of Tuba and Euphonium at Oklahoma City University). Clarkson and Yoon-Wha Roh, WSU piano faculty member, per form original music and transcriptions for tuba. Oct. 19, 7:30-9 pm. Free. Kim brough Music Building, WSU Pullman. wsu.edu/music (509-332-9600)

7:30 pm, Sun at 2 pm through Oct. 16. $10-$35. Spokane Civic Theatre, 1020 N. Howard. spokanecivictheatre.com

THE ADDAMS FAMILY This musical com edy is based on characters created by Charles Addams in his single-panel gag cartoons. Oct. 14-30, Thu-Sat at 7 pm; Sun at 2 pm; Sat also at 3 pm. $12-$15.

TAC at the Lake, 22910 E. Appleway Ave. tacatthelake.com (509-481-8536)

BARBECUING HAMLET A dinner theater production with comedy and tragedy. Oct. 14-15 and 21-22 at 7:30 pm, Sat also at 2 pm. $5-$25. Circle Moon Theater, 3642 N. State Route 211, Newport. north woodsperformingarts.com

LENORA JESUS LOPEZ-SCHINDLER:

TAKING STOCK Schindler focuses on what it means to be from a specific place. Oct. 7-Nov. 25, Mon-Fri from 8 am-5 pm. Artist talk Oct. 21 at 12 pm. Free. Chase Gallery, 808 W. Spokane Falls Blvd. spo kanearts.org (509-321-9416)

LILA GIRVIN: GIFT OF A MOMENT Living and working in Spokane since 1958, Girvin uses vibrant color, form, and unassuming techniques with oil paint to explore new dimensions of feeling through ethereal, abstract paintings. Tue-Sun from 10 am-5 pm through March 12. $7-$12. The MAC, 2316 W. First Ave. northwestmuseum.org

SERIES

Each week, Chef Steven and team create a buffet brunch with various breakfast items. Pour your bubbles, pick your juice and garnish with fruit. Oct. 16Nov. 20, Sundays from 10 am-2 pm. $25. Fête - A Nectar Co, 120 N. Stevens St. bit. ly/mimosa-brunch (509-951-2096)

NOVA KAINE’S “DON’T TELL MAMA” CABARET & DRAG BRUNCH Inland Northwest drag performers take the stage and perform pieces choreographed by Troy Nickerson. First and third Sun of every month at 11 am. Highball A Modern Speakeasy, 100 N. Hayford Rd. northern quest.com (877-871-6772)

BEER DINNER: DURKINS & YAYA BREWING A five-course, game-focused menu paired with YaYa beers. Call for reservations. Oct. 20, 6 pm. $100. Dur kin’s Liquor Bar, 415 W. Main Ave. durkin sliquorbar.com (509-863-9501)

DISTILLER’S DINNER A four-course meal paired with Dry Fly spirits. Includes a tasting flight and two specialty cock tails. Oct. 20, 5:30 pm. $100. Dry Fly Dis tilling, 1021 W. Riverside Ave. dryflydistill ing.com (509-489-2112)

MUSIC

SYNESTHESIA: SOUNDS & SCENTS OF BRAZIL This performance combines mu sic and scent in collaboration between WSU’s schools of music and food science. Oct. 14, 7:30-9 pm. Free. Kimbrough Mu sic Building, WSU Pullman. music.wsu. edu (509-332-9600)

SATURDAY WITH THE SYMPHONY A program to introduce children to music via the Coeur d’Alene Symphony. Third Thursdays from 11 am-12 pm, through Dec. 17. Free. Coeur d’Alene Public Li brary, 702 E. Front Ave. cdalibrary.org

SHANTI RAGAS: PEACEFUL MELODIES

This concert features a performance of traditional North Indian classical music by Phil Scarff and Anjan Saha. Oct. 15, 6:30 pm (dinner at 5:15 pm). Free. Unity Spiri tual Center Spokane, 2900 S. Bernard St. unityspokane.org (509-467-5558)

WSU JAZZ CONCERT This concert fea ture the university’s nationally renowned large jazz ensembles and its jazz faculty. Oct. 20, 7:30 pm. Free. Kimbrough Music Building, WSU Pullman. wsu.edu/music

SPOKANE THEATRE ORGAN SOCI ETY CONCERT An autumn pops con cert featuring guest pianist Lance Luce, American Theatre Organist of the Year in 2014. Oct. 20, 7 pm. Free. Spokane First Nazarene, 9004 N. Country Homes Blvd. (509-467-8986)

SPORTS & OUTDOORS

COLVILLE CORN MAZE & PUMPKIN PATCH Navigate a 12-acre corn maze, choose a pumpkin from the patch or purchase fresh-picked fall produce like sweet corn and winter squash. Daily from 11 am-7 pm through Oct. 31. $6-$8. At 73 Oakshott Rd. colvillecornmaze.com

SPOKANE CHIEFS VS. MEDICINE HAT TIGERS Promotional events include the Avista Poster Series Giveaway; the first 1,000 fans receive a poster featuring a Chiefs player. Oct. 14, 7:05 pm. $12-$30. Spokane Arena, 720 W. Mallon Ave. spo kanechiefs.com (279-7000)

WHITE CANE SAFETY DAY WALK The Washington State Dept. of Services for the Blind hosts its first annual White Cane Day walk. Meet at the Red Wagon and end at the Wonder Building for a no-host lunch. Mobility instructors are present to help everyone learn about the White Cane and its use. Oct. 14, 12-2 pm. Free. Riverfront Park, 507 N. Howard St. dsb.wa.gov (509-456-4458)

CONQUEST OF THE CAGE Mixed martial arts fighting. Oct. 15, 7 pm. $49-$129. Northern Quest Resort & Casino, 100 N. Hayford Rd. northernquest.com

LEAP OF FAITH Love will get you every time and one charismatic con man is about to find that out. Oct. 14-23; ThuSat at 7:30 pm, Sun at 2 pm. $22-$28. Kroc Center, 1765 W. Golf Course Rd. as pirecda.com (208-667-1865)

OF MICE AND MEN A stage adaptation of John Steinbeck’s classic novella. Oct. 1423, Fri-Sat at 7:30 pm and Sun at 2 pm. $18-$20. Pullman Civic Theatre, 1220 NW Nye St. pullmancivictheatre.org

THE SOUND OF MUSIC Whitworth’s fall main-stage production. Oct. 14-23, FriSat at 7 pm and Sun at 2 pm. $5-$20. Whitworth Cowles Auditorium, 300 W. Hawthorne Ave. whitworth.edu

ACCORDING TO COYOTE An encounter with the richness and vitality of Native American culture using age-old tradi tions of music, dance and theatre. Oct. 16, 2 pm. $12. The MAC, 2316 W. First Ave. spokaneensembletheatre.com

VISUAL ARTS

AMERICAN IMPRESSIONISM: TREA SURES FROM THE DAYWOOD COLLEC TION This exhibition features 41 paint ings from the late 19th and early 20th centuries with distinct impressionistic brushstrokes and various subjects rang ing from outdoor scenes to portraits. Oct. 7-Jan. 8, 2023, Tue-Sun from 10 am-5 pm. $10-$20. The MAC, 2316 W. First Ave. northwestmuseum.org (509-456-3931)

SHANTELL JACKSON Jackson explores the human condition contemporarily and historically through her ink drawings and paintings. Oct. 1-30, daily from 11 am-7 pm. Free. Liberty Building, 402 N. Wash ington. spokanelibertybuilding.com

CARL RICHARDSON & MARDIS NENNO: SOJOURN An exhibit of artwork that was created during each artists’ recent, sixmonth residency at the Hive. Oct. 7-29, Thu-Sat from 4-7 pm. Free. Terrain Gal lery, 728 N. Monroe. terrainspokane.com

MEL MCCUDDIN The late Spokane art ist’s final solo exhibition, with a selection of new paintings. Wed-Sat from 11 am-6 pm through Oct. 31. Free. The Art Spirit Gallery, 415 Sherman Ave. theartspirit gallery.com (208-765-6006)

PAMELA CAUGHEY: UNFORESEEN

The Hamilton, Montana artist creates geometric abstract paintings across di verse and overlapping media including encaustic, acrylics, oil, mixed media and collage. Tue-Fri from 12-5 pm, Sat from 10 am-1 pm through Dec. 31. Free. Moscow Contemporary, 414 S. Main St. moscow contemporary.org

STEFANI ROSSI: PROSODIES Recent paintings by this Hive artist-in-residence alumna explore the various rhythms of relational ecosystems. Mon-Sun from 1-6 pm through Oct. 30. Free. Helix Wines, 824 W. Sprague. stefanirossi.com

KURT MADISON & ROGER RALSTON Madison exhibits new discrete sculptural objects made of found weathered wood and additional materials alongside re cent works by Ralston. Fri-Sat from 12-8 pmthrough Oct. 29. Free. Saranac Art Projects, 25 W. Main Ave. sapgallery.com

SPOOKALOO HALLOWEEN ART SHOW

Giant Nerd’s annual Halloween-themed art show features Damon Bauer, Izzy Comito, Thomas Froese, Derrick King, Ashley Mileson, Pink Viruz, Chad Scheres, Jason Soles, MIKAL Vollmer and more. Oct. 14, 5-8 pm. Free. Giant Nerd Books, 607 W. Garland. (509-868-0420)

TOBY KEOUGH & ALEXANDRA IOSUB: INFLORESCENCE New works by the two mixed media artists. Oct. 14-Nov. 5, TueSat from 10 am-6 pm. Free. Emerge, 119 N. Second St. emergecda.com

WORDS

AUTHOR TALK: AZIZ GAZIPURA IGazi

pura discusses social confidence, how to quit worrying about what others might think and how to stop being too nice — all topics covered in his book, “Not Nice.” Oct. 13, 1-2 pm. Free. Online: scld.org

SPOKANE STRING QUARTET

The Spo kane String Quartet performs works by Mozart, Weinberg and Brahms. Oct. 16, 3 pm. Bing Crosby Theater, 901 W. Sprague Ave. spokanestringquartet.org

THE UNITED STATES AIR FORCE BAND & SINGING SERGEANTS

The U.S. Air Force Concert Band and Singing Ser geants are two of the six performing ensembles within the Air Force Band, the premier musical organization of the U.S. Air Force. Oct. 16, 3 pm. Free. Mar tin Woldson Theater at The Fox, 1001 W. Sprague Ave. foxtheaterspokane.org

GONZAGA SYMPHONY ORCHESTRA

The symphony orchestra’ season opener

SPOKANE CHIEFS VS. TRI-CITY AMERI CANS Promotional events include Leinenkugel’s HOCKtoberfest. Enjoy Ger man food, beer, music and festivities with German Heritage Night. Oct. 15, 7:05 pm. $12-$30. Spokane Arena, 720 W. Mallon Ave. spokanechiefs.com (279-7000)

THEATER

SIGNIFICANT OTHER Jordan Berman would love to be in love, but that’s easier said than done. Until he meets Mr. Right, he wards off lonely nights with his trio of close girlfriends. Thu-Sat at 7:30 pm, Sun at 2 pm through Oct. 16. $10-$25. Spo kane Civic Theatre, 1020 N. Howard St. spokanecivictheatre.com

THE WIZARD OF OZ Follow the yellow brick road in the stage adaptation of L. Frank Baum’s beloved tale. Thu-Sat at

CHAD “LITTLE COYOTE” YELLOWJOHN: MASKED PRESERVATION Through his art and activism, the artist shares inspi ration and awareness of the issues Indig enous people face today. Mon-Fri from 8:30 am-3:30 pm through Oct. 25. Free. SFCC Fine Arts Gallery, 3410 W. Whistalks Way. sfcc.spokane.edu (509-533-3710)

HANNAH CHARLTON: CITY OF LADIES

Charlton creates medieval-style illumi nated manuscripts using modern mate rials. Mon-Fri from 10 am-12 pm through Oct. 28. Free. Spokane Art School, 811 W. Garland Ave. spokaneartschool.net

DANCING WITH LIFE: MEXICAN MASKS

Through humor and subversion, Mexican mask makers respond to the social and political circumstances of contemporary life. Tues-Sun from 10 am-5 pm through April 16. $7-$12. The MAC, 2316 W. First Ave. northwestmuseum.org

AUTHOR TALKS: SHANNON POTRATZ

The artist and creator of Folklore Forge Illustrations discusses her work and par ticipates in a live Q&A. Oct. 13, 2-4 pm. Free. Shadle Library, 2111 W. Wellesley Ave. spokanelibrary.org

DISTINGUISHED ALUMNI LECTURE: JULIAN AGUON The Gonzaga alum and Chamorro human rights lawyer and writer from Guam shares reflections, excerpts and inspirations from his book, No Country for Eight-Spot Butterflies Registration required. Oct. 13, 4-5:30 pm. Free. Gonzaga Hemmingson Center, 702 E. Desmet Ave. gonzaga.edu

INTERTRIBAL POETRY SLAM A poetry slam featuring poets from various Na tive tribes with cash prizes. Oct. 13, 8 pm. Lucky You Lounge, 1801 W. Sunset Blvd. oneheartfestival.org (509-474-0511) n

Biden’s pardon affects thousands who’ve violated federal law — millions more are in state systems.

Presidential Pot Pardons

The White House makes a progressive move on federal cannabis policy

BY WILL MAUPIN

President Joe Biden said last week he will pardon all prior federal offenses for simple cannabis possession, which will affect an estimated 6,500 people.

“There are thousands of people who have prior Federal convictions for marijuana possession, who may be denied em ployment, housing, or educational opportunities as a result,” Biden said in a statement. “My action will help relieve the col lateral consequences arising from these convictions.”

The pardon only applies to U.S. citizens convicted at the federal level. State-level convictions are not included, but Biden said he’s also “urging all Governors to do the same with regard to state offenses.”

The number of people who will be directly impacted by Biden’s pardon represent only a small percentage of those living with prior possession charges. Nonetheless, the move is a massive shift in federal cannabis policy that could change state-level policy, says Erik Altieri, executive director of the National Organization for the Reform of Marijuana Laws (NORML).

“We are pleased that today President Biden is following through on this pledge and that he is also encouraging gov

ernors to take similar steps to ensure that the tens of millions of Americans with state-level convictions for past marijuana crimes can finally move forward with their lives,” Altieri said in a statement.

Numerous states with legal cannabis have already taken that step. In Washington state, misdemeanor cannabis charges for those over the age of 21 at the time of the offense have been eligible for expungement since 2019.

Biden’s action shows the limits of his pardoning power. The overwhelming majority of simple possession charges around the country are brought at the state level. According to the ACLU, between 2001 and 2010, there were 8.2 million cannabis arrests in the United States, 88 percent of which were for simple possession. Biden’s pardon for 6,500 people is a drop in the bucket of these millions of arrests.

However, the federal pardon establishes a precedent that should allow governors to feel more comfortable with par dons or expungements in their own states.

“Just as no one should be in a Federal prison solely due to the possession of marijuana, no one should be in a local jail or state prison for that reason, either,” Biden said. n

NOTE TO READERS

Be aware of the differences in the law between Idaho and Washington. It is illegal to possess, sell or transport cannabis in the State of Idaho. Possessing up to an ounce is a misdemeanor and can get you a year in jail and up to a $1,000 fine; more than three ounces is a felony that can carry a five-year sentence and fine of up to $10,000. Transporting marijuana across state lines, like from Washington into Idaho, is a felony under federal law.

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