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OCTOBER 2-8, 2013 I VOLUME 38 I NUMBER 40

SEATTLEWEEKLY.COM I FREE

S TA G E : L I O N S D O N ’ T R O A R PA G E 3 1 | F O O D : W E S T WA R D R E V I E W E D PA G E 2 1

ROBBER’S REVENGE

Shon Hopwood was a no-good crook, until a federal judge sent him to the big house for armed robbery. Now the most powerful judges in the land know his name. BY ELLIS E. CONKLIN

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

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inside» October 2–8, 2013 VOLUME 38 | NUMBER 40

» SEATTLEWEEKLY.COM

»11

news&comment 6

POWER PLAY

Trying to wean Puget Sound Energy off coal. Also: keeping tabs on the Border Patrol’s traffic-stop policies. 7 | SPORTSBALL

11 LAW MAN

BY ELLIS E. CONKLIN | Shon

Hopwood’s journey from bank robber to rising star in the legal world.

food&drink 21 WESTWARD HO!

BY NICOLE SPRINKLE | This lakeshore

spot is doing something different with its seafood menu. 21 | FOOD NEWS 21 | TEMPERATURE CHECK 23 | THE BAR CODE

arts&culture 27 CHASTITY BELT

BY ANDREW GOSPE | First they conquer Walla Walla, and now the world.

27 ARTS

27 | AGENDA 30 | THE GEEKLY REPORT 31 | OPENING NIGHTS | Twyla Tharp,

Thornton Wilder, tall tales in Texas, and Teatro Zinzanni’s latest.

34 FILM

Sandra Bullock lost in space, the collectors behind a recent gift to SAM, chaos on K2—and yet again with the death of JFK. 36 | FILM CALENDAR

39 MUSIC

Cumulus feels limitless, Reverb Fest gets resurrected, and how Laura Viers’ family invigorates her songwriting. 39 | SEVEN NIGHTS

odds&ends 45 | TOKE SIGNALS 46 | CLASSIFIEDS

»cover credits

COLLAGE BY KAREN STEICHEN

Editor-in-Chief Mark Baumgarten EDITORIAL Managing Editor in Charge of News Daniel Person Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Intern Alicia Price Contributing Writers Rick Anderson, Sean Axmaker, Sara Billups, Ma’Chell Duma LaVassar, Steve Elliott, Margaret Friedman, Zach Geballe, Andrew Gospe, Megan Hill, Robert Horton, Sara D. Jones, Isaac Kaplan-Woolner, Seth Kolloen, Sandra Kurtz, Dave Lake, Beth Maxey, Duff McKagan, Terra Clarke Olsen, Kevin Phinney, Keegan Prosser, Mark Rahner, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Christopher Dollar Art Director Karen Steichen Graphic Designers Jennifer Lesinski, Sharon Adjiri ADVERTISING Advertising and Marketing Director Jen Larson Advertising Sales Manager, Arts Carol Cummins Senior Account Executives Terri Tinker, Krickette Wozniak Account Executives Peter Muller, Sam Borgen Classifieds Account Executive Matt Silvie DISTRIBUTION Distibution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich PUBLISHER Wendy Geldien

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32 | PERFORMANCE 32 | EAR SUPPLY 33 | VISUAL ARTS

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Steam, and CO2, rises from a coal-fired generator in Montana that supplies power to Puget Sound customers.

economic sense. (In 2014, the Obama adminisolstrip, Montana, is quite literally tration is expected to release new rules for plants out of sight. The only way to get there is delib- like Colstrip’s that will likely raise the cost of coal significantly.) But the Sierra Club and others erately, following two-lane State argue that were the state to accept the Integrated Highway 38 to reach the town that counts a Resource Plan as is, it will be easier for PSE to population of 2,248 humans and, more imporget ratepayers to bankroll improvements at the tant, four coal-fired generators. Colstrip plants. They’re calling on the UTC to Every five minutes, the generators burn a rail force PSE to recheck its math on keeping coal car’s–worth of coal, making it the second largest power on its books. coal-fired plant west of the Mississippi and the “If the full costs, uncertainties, and risks of eighth largest source of CO2 in the nation. And Colstrip’s continued operation are considered, if you pay your electricity bills to Puget Sound Energy, it well could be powering your lights right now. The utility owns the largest stake in “It’s not ‘if things Colstrip, and gets 30 percent of its electricity change,’ ” says Collard. from the plant tucked away on the rolling plains of Montana. “Things are changing. It’s Yet even as the Pacific Northwest has become embroiled in a debate over what part it should very irresponsible. As a play in connecting the coal mines just a few miles company, it’s like they are away from Colstrip to Asian markets, Colstrip itself has remained largely out of mind. living under a rock.” That could change this fall as Washington’s Utilities and Transportation Commission, the it is likely that the combined costs of complystate board that regulates utilities, vets PSE’s ing with environmental impacts . . . upgrading Integrated Resource Plan, which will map the plant technology and infrastructure, and likely company’s plan to provide customers with elecregulation of carbon pollution would be greater tricity for the next 20 years. A major takeaway of or equal to cleaner alternatives,” King County the document: At this point, the utility has no Executive Dow Constantine wrote in a joint letplans for ditching the coal plant. ter with the mayors of five King County cities. “The more people learn about it, the more they “It’s not ‘if things change,’ ” says Collard. don’t like it,” says Krista Collard, Pacific North“Things are changing. It’s very irresponsible. As a west spokeswoman for the Sierra Club, of the company, it’s like they are living under a rock.” growing movement asking the Bellevue-based PSE argues, justifiably, that in the world of company to drop coal. “We’ve collected thousands utilities, it’s been a good advocate of clean energy. of signatures calling on PSE to stop burning coal. The utility—which proThat momentum is just vides electricity to most growing.” of King County outside To be clear, the docuPRINT IS GREAT, but if you want to READ . . . Seattle city limits—has ment doesn’t guarantee about Kurt Cobain’s cottage spent $2 billion on clean that PSE will burn coal industry, check it out on energy in the past 10 for the next 20 years—the The Daily Weekly. years, including the conutility retains the right to SEATTLEWEEKLY.COM/DAILYWEEKLY switch gears if it makes » CONTINUED ON PAGE 9

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ans of Breaking Bad saw their favorite TV show come to a satisfying conclusion on Sunday. If you watched the finale, you likely felt a smile cross your face—perhaps even a tear roll down your cheek—as the final shot pulled us away from Walter White’s world. What you did not do was scream for joy and hug anyone within reach—as Seahawks fans had earlier that day when the Hawks completed a fourth-quarter comeback as dramatic as anything Vince Gilligan could dream up. When was the last time you hugged someone out of pure joy? If you can’t remember, you probably aren’t a Seahawks fan. You must have a good reason. Maybe you don’t follow football. Maybe you root for another NFL team. Maybe you think sports are an anachronistic relic of our tribal past, promoting violence, patriarchy, and the inevitable downfall of civilization. Whatever your stance, I implore you to recon-

When a team goes on a championship run, it brings a city together like no other event can. It’s like a Macklemore video shoot times 10,000.

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sider—the Seahawks are taking this city on a fantastic ride. Don’t get left off the bandwagon. When a team goes on a championship run, as the Seahawks are poised to do, it brings a city together like no other municipal event can. It’s like a Macklemore video shoot times 10,000. Here’s why. Even if you’ve never played sports, you’ve probably had the experience of “winning”—say, getting a job you really wanted or catching a flight you thought you’d surely miss. Now imagine that everyone in the city felt that winning exhilaration at once. When a city’s team is on a roll, strangers highfive strangers, neighbors shout exhortations at neighbors. The power of a common cause is strong enough to bring people together—something we need now more than ever as the mayoral campaign exposes the stark divide in our city between Seattleites who want many more bike lanes and Seattleites who want not quite as many more bike lanes. The last time Seattle won a major pro-sports championship. more than 300,000 turned out for the 1979 Sonics victory parade. Can you think of a bigger public gathering since? I can’t. (By contrast, the Kurt Cobain memorial at Seattle Center in 1994 drew about 7,000.) The main reason I want you on the Seahawks bandwagon is completely selfish: the more, the merrier. More Seahawks fans means more strangers finding a reason to talk, louder crowds at the games and bars, and, hopefully, victory parades. If everything goes right, maybe you and me, we’ll get to hug. E

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news&comment» » ELECTRIC HEATERS FROM PAGE 6

struction of three wind farms—for instance, the Wild Horse farm just off I-90 near Ellensburg. It also gives customers the option of paying a little extra on their utility bill to support green energy. More than 30,000 customers opt for that. As for its sizable stake in coal, PSE spokesman Andy Wappler says that at this point, it’s cheap, and that needs to count for something. “Given what we actually know today and what we have on the books today, having coal . . . is a value to our customers,” he says. The Integrated Resource Plan says that Colstrip saves customers $131 million every year, and that replacing that electricity source would necessitate a 5 percent rate increase. That’s the sort of economic calculation that the Sierra Club and

Constantine intend to challenge when a hearing on the plan is held October 10 in Olympia. But in the end, the fight isn’t about economics so much as about the climate—and a local utility’s opportunity to reduce the amount of coal burned in the United States. Were PSE to pull out of Colstrip, industry-watchers say, it’s unlikely another utility would pick up the capacity, meaning it would have a real effect on how much coal is burned. Another utility, PPL, is trying to sell its stake in Colstrip, but last week it was revealed that those efforts have been unfruitful. “What happened last week . . . really underscores the trouble PPL is having divesting itself from Colstrip,” says Anne Hedges, program director at the Montana Environmental Information Center. “PPL is proving it’s not valuable on the open market today.”

BUY - SELL - TRADE

Reading Tea Leaves on the Border

drifted off into a vaguer explanation. “There are a lot of physiological things,” he said. “Say you’re driving down the road, and you’re speeding. All of a sudden you see a Washington state trooper behind the bushes. What happens to you?” The story also goes into the case of a Hispanic man who says he was pulled over by an agent using the rationale of a broken taillight. The Border Patrol’s official policy was, and is, that routine traffic violations fall outside the scope of agents’ authority. But as Langlie points out, there are exceptions. Agents are empowered to stop drivers who are creating a danger to the public, for instance. In the report followed by the agent in the above case, he made no mention of a broken taillight, but cited “public safety” issues posed by the Hispanic man’s “erratic driving.” What’s more, Border Patrol agents can enforce all types of traffic violations on federal properties, which include national forest and parkland—a vast swath of the Olympic Peninsula. So there’s ample wiggle room for agents to cite a legal reason for a stop which is really motivated by seeing a car full of Hispanics. Directives given from the top will undoubtedly set the tone, which is why a change in leadership could be important. The Border Patrol has also rotated the top command at the Port Angeles station in recent years, according to Adams, who says that things, in fact, have already changed for the better on the peninsula. And he hopes that the training and ongoing monitoring mandated by the settlement will further cause agents to modify their behavior. But Adams also recognizes that more trouble may lie ahead. Congressional proposals for immigration reform would balance leniency for the undocumented with measures, including beefing up the Border Patrol, aimed at curbing new illegal migration. Many observers, including a Border Patrol whistleblower who surfaced in 2011, have attributed the questionable practices on the peninsula to a glut of agents with nothing to do. Adding yet more agents to the northern border could well magnify the problem, unless the settlement really does create a new culture among the ranks. NINA SHAPIRO E

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Early last month, the chief of the Border Patrol’s Blaine sector was suddenly and mysteriously removed from his duties. In a move that the head of the local union representing Border Patrol agents assumed was designed to put the chief “out to pasture,” John Bates was temporarily assigned to the agency’s headquarters in Washington, D.C. Does that have implications for the Border Patrol’s local practices? It’s a question worth considering in light of the settlement announced last week between the agency and several plaintiffs represented by the Northwest Immigrant Rights Project and the ACLU of Washington. The suit accused the Border Patrol of making unconstitutional traffic stops on the Olympic Peninsula based on racially profiling drivers rather than upon reasonable suspicion of immigration violations. The Border Patrol admitted no wrongdoing in the settlement, but agreed to provide “refresher” training for its agents on what constitutes a legal stop. The agency will also submit reports documenting its stops on the peninsula for the next 18 months to both NWIRP and the ACLU. What the settlement does not do, NWIRP legal director Matt Adams concedes, is lay out exactly which Border Patrol practices are allowed, or specify whether agents need to change their behavior at all. Indeed, Emily Langlie, spokesperson for the U.S. Attorney for Western Washington, says that “throughout this litigation, we have contended that the Border Patrol was not doing anything wrong. So there is no need for anything to change.” Here’s where reading the tea leaves comes in. While Adams says he does not know whether Bates’ removal has anything to do with the suit, he also notes that the former chief was a vocal defender of his agents’ expansive techniques. As Seattle Weekly reported in a 2011 cover story (“Twilight for Immigrants,” July 27), Border Patrol agents—not just on the Olympic Peninsula but all along the northern border—have been operating according to a dubious interpretation of reasonable suspicion. In an interview for that story, I asked the agent then in charge of the Port Angeles station, Jason Carroll, what constitutes suspicious behavior. He mentioned “erratic driving” and then

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ROBBER’S REVENGE

Shon Hopwood was a no-good crook, until a federal judge sent him to the big house for armed robbery. Now the most powerful judges in the land know his name. BY ELLIS E. CONKLIN

In a restless mood Shon Hopwood returned to Nebraska, discharged after a two-year hitch in the Navy. Stationed in the Persian Gulf, he and a group of other enlistees had guarded U.S. warships with shouldermounted Stinger missiles. He was 21, a party animal who’d come close to drinking himself to death. He knew things were bad when the base chaplain started asking him about God while he was down for the count with acute pancreatitis in a Bahraini hospital. Meanwhile the Navy’s on the horn to his dad—struggling to raise five kids on a $35,000 salary as a feed-yard manager—telling him his eldest son is hooked up to a catheter and stomach tube and might not make it. n Hopwood pulled through, and back in his

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

hometown of David City (pop. 2,597), he was looking to figure out a future. Smack in the wide-open middle of nowhere, a solid hour’s drive northwest of Lincoln, where his beloved Cornhuskers rumble, the land rolls across endless fields of corn, grass, and soybeans—family farms for the most part, tended to by devout, hardworking Catholics who on cool autumn Friday nights worship the David City Public High School football team, the Scouts. n He was a year removed from the Navy. It was the winter of 1997 and cold as hell—the season in eastern Nebraska when the air turns brittle, like old bones, and the wind howls like wolves. Hopwood was no longer the conquering hero—a star shooting guard for the Scouts, practicing for hours under the old hoop in his driveway. Directionless, he was still drinking, smoking dope, being stupid—and he hadn’t yet realized that Ann Marie Metzner, the prettiest girl in town, still had a crush on him. n He had few skills to fall back on, unless you counted his uncanny ability to drive past defenders on a basketball court or kill half a bottle of Jose Cuervo one shot at a time, like he did with his Navy buddies. He was a C student, unmotivated. Never did take a book home, but he excelled at standardized tests, so something had to be cooking upstairs. Got himself a basketball scholarship at a small college, Midland University, in nearby Fremont, but fouled out in his first semester for failing » CONTINUED ON PAGE 12 to show up to a single class.

ROBBER’S REVENGE » FROM PAGE 11

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

ast month, Hopwood, now 38 and married to the woman he called the prettiest girl in town, steals some time from his internship at the federal public defender’s office in downtown Seattle to meet at a coffeehouse on Fifth Avenue. It’s his next-to-last day; soon he’ll be off to complete his third and final year at the Gates Public Service Law Program at the University of Washington. Created in 2005 and named for Bill Gates Sr., the $33 million program awarded Hopwood a full-ride scholarship two years ago, financed by the Bill and Melinda Gates Foundation—one of five given each year to incoming law students who are committed to spending at least five years in public-service law after graduating. Acceptance to the school is extremely competi-

David City, Nebraska

brochures. “We figured we’d have an alibi if we got stopped.” A few towns away from the Petersburg State Bank, they stole a car from a church parking lot. Neither knew a thing about how to hot-wire a car, so it was a welcome sight to see keys dangling in the ignition of a Chrysler New Yorker. “I walked into the bank wearing coveralls and a hard hat. We looked like a couple of construction workers,” Hopwood goes on. “There were five or six people in the bank. I’m sweating. Everything in your body is screaming at you not to do it.” Still, he managed to unzip the coveralls and pull the rifle from the right leg. “And then I’m yelling, ‘This is a robbery! Get down, get down!’ ” His partner fetched the canvas bags from the toolbox, went to

Shon Hopwood

“There were five or six people in the bank. I’m sweating. Everything in your body is screaming at you not to do it.”

PHOTOS COURTESY OF JON HOPWOOD

“I was so stupid, so stupid and foolish,” Hopwood says now. “He became worthless when he went to that college,” observes Jack Klosterman, whose father hired Hopwood’s dad, Mark, at Grass Valley Farms. Klosterman always treated Hopwood as if he were his own son. “He was a good kid, a pleasant kid, a real charmer, and polite with the ladies. But he could be a bit of a smart-ass, stubborn, willful,” he says in a telephone call from his David City home. “And he was a tremendous liar. He was so intelligent that he could convince anyone that his bold-face lies were true. I mean, he told me he was going to all his classes.” Back in David City, Hopwood was living on borrowed time. Ahead of him was a long march of years in the Federal Correctional Institution in Pekin, Illinois, with razor-wire fences, orange jumpsuits, and bars of three-cent soap that can leave an inmate’s skin scratching for days. It won’t be long now. In a couple of reckless years, during which he’ll pull five armed bank robberies, a scowling federal judge in Lincoln will listen as he begs for leniency. Hopwood will swear that he’ll change his ways. And the judge, Richard G. Kopf, will reply, “We’ll know in about 13 years if you mean what you say.” “I had no clue,” says Hopwood’s mother, Becky Richards. “Shon was a typical small-town kid, raised in a Christian home. . . . That’s where he learned to memorize Scripture.” Klosterman remembers things differently: “After that first robbery, they had a police sketch out. Mark had a strained relationship with Shon. He wasn’t ashamed of him, only disappointed that he was just floating. Anyway, Mark walked in with it and he laid it on my desk, and he says, ‘That remind you of anyone?’ And I said, ‘Mark, you and I both know who that is.’ I’d never seen a look of such utter defeat on his face like that before.”

tive. Hopwood’s chances were less than one in a hundred even to get a shot at being one of the 20 finalists interviewed. It didn’t hurt Hopwood, of course, that Seth Waxman, a former United States solicitor general, had written him a letter of reference. Or that two of the petitions Hopwood had already written as a layperson had been reviewed by the U.S. Supreme Court. That those petitions were written while he was serving time in a federal penitentiary made him even more remarkable. “The way he told his story was so compelling. He’d read more law cases, in prison, than any incoming law student I’ve ever seen,” recalls Michele Storms, director of the Gates Law Program. As the monorail swishes by, still full of late-summer tourists, the brownhaired Hopwood, clad in khaki Dockers and a yellow dress shirt, prepares to tell his remarkable story, which recently culminated in his winning a hugely prestigious clerkship for Judge Janice Rogers Brown on the United States Court of Appeals for the District of Columbia Circuit, considered the second most important court in the nation after the Supreme Court. “It was March 1997 and Tom came by,” Hopwood begins in a flat Midwest twang that sounds a lot like that of fellow Nebraskan Henry Fonda. “He was my best friend growing up. He told me to meet him at the bar. So I met him, and after a few beers he said, ‘What do you think about robbing a bank?’ And I said something like, ‘Sure, sounds like a great idea.’ ” Hopwood was never in any real trouble in his life—if you don’t count rolling his pop’s pickup while out on a joyride, or getting caught for buying his underage brother beer—but now, inexplicably, he’s planning to knock off a bank. First they went on a road trip, he and Tom, driving north, looking for a small town with little or no police presence. Petersburg (pop. 374), about two hours from David City, fit the bill nicely. They bought two guns at a Walmart, a handgun and a rifle, a nine-millimeter Smith and Wesson. On a Sunday morning in August 1997, Hopwood, with a duffel bag filled with clothes and his dad’s rusted red toolbox stuffed with canvas totes to stash the cash, waited for Tom to pick him up at his parents’ house. En route to Petersburg, they stopped at a college, Wayne State, to pick up some

the tellers’ till, and emptied them. They then locked the handful of clerks and customers in the vault. No one got hurt, and they promised the captives they’d be out soon. “We abandoned the car and headed to Tom’s uncle’s farm, and when we got to the farm, I got into the uncle’s grain truck and sat in the bed of that grain truck and I counted the money.” The moneybags, like Hopwood’s bluegray eyes, bulged with wads of $100s, $50s, $20s, and loads of quarters, which pleased Tom to no end, as he was living in an apartment with a coin-operated laundry. Hopwood still recalls the rush, the euphoria. They split $50,000 that hot August afternoon 16 years ago—one hell of a payday for a 21-year-old farm boy from Nowheresville, Nebraska. “I was the life of the party,” Hopwood exclaims. “I was feeling good. I’d never

Petersburg State Bank, site of the first robbery.

CONTINUED ON PAGE 15

Judge Richard G. Kopf

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seen so much money before.” But it went fast: expensive clothes, nice dinners, buying rounds for the college girls at Iguana’s Pub in Lincoln. “It was gone in two months, and you know, I didn’t buy one thing of consequence, not even a car.” On it went, three more robberies, all choreographed by Hopwood: a $10,000 bank heist in Hallam (pop. 276) in December ’97; $20,000 more in February ’98 in Gresham (pop. 270); and two months later, a $25,000 payout in Peru (pop. 569)—each committed with a friend named Craig, a roommate of Hopwood’s in Lincoln. Craig had had a tough childhood. Tossed out of the Catholic high school, he’d done a stint at Father Flanagan’s Boys Town. He was sleeping out of his car when Hopwood brought him into the apartment. (Tom was involved in only the first robbery, and served 4½ years in prison. He wanted to give back the money from the Petersburg robbery, but Hopwood said no. He was arrested 18 months after the crime while taking a college class as a criminal-justice major, and now runs a poolcleaning business in Arizona. For obvious reasons, Hopwood will not disclose his last name—not

out Craig had told a buddy about the robberies, and the friend had snitched. Police also found Hopwood’s palm print on one of the getaway cars. “I told them everything,” says Hopwood. “In some ways it was a relief to have it over with. I knew I was walking a tightrope. I don’t know, but I don’t think I’d have done another one, because we’d made so much money on the last one.” Of his quick confession to five armed robberies, Jack Klosterman says, “It was the first time in his life that Shon had come completely clean on anything.” Compliments of the Justice Prisoner and Alien Transportation System, otherwise known as Con Air, a shackled Hopwood touched down on a back strip at O’Hare, far from the terminal, in May 1999, a month after Judge Kopf had meted out a sentence of 147 months. After the sentencing, Hopwood’s mother Becky, in the courtroom that April morning, whispered to him, “You’re a good boy, Shon, and God will protect you. Remember that.” In a bus packed with other prisoners, Hopwood was driven to Pekin, a medium-high-security prison with 1,400 inmates. It houses its share of murderers, rapists, and child molesters, Hopwood says. It’s an eight-hour drive from David City, but it may as well have been a planet away from the 4,000 head of cattle Mark Hopwood was looking after at Grass Valley Farms. With its low-slung modern

Hopwood with son Mark, daughter Gracie, and wife Annie.

he party ended on July 2, 1998. Hopwood had rented a room at the DoubleTree in Omaha. He’d been there two weeks, drinking and carousing with Craig, Craig’s younger brother Cody, and Hopwood’s kid brother Brett, all of whom had helped rob a bank in Pilger, Nebraska (pop. 378), a month before. It was one big celebration at the DoubleTree, and why not? “We hit the jackpot with that one,” Hopwood recounts. “We got $125,000 out of it.” That July afternoon, Hopwood walked into the lobby looking for Brett. Four men were sitting there, all wearing suits and ties. It didn’t look right. “One of them asks, ‘Are you Shon Hopwood?’ I said yeah. Then they jumped up and tackled me to the ground. They were all with the FBI.” Turns

buildings, one might mistake Pekin for a business park. Of course, when greeted at the gate by a party of shotgun- and assault weapon–wielding guards, as Hopwood was, impressions quickly change. “It’s total apprehension in the beginning,” Hopwood reflects. “The noise of those electronic doors locking, I can still hear. It makes me sick to hear that sound.” Seated at a small conference table inside the UW law school, he continues, “It’s figuring out how to do the time without getting into a train wreck. There’re cliques, racial tensions, gangs. It’s about 70 percent black. “You learn soon that it is your mouth, it’s drugs and alcohol, or sex or gambling—those are the things that can get you in trouble, that you got to stay away from, and then maybe you’ll make it. In the beginning, though, I did do marijuana, because, I mean, the light at the end of the tunnel was so dim. I didn’t have much hope. You’ve seen the movie Groundhog Day? Well, every day is Groundhog Day.” Hopwood writes in Law Man: “This was the middle of May 1999. The Kosovo War was underway. George Bush was governor of

» CONTINUED ON PAGE 16

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

to this reporter, nor in the book he co-wrote with Dennis Burke in 2012, Law Man: My Story of Robbing Banks, Winning Supreme Court Cases, and Finding Redemption.) “I knew it was incredibly wrong,” says Hopwood. “Afterwards, when the robberies were done, I used a lot of drugs and booze, sometimes even cocaine, just so I could stop thinking about it.”

ROBBER’S REVENGE

» FROM PAGE 15

Texas. The Twin Towers were still standing. The Backstreet Boys released their Millennium album. Star Wars, The Phantom Menace came out, as did Windows 98, second edition. Google was getting its first major financing and Mark Zuckerberg turned sixteen. For me a lot of things would freeze at this time. I would barely touch a computer again for ten years. It is beyond strange to be in such a place and feel your life freezing over, like a sci-fi story where you lie

and concerned residents of close-knit David City. “I wrote him just to tell that the Lord has better days for you,” recalls Jack Kaufmann, a retired David City doctor. Hopwood had seen Ann Metzner around town as a kid. She was a cheerleader at the Catholic high school, a cross-country runner, and an actress in school plays and musicals who’d go on to get a degree at Creighton University. She was Hopwood’s dream girl, but, he figured, totally unattainable. Metzner had her eye on Hopwood as well— tall and handsome with a wry sense of humor. “I had a crush on him, but I didn’t tell him. He made me nervous,” remembers Metzner, gently

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

John Fellers with Hopwood

down in your rocket, not to return until everyone you know is old.” Prison life all blurred together for Hopwood— the cigarette smoke and yellowy lighting, men playing cards and dominoes in the day room, the cursing and fighting, lifting weights at 6:30 a.m., the boredom, the Friday-night nachos, the phone calls monitored, every letter read, the visitations videotaped—and always, the ever-present danger. He can still recall, too, the outrage that consumed him when he watched in horror as many of his fellow prisoners cheered when the towers fell on 9/11. “They were glad that the federal government was getting attacked, because it was the government that put them in jail.” Heartbreaking news from the home front also came a-calling. One month after the electronic doors closed behind him, Hopwood learned from his brother Brett, who was then settling into another prison for his role in the Pilger heist, that someone had painted over the “Welcome to David City” sign to read: “Home of the Hopwood Crime Family.” Much later, the year before his release, he’d get a call from his mother that his father had died. He was not allowed to attend the funeral.

poking her husband during a recent interview at their Burke Gilman Gardens apartment. “I ran into his mother one day,” she goes on. “She told me about the arrests and that he’d been in prison for two years. I got his address and started to write him.” Hopwood couldn’t believe his luck, so long had he been smitten by her. They wrote hundreds of long, thoughtful letters to each other. He could only keep 20 at a time in his cell. If he didn’t ship them home, the guards would destroy them. For years, Metzner battled anorexia. She says she was hospitalized three times in high school. At one point, in her 20s, she weighed little more than 60 pounds. In 2001 she was treated at Mirasol, an eating-disorder clinic in Sedona, Arizona. After heading home, her condition vastly improved, she wrote to Hopwood and told him she wanted to come to Pekin for a visit. “It was the day after Thanksgiving that year. The Cornhuskers were playing Colorado for a shot at the national title when they called me to the visiting room,” remembers Hopwood. “It was the only time in my life that I’d left a Cornhuskers game in the middle. I was nervous, but superexcited. I hadn’t seen her in eight years. “So I walked right up to her and kissed her on the mouth. I didn’t have anything to lose. I was in prison. We visited for hours that Friday.

“The noise of those electronic doors locking, I can still hear. It makes me sick to hear that sound.”

hank God for the letters. Each one was “like a tiny pardon, a temporary reprieve from my day-to-day surroundings,” Hopwood writes. They poured in from family

» CONTINUED ON PAGE 18

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to becoming one of the best jailhouse lawyers around: “It was the first time in my life that I had any academic success.” In 2002, fellow Nebraskan John Fellers sought Hopwood’s help. An easygoing man with a ready smile, Fellers, who’d been a used-car dealer in Lincoln, was at Pekin on a drug rap, looking at a dozen years for trafficking in methamphetamines. Police told him he’d been indicted by a grand jury, and Fellers—who by that time was clean and had no drugs in his possession—mentioned his past involvement with drugs. He never realized his statements would be taken as a confession. “I felt bad for him,” Hopwood wrote in Law Man, “because I knew a rich guy with a high-level

It wasn’t awkward at all. We’d sit in silence, and that was OK. I did notice that she had an engagement ring, but when she came back on Saturday, the ring was gone. That day I told Annie, I said, ‘When I get out, and if you get healthy, I’ll marry you.’ And I meant it.” With a smile, Hopwood confides, “I still remember the smirk on the guards’ faces. They were so jealous. One of the guards, I’m sure, probably had to pay for dates, and here was this beautiful woman.” For Metzner, the thought of waiting Seth Waxman and Hopwood another nine years for Hopwood’s freedom was daunting. She talked about moving to Pekin, leaving her job as an animal-food researcher and putting out the 550-page catalog for KV Supply, her father’s pet-supply company in David City. “I started to feel guilty,” says Hopwood. “So I started to push her away. I’d get drunk on prison wine and then I’d call her and tell her about an ex-girlfriend of mine.” “I was devastated, and started dating others,” says Metzner. They eventually broke off their lawyer would be out on his boat right now, not in romantic relationship, but remained friends. They prison.” Early in 2003, after mastering the case, he continued to write and call each other. There was filed a petition, known as a writ of certiorari, to the a bond that could not be broken. When HopSupreme Court, arguing that Fellers had not been wood’s father died, she came to visit. “And I knew read his Miranda rights after being notified of the then that was it,” says Hopwood, tearing up. “She indictment. That year, the nation’s highest court was going to be my wife.” received more than 7,200 petitions from prisoners—and agreed to review just eight of them. One hon Hopwood was glad to get out of the was Fellers v. United States. For any lawyer, this is kitchen. It is the most dangerous area in Pekin, he says, because there are places there the equivalent of pitching a no-hitter. On the morning of March 12, Hopwood was that the guards can’t monitor. Checking out on his way to the iron pile to work some weights books to fellow inmates in the law library was a when someone, huge relief. From the outset, it nagged he remembers, at Hopwood that his 12-year, threecame running month sentence was excessive. “It was across the yard a long time, especially for someone yelling “Shon, never in trouble before.” you’re going to Like the other prisoners, Hopdie!” The inmate wood took a hard, long look at the had a copy of case of Apprendi v. New Jersey, in USA Today, and which the Supreme Court ruled the story read: on June 26, 2000, that judges were “Justices said wrong to hand down harsher senMonday that tences based on facts not proven to they will review a jury or confessed in court. The case an appeal from a lit a fire under Hopwood. Maybe he man who claims could get his sentenced reduced, he he was tricked thought, even by just a year or two. into talking to He wasn’t the only one harboring officers. John J. Fellers’ case provides an unlikely such dreams. Almost overnight, 40 to 50 Pekin test of the landmark 1966 Miranda ruling . . . ” inmates began to come to the law library, not just “I knew this was something that would change the usual handful. my life forever,” says Hopwood. “Something like “That case gave all us a new hope,” recalls this is the pinnacle of a lawyer’s career. I couldn’t Hopwood. walk across the yard without someone saying Hopwood began to soak up case law like a ‘There goes my law man.’ ” sponge. He’d spend leisure hours poring over Hopwood called home that night. His dad books like Federal Habeas Corpus Practice and Proanswered. “Congratulations, Mr. Famous,” he said. cedure. “I probably read over 4,000 legal opinions “Shon was amazing,” Fellers says in a phone while in prison,” he says. Prisoners turned to him conversation from the car dealership he returned for legal advice, to write briefs on their behalf, to to in Lincoln after his sentence was cut by almost figure out legal strategies to have their sentences reduced. He started to think of the guys in orange four years. “He could read very complicated case law and completely understand it.” jumpsuits as clients. Fellers reached out to Seth Waxman, who Hopwood eventually concluded that the Hopwood knew had argued more than 50 cases Apprendi ruling didn’t apply to his case. His in the Supreme Court. “Yes, he called me and said campaign for an early release came up short. his petition had been granted and asked if I was But what he gained was much more valuable. interested in representing him,” Waxman recalled At last he’d found his calling. He was on his way

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

“I knew this was something that would change my life forever . . . I couldn’t walk across the yard without someone saying ‘There goes my law man.’ ”

late last month from his law office in Washington, D.C. “I said let me read it first. And when I did, I got back in touch with him and told him it was one of the best cert petitions I’d ever read, that it was such a great petition that he didn’t need me. Then I said I’d do it for free—but only if Shon was involved.” Says Hopwood: “Most lawyers would have said ‘Yeah, nice brief, but we’ll take it from here.’ But Seth made me part of the team. They even had a nickname for me: in-house counsel.” “It was January 26, 2004, when a guard told me I had a call. I was nervous. You never get a call unless it was a death in the family or something. It was Seth, and he said, ‘The Supreme Court ruled in our favor, 9-0. Thank you.’ ”

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hon Hopwood walked out of Pekin federal prison in October 2008—two years early. That first night he had steak and shrimp with his brother at an Old Chicago in Omaha. He spent the next six months in a halfway house in Council Bluffs, Iowa. The adjustment was hard. He says he was filled with high anxiety for months. He remembers how he “freaked out” one day when he saw how many packs of gum he could choose from at a convenience store. Two weeks after he left the halfway house, on April 9, 2009, Hopwood proposed to Annie Metzner. Their son Mark was born on Christmas Day that year. Gracie arrived two years later. John Fellers, meanwhile, presented him with a new Mercedes, his way of saying thanks. Hopwood went back to college and received a B.S. from Bellevue University in Nebraska. In their apartment near Children’s Hospital, Shon and Annie sit together on the couch. Above their heads hangs a framed photograph, taken a couple of years ago, of them standing in front of the Supreme Court building. She has just returned from dropping off the children at preschool, and she looks very happy. He beams when she walks in from the kitchen with a mug of coffee. They chat about the lovely hike they took the day before, up by Granite Falls. The living room is strewn with the plastic pots and pans that go with Gracie’s toy oven. “We had our problems,” he says. “It’s one thing handling things with men in prison, and another handling things with a sensitive woman.” His eyes welling now with tears, Hopwood continues, “The first thing that goes in prison is empathy, and it’s the hardest thing to get back. They hold you for 10 years and they give you nothing. You come out and you don’t even know how to work a cell phone.” Hopwood turns quiet and his wife reaches for his arm. “My story no longer seems real, nor was my time in prison. My purpose now in life, I think, is to try and reform the criminaljustice system and change people’s perceptions about prisoners. Most of the inmates I saw were redeemable. They just need a little assistance.” This August, Judge Kopf, after learning that Hopwood had won the clerkship with Judge Rogers, wrote reflectively on his blog: “When I sent him to prison, I would have bet the farm and all the animals that Hopwood would fail as a productive citizen when he finally got out of prison. My gut told me that Hopwood was a punk—all mouth and very little else. “My viscera was wrong,” he went on. “Hopwood proves my sentencing instincts suck.” Says Hopwood: “That was amazing to hear about. You know, I’ve never said I didn’t deserve to be punished. I did. I committed a very serious crime. And now I’m getting an amazing second chance. I feel so blessed.” E

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food&drink

Hip to Shore

Westward does a lot right with its Mediterranean-inflected seafood menu, even as it tries to do a little too much on the plate. BY NICOLE SPRINKLE

HALLOUMI DISH: JAY FRIEDMAN; GASTROLUST, EXTERIOR: LINSTER CREATIVE, TOP PHOTO: SARAH JURADO

e drive along Northlake Way, winding around the quiet north end of Lake Union, then brake suddenly in front of a mud-brown wooden cottage-like structure. A not-too-obvious sign indicates that this is indeed Westward. Out front, despite the cooler September air, people are dining on tables by the pier or sipping cocktails in Adirondack chairs beside a fire blazing in a pit fashioned out of oyster shells. I immediately get a good vibe. Wedged between the Seattle Marina and Sky Launch boat storage, Josh Henderson’s new seafood restaurant, which we previewed this summer, feels integral to the lake— not like the hulking special-occasion restaurants plopped garishly on an expanse of waterfront. It helps that it has a 150-foot dock, so that boaters can stop in to the restaurant’s accompanying grocery and oyster bar, Little Gull, to grab an oyster knife, a blanket, a charcuterie plate, or some oysters. This place belongs. Inside it’s restrained, modern nautical chic, and I dig it. Big wooden beams resembling pilChill out (or warm up) ings separate tables from one another; round by the firepit on the lake. canvas lampshades with primary blue and red sailboat numerals hang from high ceilings; goldframed oil paintings of ships in blustery seas and weathered sea captains line the walls. Fresh white paint throughout, as well as petite brown-leatherbacked bar stools resembling boat seats, give it a classic oceanic feel. I appreciate the break from the de rigueur cold alliance of steel/concrete/wood that we’ve come to expect from our hippest restaurants. of the trout. So mild, in fact, that serving it with I also appreciate that while Westward is designed potato chips seasoned with an Old Bay–like to beckon diners with its proximity to the lake, concoction seems an unbefitting choice. Not only even the views are understated. Most every table do the chips overpower it, but it’s hard to balance gets to see some water, but there’s no sweeping tiny fish eggs on an incongruously shaped chip. A view a la Aqua, which hopefully means you won’t simple flat cracker would have worked better. find yourself dining next to wedding parties or The pairing of expertly prepared dishes with large corporate gatherings. accompaniments that The food, like the don’t quite do them justice, design, steers clear of » PRICE GUIDE in fact, becomes a recurpomp: no rich, unctuous MOROCCAN FISH STEW........ ....................... $26 BRAISED OREGON LAMB SHOULDER ..... $28 ring theme throughout my sauces or special-occasion GRILLED HALLOUMI CHEESE ..................... $13 two dinners here. Clearly, surf-&-turf combos. I WOOD-BAKED GIGANTE BEANS ................ $9 GRILLED BOSTON MACKEREL ................... $13 Westward has chosen a don’t even see lobster, WILD SALMON GRAVLOX ............................ $13 Mediterranean-influenced though there are some OYSTERS ON THE HALF SHELL $2.50–$3.50 menu—the wheelhouse of interesting “high-end” chef Zoi Antonitsas, forspecials, like a smokedmerly of Madison Park Conservatory. And when trout caviar with crème fraîche at $23 an ounce BOD_WKLY_Whiskey_10-1-13.pdf 2:04 PM it works, it works beautifully, as in the halloumi (though from Brooklyn, mind you). It’s a very1 10/1/13 cheese, served in big chunks rather than the usual mild-flavored caviar, but one that really speaks

Westward’s nautical decor is well-integrated.

FoodNews

BY SARA BILLUPS

Former Art of the Table sous chef Derek Ronspies is set to launch nose-to-tail eatery Le Petit Cochon in Fremont today. In the former Showa space, it will feature a pork-centric menu paired with seasonal produce. Check Facebook for updates. Ethan Stowell’s latest restaurant, mkt., is open in the historic Keystone building in Tangletown. Chefs Joe Ritchie and Monica Dimas showcase contemporary American fare with Northwest flourishes. The Northwest Tea Festival happens this weekend, at Seattle Center’s Fisher Pavilion, featuring tastings, classes, and samples. Preregister at nwteafestival.com. Renee Erickson’s Barnacle, the much-anticipated aperitivo bar adjacent to The Walrus and the Carpenter, is now open. The menu includes cold plates like octopus terrine and serrano ham, as well as wines, apéritifs, and digestifs. food@seattleweekly.com

Temperature Check »from Erik Carlson, Bar opErations managEr for stonEBurnEr, BastillE, maClEod’s, poquitos, and Von trapp’s

Grilled halloumi cheese.

Mac ’n’ cheese: My kids eat it twice a day, and I’m just a little tired of making it.

CMY

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

thin, flat slices, accented with bite-size pieces of ripe watermelon and mint and fired up with urfa biber chili. Or a Moroccan fish stew, with a generous piece of rockfish, plump mussels, and cauliflower in a piquant, exquisite broth flavored with ras el hanout, a North African spice mix traditionally including, among others, cardamom, turmeric, peppers, ginger, nutmeg, and anise. It’s my favorite thing on the menu—that and the braised Oregon lamb shoulder, one of a handful of non-seafood options that proves to be fork-tender and is complemented with a tangy tzatziki sauce and an herb salad of parsley, mint, dill, and red onion so good that I made a batch at home. But other dishes don’t come together as harmoniously, the Mediterranean elements often seemingly haphazard, garnish-like rather than cohesive additions. The gravlox, though good, got a little

Daiquiris: This drink may have been butchered for years, but is back on everyone’s radar. What is there not to love about a drink with so many variations? Although none are as good as the original: rum, lime, and sugar! Why are the easiest drinks the hardest to get right?

» CONTINUED ON PAGE 22

It’s a tie between sweet drinks & Jägermeister: There is someone out there making sweet cocktails, and they’ve put the public in panic mode. I can’t tell you how many times a night a guest asks with great concern, “Is it super-sweet?” Fireball is crushing Jäger, although I know a local master sommelier who would disagree.

16,500 FANS AND COUNTING

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» FROM PAGE 21

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lost among its many delicious partners, including a beet purée blended down to caviar-like beads and a creamy labneh (a delicate, mellow kind of Greek yogurt) topped with spicy Mediterranean za’atar seeds. It’s a trend I noticed all summer in fashionable restaurants: the desire to get as many tastes—particularly seasonal ones—onto a plate, sometimes at the expense of what’s supposed to be highlighted. Likewise the grilled mackerel, of which my first few forkfuls were amazing—until I hit the raw center. Mackerel is often served as sashimi at Japanese restaurants, but it’s not a fish designed to be undercooked. Our waiter whisked it away, said “We never make the same mistake twice,” and brought back a properly cooked one within 10 minutes, during which time we munched on our tasty tiny radishes with sea salt, parsley, and a goat-cheese dipping sauce. They held true to their promise; this time the mackerel was cooked just right—and its slightly oily, fishy flesh was ideally paired with a sizable smear of charred, smoky eggplant. But the abundance of tahini on the side was a throwaway, its aggressive taste duking it out with the strongflavored fish. The whole branzino—we had the option to fillet it ourselves, which we did—was cooked faultlessly, but the decision to serve it with a side of avgolemono sauce was an interesting one. A frothy egg-lemon foam that our waiter likened to a light hollandaise, it provided the fish with a creamier mouthfeel and didn’t overpower the meat of its mild, white flesh. But it may have been just a tad too quiet. I appreciated the inclination to not overwhelm such a fish, but would have liked something that enlivened it a bit more. (What I did appreciate: the price point of a whole branzino at $28; this fish tends to be in the $30-and-up category.) Westward is doing something different with its menu. Our waiter tells us it’s designed for “feasting and sharing,” which means you won’t find conventional categories like appetizers and entrées. Instead, you’re supposed to tell the waiter how hungry you are and let him customize your choices accordingly. Potentially awkward, the interaction was made easy by a waitstaff that on both visits was earnest, attentive, and refreshingly comfortable expressing an opinion (one steered us away from the “Day Boat Octopus Bolognese” because “it’s not my favorite; the octopus is just ground into the sauce”). On our first visit, we followed the suggestion to begin with a plate of raw oysters. The four available varieties that night—Kusshis, Kumamotos, Blue Pools, and Hama Hamas—all, according to our waiter, had a cucumber-lemon finish (I guess oysters get wine lingo now). My six were cold, slightly sweet, and good enough to skip the pinkpeppercorn vinaigrette. The Blue Pools (from the Hood Canal), in particular, were small but meaty and sharp on the tongue; I wish I’d ordered just them. (David Leck, of Taylor Shellfish fame, is the oyster manager and promises that come October he’ll have 12 “cream of the crop” types to choose from: among them Virginicas and Olympias.) Following the oysters, our waiter led us down a path of clean and light: gravlox over fried squash blossoms or potatoes cooked in the fire, the branzino over the fish stew. We went with it, but as the dishes came out, my friend and I both remarked that the recommendation was counterintuitive.

David Leck at the oyster bar.

Everything we’d ordered was fresh and mild; something with a little grease or fat would have been a more fitting counterpart. On our next visit, we took control and made sure to try the oyster roll (a twist on the East Coast lobster roll, served on a hot-dog bun but with tangy fried pickles) and the wood-baked gigante beans cooked in a tomato-and-feta mixture that had just the right amount of oiliness. Those small plates would definitely have made a great balance to the simply cooked branzino and raw oysters. The drink menu here also endeavors to be unique. The wines herald from all over the world (even Greece), but I was surprised to find only one Washington red and white. I turned instead to the cocktail menu, which is particularly interesting for its tight curation: “Cocktails,” “Lighter Cocktails/ Aperitifs,” “Beer Cocktails,” and “Seasonal Cocktails.” I chose a seasonal, the Picnic Basket, made with watermelon gin, strega, and spice bitters. My friend got the Nor’Wester: whiskey, forestry liqueur, and cocoa bitters. These folks know how to make a stiff drink that even my sea dog of a grandfather would approve of. All the “craft” cocktail condiments are there, but they’re not mucking up the spirit itself. Dessert, as it admittedly so often does for me, disappointed. A chocolate olive-oil cake sounded mandatory, but had no discernible chocolate taste and was on the overly savory side, especially with the jarringly large grains of sea salt on top. The only sweetness on the plate was the brandied cherries, which, like a kid, I eagerly devoured. Likewise, the loukoumades (Greek donuts akin to zeppoles) were on the dry side, sweetened with too little of a tasty roasted-plum compote. Instead I indulged my sweet tooth from the “Lighter Cocktails/ Aperitifs”: Dolin Extra-Dry & Rouge vermouth and orange. It was one of many good choices at a restaurant that’s shaping up to be one of Seattle’s seafood standouts. E nsprinkle@seattleweekly.com

WESTWARD 2501 N. Northlake Way, 552-8215, westwardseattle.com. 11:30 a.m.–10 p.m. Sun.– Thurs., 11:30 a.m.–10 p.m. Fri.–Sat. Happy hour 2:30–5:30 p.m. Mon.–Fri.

food&drink»The Bar Code

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Wine Picks for Fall Foods

University University University Seafood Seafood & Poultry& Poultry Seafood &NEPoultry 1317 NE 47th,1317 Seattle 47th, Seattle (206) 632-3700 or (206)632-3900 1317(206) NE 47th, or Seattle 632-3700 (206)632-3900

BY ZACH GEBALLE

character that can be a bit tricky to pair with wines. If you can get your hands on a nice bottle of Chardonnay from Burgundy, particularly Meursault or Puligny-Montrachet or a local version like the Abeja, the slight butteriness and citric zing will do wonders with that squash. If you can find a slightly older vintage of these, like a 2009 or 2010, even better.

(206) 632-3700 or (206)632-3900

Full-bodied whites work wonders with squash.

are renowned for their pinots, I’d encourage you to explore those of Oregon’s Willamette Valley. While they may not match Burgundy’s intense earthy aromas, they still often have a nice hint of mushrooms, dried leaves, and woodsmoke coupled with slightly more generous fruit tones. In Oregon’s Dundee Hills, Domaine Drouhin makes incredibly elegant and complex wines, while at a lower price point I’d recommend A to Z Wineworks’ pinot. Fall is also the season to move meats from the grill to the oven (if not all the way into the slowcooker). One of my favorite dishes in this vein is extremely simple—just roasted chicken with root vegetables like turnips, carrots, or potatoes. Chicken is both easy and challenging to pair: Because it’s not very fatty, it needs a wine without much in the way of tannins, but it’s relatively versatile after that. I’d recommend a mourvèdre, which is classically a grape of the southern Rhône Valley and Provence but has also found a willing home here in Washington. In particular, McCrea Cellars’ mourvèdre is a spicy, earthy treat, but light enough on the tannins to enhance the chicken, not overpower it. Are there fall foods you’d like help pairing? Questions, comments, criticisms, and even compliments can be directed to the address below, or follow me on Twitter @zgeballe. E

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With the return of fall rain comes the King Bolete, or porcini mushroom. Seared, grilled, or sautéed, it has a wonderfully powerful meaty flavor that cries out for a pinot noir.

Red wines can complement squash well too. My first choice: Spanish Riojas. Their rustic earthiness and tannic heft, and slight nuttiness from the way they’re aged, will help balance the squash’s rich creaminess. If you can find a Riserva-level version, you should be just dandy. Several local producers are experimenting with tempranillo (the primary grape in Rioja), and while it may take some time until they can match the quality of classic Spanish wines, the grape does seem well-suited for eastern Washington. With the return of fall rain comes the sprouting of many glorious wild mushrooms, first among them the King Bolete, or porcini mushroom. Seared, grilled, or sautéed, it has a wonderfully powerful meaty flavor that cries out for a pinot noir. While the communes of Burgundy

COLLAGE ART: SQUASH BY MONADO / SOUP BY KARENANDBRADEMERSON

ith the oh-so-apparent seasonal change comes a change, too, in what fills our wine glasses: Rosés and lighter-bodied white wines are on their way out, while the winter powerhouses are still a few months and a dozen degrees away. That opens the door to a whole range of wines that are often neglected: lighterbodied reds and full-bodied whites. Not coincidentally, they happen to pair perfectly with fall’s most notable foods. Here, four ingredients and the wines that’ll bring them fully to life: In Washington, fall is first and foremost apple season, and fortunately apples have several natural wine pairings. Rieslings, especially those from Germany, are the apple’s best companion. With their intense green-apple notes and brisk acidity, they’re ideal for almost any apple preparation. That said, if you’re using a sweeter and richer apple (see seattleweekly. com/voracious for information on this season’s apples), or are roasting or poaching them, I’d encourage you to look more locally: The Eroica riesling from Chateau Ste. Michelle is one of the state’s best year in and year out, offering a bit more generous fruit while preserving that core of acidity that makes riesling such a good food wine. Autumn also always makes me think of squash, the hard-shelled varieties. From butternut to acorn to my personal favorite, delicata, there are so many wonderful ones to choose from. Many have a rich, nutty, slightly sweet

SCRATCH KITCHEN

SUNDAY OCTOBER 20 KIRKLAND PERFORMANCE CENTER, 8PM

Philip Glass

A cultural and artistic giant, Glass is an iconoclast of contemporary composition – operas, symphonies, and much else. He returns to KPC for a rare solo piano performance. $75 (Presented by Kirkland Performance Center.) TUESDAY OCTOBER 22 ILLSLEY BALL NORDSTROM RECITAL HALL AT BENAROYA, 8PM

SFJAZZ Collective

Stunning virtuosity and drive from the most spectacular all-star ensemble in jazz, with Miguel Zenon, David Sanchez, Warren Wolf, Avishai Cohen, Robin Eubanks, Edward Simon, Matt Penman, and Obed Calvaire. $28 general/$26 members & seniors/$14 students THURSDAY OCTOBER 24 KIRKLAND PERFORMANCE CENTER, 7:30PM

OCTOBER 1 - NOVEMBER 17 TUESDAY OCTOBER 1 BENAROYA HALL, 8PM

Keith Jarrett, Gary Peacock, Jack DeJohnette 30th Anniversary Concert

“Very simply, this is jazz at its finest” – Los Angeles Times. The premier piano trio in jazz celebrates 30 years as the gold standard of telepathic invention. (A Live @ Benaroya Hall co-presentation.) WEDNESDAY OCTOBER 2 TRIPLE DOOR, 7PM & 9:30PM

John Scofield’s Überjam

The guitarist’s new groove/funk band features bassist Andy Hess, guitarist and sample ace Avi Bortnick, and drummer Luis Cato, fresh from a new studio album. A veteran of bands going back to Chet Baker, Gerry Mulligan, and Miles Davis, Scofield is an everevolving jazz-rock icon. $25 advance, $30 day of show, $35 VIP SATURDAY OCTOBER 5 TOWN HALL, 8PM

La Familia Valera Miranda

A special Seattle residency by this family of musicians from Santiago de Cuba, in the Oriente region. Father Felix, his wife, brother, and sons have virtually defined cauto son, the midtempo form of the Cuban son style, marked by its easy-going, contagious swing. $30 general/$28 members & seniors/$15 students (Welcomed by Seattle Latino Film Festival.) SATURDAY OCTOBER 5 ILLSLEY BALL NORDSTROM RECITAL HALL AT BENAROYA, 7:30PM

Seattle Repertory Jazz Orchestra: Play It Again, Sam!

The region’s all-star jazz repertory ensemble performs highlights from its recent and 20-year repertoire. $44 adult, $40 senior, $15 youth SUNDAY OCTOBER 6 TRIPLE DOOR, 7:30PM

Vinicius Cantuária

The Brazilian singer/songwriter has been in the vanguard of soulful collaborations with notable jazz innovators for decades. Appearing with his own seasoned quartet in one show. $22 general/$20 members & seniors/$11 students SUNDAY OCTOBER 6 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

John Hollenbeck Claudia Quintet

The percussionist’s genre-defying quintet returns to Seattle with driving rhythms, quirky melodies, and stunning virtuosity. Creating its instantly recognizable sound are bassist Drew Gress, saxophonist Chris Speed, vibraphonist Matt Moran, and accordionist Red Wierenga. $20 general/$15 members & seniors/$10 students (Presented by Cornish College of the Arts.) TUESDAY OCTOBER 8 EDMONDS-WOODWAY HIGH SCHOOL, 7:30PM

Edmonds-Woodway High School Jazz Band w/ Cuong Vu Trio

One of three Seattle-area bands selected this year for the annual, prestigious Essentially Ellington Competition at Lincoln Center, New York. Directed by Jake Bergevin, and performing with the trio of Cuong Vu, one of the great trumpeters in today’s jazz. $12 (Presented by Edmonds-Woodway High School Music Boosters.) WEDNESDAY OCTOBER 9 LANGSTON HUGHES PERFORMING ARTS INSTITUTE, 8PM

The Harlem-based Cuban saxophonist addresses both the ancient and the immediate, in a sonic world of Afro-Cuban polyrhythms and sophisticated jazz. With Michael Rodriguez, trumpet, Osmany Peredes, piano, Matt Brewer, bass, and Clarence Penn, drums. $22 general/$20 members & seniors/$11 students THURSDAY OCTOBER 10 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

Ken Vandermark & Nate Wooley

World-renowned Chicagoan, and 1999 MacArthur Fellow, performs improvised works with trumpeter Nate Wooley of the booming Brooklyn improv scene. Free masterclass, PONCHO Concert Hall, noon. $18 general/$16 members & seniors/$9 students SATURDAY OCTOBER 12 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

Dave Douglas Quintet / The Westerlies

As the recent Time Travel and Be Still recordings show, the new ensemble of the everexploring trumpeter delivers transporting, lyrical, and hard-swinging jazz renditions of melodies old and new. Jon Irabagon, saxophone; Matt Mitchell, piano; Linda Oh, bass; Rudy Royston, drums. Also on the bill: The Westerlies, a new brass quartet for the ages! (see Royal Room series box, October 11). $22 general/$20 members & seniors/$11 students

SUNDAY OCTOBER 13 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

Chris Speed, Dave King & Chris Tordini Trio / Bad Luck

Three seasoned innovators join forces: Chris Speed (reeds, Human Feel), Dave King (drums, The Bad Plus), and Chris Tordini (bass). The “hard-edged and audacious” duo of drummer Chris Icasiano and saxophonist Neil Welch opens. $18 general/$16 members & seniors/$9 students SUNDAY, OCTOBER 13 KIRKLAND PERFORMANCE CENTER, 8PM

DakhaBrakha

Mixing the fundamental structure of folk music with soulful, free improvisation, the Ukrainian “ethno-chaos” band creates a mesmerizing world of unexpected and engaging new music. $20 general/$18 members & seniors/$10 students (A Kirkland Performance Center co-presentation.) WEDNESDAY OCTOBER 16 TRIPLE DOOR, 7PM & 9:30PM

Mehliana: Brad Mehldau & Mark Guiliana

Mehldau, one of the greatest of modern jazz pianists, debuts this piano-less duo, extending his range to Fender Rhodes and a battery of synthesizers with one of the most exciting young drummers on the scene. $25 advance, $27 day of show THURSDAY OCTOBER 17 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

Dafnis Prieto Si o Si

The Cuban drummer’s breathtaking skill and imagination earned him a 2011 MacArthur Foundation “genius” award. This New York quartet features Peter Apfelbaum, sax, Robert Rodriguez, piano, and Johannes Weidenmueller, bass. Free masterclass, PONCHO Concert Hall, 12:30pm. $22 general/$20 members & seniors/$11 students FRIDAY OCTOBER 18 ILLSLEY BALL NORDSTROM RECITAL HALL AT BENAROYA, 7:30PM

Roosevelt High School Jazz Band

Fresh from its third-place victory at the prestigious Essentially Ellington competition at Lincoln Center, New York. $22 general/$20 members & seniors/$11 students

EARSHOT JAZZ @ TULA’S

The festival rolls into Seattle’s favorite jazz club. Music at 7:30pm. Cover: $16 general/$14 members & seniors/$8 students.

TUE, 10/1 – INDUSTRIAL REVELATION

Hard-hitting post-bop with D’Vonne Lewis, Evan Flory-Barnes, Aham Oluo, & Josh Rawlings.

THU, 10/3 – BILL RAMSAY TRIBUTE

Featuring Northwest legend saxophonist Bill Ramsay with his septet and guest artists.

FRI, 10/4 – TRUMPET MADNESS

Three generations of jazz trumpet with Willie Thomas, Jay Thomas, and young Seattle players.

FRI, 10/18 & SAT, 10/19 – GEORGE COLLIGAN ORGAN TRIO Internationally-known Portland keyboardist holds down Seattle’s favorite jazz hang.

FRI, 11/1 – MARC SEALES GROUP

Seattle’s hippest and most elegant jazz mainstay celebrates a new CD.

SAT, 11/2 – JON PUGH QUARTET

Stylish cornet & guitar with Seattle legends Bill Anschell, Chuck Deardorf, and Mark Ivester.

SUN, 11/17 – McTUFF

Closing night with a classic Hammond organ group as tough as its name implies.

Northwest Film Forum and the Earshot Jazz Festival present their annual film program celebrating the history, sounds, and spirit of jazz and their intersections with cinema. Visit www.nwfilmforum.org for tickets and info.

EARSHOT JAZZ @ ROYAL ROOM

[untitled] series

Seattle Symphony musicians and the Steve Lehman Trio perform Cat ‘o Nine Tails and other cutting-edge works by Lehman, John Zorn, and others. $20 (Presented in partnership with Seattle Symphony.) SATURDAY OCTOBER 19 KIRKLAND PERFORMANCE CENTER, 8PM

John Medeski

Renowned for the considerable legacy of Medeski Martin & Wood, the keyboardist demonstrates virtuosity and vast range on solo grand piano. $28 general/$26 members & seniors/$14 students/$45 VIP

The Bad Plus

As badass as highbrow gets. A rollicking and thought-provoking good time with the acclaimed Reid Anderson (bass), Ethan Iverson (piano), and David King (drums), who always go a leap ahead of the conventional piano trio to the very edges of avantpopulism. $25 general/$23 members & seniors/$12 students Schedule subject to change. Check www.earshot.org for updates.

SATURDAY NOVEMBER 2 ILLSLEY BALL NORDSTROM RECITAL HALL AT BENAROYA, 7:30PM SUNDAY NOVEMBER 3 KIRKLAND PERFORMANCE CENTER, 2PM

Seattle Repertory Jazz Orchestra: Take Five

The all-star big band pays tribute to pioneering pianist and composer Dave Brubeck, whose Take Five is best-selling jazz hit of all time. $44 adult, $40 senior, $15 youth (Presented by Seattle Repertory Jazz Orchestra.) SUNDAY NOVEMBER 3 JONES PLAYHOUSE THEATER UW, 7:30PM

Bill Frisell w/ Ted Poor & Luke Bergman

Bill Frisell calls on the inventive bassist Luke Bergman and New York/Seattle drummer, Ted Poor, both of whom range from the most subtle to the thunderous. All three now on the UW jazz faculty. $20 general/$12 students & seniors (Presented by The University of Washington School of Music.) SUNDAY NOVEMBER 3 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

Through October and into November at Seattle’s newest and hippest project room – 8pm. Pricing: general/members & seniors/students. FRI, 10/4 – DAYNA STEPHENS TRIO w/ JUSTIN BROWN & BEN STREET

Kora Band

FRI, 10/11 – THE WESTERLIES PLAY HORVITZ / THE ROYAL ROOM COLLECTIVE MUSIC ENSEMBLE

Garfield High School Jazz Band

An intensely organic saxophonist with top New York colleagues. $18/16/9

Having taken New York by storm, these two original projects now charm Seattle. $18/16/9

Drawing well-deserved attention far from its Portland/Seattle roots, this ensemble combines elements of jazz and West African music – pianist Andrew Oliver, kora player Kane Mathis, drummer Mark DiFlorio, trumpeter Chad McCullough, and bassist Brady Millard-Kish. $18 general/$16 members & seniors/$9 students WEDNESDAY NOVEMBER 6 TRIPLE DOOR, 7:30PM

FRI, 10/18 – PEGGY LEE, SKERIK, WAYNE HORVITZ TRIO / STEVE LEHMAN TRIO

The region’s perennial powerhouse of high-school jazz, under the baton of its long-serving, multi award-winning director, Clarence Acox, shows why it seems to carry the very spirit of Seattle’s remarkable jazz continuum. $16 general/$14 members & seniors/$8 students

FRI, 10/25 – STEVE TRESELER GROUP FEATURING INGRID JENSEN

Omar Sosa Afri-Lectric Sextet

Lehman’s standing at the jazz vanguard is affirmed, with Matt Brewer and Damion Reid. A premiere of an exciting new ensemble performing all new repertoire. Lehman’s trio plays first. $18/16/9 The compelling Seattle saxophonist celebrates a new CD release with renowned trumpeter Ingrid Jensen. $16/14/8

FRI, 11/1 – BRIAN HAAS & SCOTT AMENDOLA / CHEMICAL CLOCK

Keyboardist from Jacob Fred Jazz Odyssey joins up with the West Coast’s most inventive drummer. Seattle’s Chemical Clock opens. $16/14/8

WED, 11/13 – PIANO STARTS HERE: THE MUSIC OF BUD POWELL Four of Seattle’s brightest celebrate one of the true giants of jazz piano, Bud Powell. $12/10/6

FRI, 11/15 – INDUSTRIAL REVELATION / OVERTON BERRY Seattle’s deep jazz lineage from Local 493 to tomorrow (with History Link). $12/10/6 THURSDAY OCTOBER 24 CHAPEL PERFORMANCE SPACE, 8PM

Syrinx Effect / Naomi Siegel Quartet

In two of the most innovative groups on Seattle’s new forward-moving jazz scene, trombonist Naomi Siegel appears with outstanding soprano saxophonist Kate Olson, and her quartet. $5-15 sliding scale FRIDAY OCTOBER 25 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

Nicole Mitchell Ice Crystal Quartet

Mitchell, “the most important jazz flutist of her generation” (All About Jazz), draws gospel, African percussion, and avant-garde elements into a thrilling extension of jazz. With Jason Adasiewicz (vibes), Joshua Abrams (bass), and Frank Rosaly (drums). $22 general/$20 members & seniors/$11 students SATURDAY OCTOBER 26 TOWN HALL SEATTLE, 8PM

Patricia Barber

The “conspicuously literate and restlessly inventive” (The New Yorker) singer-pianist is a distinctive social observer and gifted musician who turned from classical to jazz. Her sparkling trio includes bassist Patrick Mulcahy and drummer Ross Pederson. $35 general/$26 members & seniors/$13 students SATURDAY OCTOBER 26 CHAPEL PERFORMANCE SPACE, 8PM

Beth Fleenor Workshop Ensemble / B’shnorkestra

Two distinctive composers on the Seattle scene, clarinetist Beth Fleenor and trumpeter Samantha Boshnack, showcase their works for large ensembles in one of the city’s finest concert rooms. $5-15 sliding scale (Presented by Nonsequitur.) SUNDAY OCTOBER 27 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

Lucian Ban & Mat Maneri

Classically trained in Romania, pianist Lucian Ban is increasingly recognized for his modernist jazz. He teams with the stellar violinist Mat Maneri on the new ECM release, Transylvanian Concert. $18 general/$16 members & seniors/$9 students

WEDNESDAY NOVEMBER 6 KIRKLAND PERFORMANCE CENTER, 7:30PM

The Cuban composer and pianist fuses global elements with jazz and Afro-Cuban spiritualism to create a captivating, urban sound. $38 (Presented by Kirkland Performance Center.) THURSDAY NOVEMBER 7 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

Kneebody

A “resolutely un-pindownable band” (Nate Chinen, NYT) melds urban genres, from electro-pop to punk and hip-hop, into its own signature sound: keyboardist Adam Benjamin, trumpeter Shane Endsley, tenor saxophonist Ben Wendel, bassist Kaveh Rastegar, and drummer Nate Wood. $18 general/$16 members & seniors/$9 students

EARSHOT JAZZ @ SAM

Our monthly Seattle showcase continues in the Seattle Art Museum lobby during the festival – 5:30pm, free.

THU, OCTOBER 10 – KAREEM KANDI GROUP

The savvy south-Sound saxophonist shows his stuff in Seattle.

THU, NOVEMBER 14 – BILL ANSCHELL QUARTET

Sublime piano jazz ensemble with Peruvian overtones.

SATURDAY NOVEMBER 9 JONES PLAYHOUSE THEATER UW, 7:30PM

Dave Douglas w/ The Cuong Vu Trio & University of Washington Jazz Students

A rare opportunity to hear two renowned jazz trumpeters perform together – here with UW faculty members and top students. $20 general, $12 students/seniors (Presented by The University of Washington School of Music.) SUNDAY NOVEMBER 10 MEANY HALL UW, 7:30PM

Bill Frisell’s Big Sur Quintet / Jim Woodring, Eyvind Kang, featuring Bill Frisell

After Eyvind Kang and cartoonist Jim Woodring join him in an opening performance, Bill Frisell presents the Seattle premiere of his Big Sur Quintet, as riveting a band as any working today – joining the guitarist are Jenny Scheinman on violin, Eyvind Kang on viola, Hank Roberts on cello, and Rudy Royston on drums. $20 general, $12 students/seniors (Presented by The University of Washington School of Music.) THURSDAY NOVEMBER 14 EMP MUSEUM: LEVEL 3, 8PM

NEXT Collective

Darcy James Argue & Cornish Contemporary Big Band

A supergroup, packed with stars from recent Thelonious Monk Jazz Competitions who have reenergized the Harlem jazz scene. The exciting pianist Gerald Clayton joins bassist Ben Williams, saxophonist Logan Richardson, guitarist Matthew Stevens, and drum monster Jamire Williams. $22 general/$20 members & seniors/$11 students (In collaboration with Icons Among Us: Jazz in the Present Tense with support from The Argus Fund.)

FRIDAY NOV 1, SATURDAY NOV 2, SUNDAY NOV 3 TRIPLE DOOR, 7PM & 9:30PM

Peter Brötzmann & Paal Nilssen-Love

THURSDAY OCTOBER 31 PONCHO CONCERT HALL, CORNISH COLLEGE, 8PM

FRIDAY OCTOBER 18 BENAROYA HALL GRAND LOBBY, 10PM

SUNDAY OCTOBER 20 TRIPLE DOOR, 7PM & 9:30PM

JAZZ @ NORTHWEST FILM FORUM

Brilliant trumpeter Ingrid Jensen joins this all-star big band in a program that includes the world premiere by the winner of its jazz-composition contest for women. $22 general (Presented by Kirkland Performance Center.)

The Seattle-based percussionist presents the premiere of his song cycle for chamber jazz ensemble, inspired by the memoir of his great grandfather, Zenkichi Kikuchi, a 1901 Japanese immigrant. With Stuart Dempster, Bill Horist, Tari Nelson-Zagar, Eyvind Kang, and Maria Scherer Wilson. $18 general/$16 members & seniors/$9 students (A Nonsequitur co-presentation. Supported by Chamber Music America.)

The Vancouver-raised, Brooklyn-based composer, pianist, and bandleader, part Radiohead, part Steve Reich, and fully his own man, directs the Cornish community’s best. $20 general/$15 members & seniors/$10 students (Presented by Cornish College of the Arts.)

SATURDAY NOVEMBER 16 ROYAL ROOM, 7PM

Manhattan Transfer

Generating as much power as a Northwest hydroelectric dam, the torrential German saxophonist and Norwegian drummer represent two generations of jazz-infused free improvisation. $18 general/$16 members & seniors/$9 students

FRIDAY NOVEMBER 1 JONES PLAYHOUSE THEATER UW, 7:30PM

Charles Lloyd and Friends w/ Bill Frisell

The Manhattan Transfer remains at the forefront of harmony vocal quartets. With sales in the millions, Grammys by the dozen, and sold-out world tours, they prove an uncanny knack for being ahead of the times. 7pm: $40 advance, $45 day of show, $50 VIP / 9:30pm: $30 advance, $35 day of show, $40 VIP

Bill Frisell w/ Cuong Vu & Robin Holcomb

This year’s Earshot Festival resident artist is a world-renowned innovator who creates at the intersections of jazz, country, and pop, all processed through his inimitable personal style. He presents five groups in four concerts, beginning with this collaboration with two other renowned Seattleites: stellar trumpeter, Cuong Vu, and vocalist/pianist Robin Holcomb. $20 general, $12 students/seniors (Presented by The University of Washington School of Music.)

SUNDAY NOVEMBER 17 TOWN HALL SEATTLE, 8PM

The venerable saxophonist has performed breathtaking concerts here in Seattle and around the globe, and has built a legacy of some of the most compelling recordings in jazz. This promises to be a blissful finale to Earshot 25, as our favorite guitarist lends his boundless talents to a quartet that includes bassist Reuben Rogers and drummer Eric Harland. $28 general/$26 members & seniors/$14 students. $35 preferred seating.

BUY TICKETS AT WWW.EARSHOT.ORG AND 206-547-6763

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

Yosvany Terry Quintet

Seattle Women’s Jazz Orchestra w/ Ingrid Jensen

SATURDAY NOVEMBER 2 CHAPEL PERFORMANCE SPACE, 8PM

Paul Kikuchi’s Bat of No Bird Island

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RACHEL YORK SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

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arts&culture

No Joke

Chastity Belt first stood out in Seattle for its mix of dreamy pop and crass humor. Now it’s time for Julia Shapiro and her band to get (a little) serious.

BY ANDREW GOSPE

ThisWeek’s Agenda THURSDAY, OCT. 3

Martin Short

The old-fashioned Broadway notion of a triple threat (sings, dances, acts) doesn’t do justice to Martin Short, who was born too late for the postwar stage. Instead, on SCTV in the ’80s, he created deliriously demented showbiz characters who might’ve been Broadway stars—if only in their own delusional minds. Chief among them is the albino entertainer Jackie Rogers Jr. (always hindered by that Jr.! never getting the respect he deserves!), an affectionate riff on Sammy Davis Jr., but also a bizarre expression of show-business psychosis—what all those pills and hookers and years of headlining in Vegas will do to a man. They take a toll! Yet Short is a survivor of a different sort. His four decades in the game— including a stint on Saturday Night Live, two dozen movies, and a Tony for Little Me—have made him one of the most beloved and revered figures in the industry. (“The funniest guy I know”—Larry David. “I’m a Marty addict”— Tom Hanks.) He’s boundlessly enthusiastic onstage, and that zest informs characters like Jiminy Glick and Ed Grimley. He’s also one of the best talk-show guests in TV history, though tonight he’ll be turning the tables to invite audience members onstage. Consider yourself lucky to attend, luckier if called. The Paramount,

COURTESY OF THE ARTIST

911 Pine St., 877-784-4849, stgpresents.org. $41–$71. 8 p.m. BRIAN MILLER

“The point of playing music is to have fun with it . . . That’s not to say that you can’t take what you do seriously, too, but it’s serious about having fun.” somewhere between relaxed and catatonic; with the exception of some slight, rhythmic bobbing, they scarcely moved. The set continued in this manner, and after 10 or 12 songs, the show was over. Compared to the bands that preceded them—no-wave sax-punks Stickers, bouncy poprockers Dude York, and Ubu Roi, a dudely bunch who’d seem the likeliest to write a song about sex, drugs, and alcohol—it was easily the lowestenergy set of the night. It was also the most precise. If subdued onstage, Shapiro and her bandmates were work-

manlike, polished, and professional—relatively new descriptors for a band that originated playing sloppy sets at eastern Washington house parties and whose songs center largely on getting wasted, having sex, and having sex after getting wasted. This tightened-up, solemn live show is a relatively new look for Chastity Belt, but according to the band members, they haven’t lost their sense of humor. “I hope I never take myself super-seriously,” Shapiro says. A week before the Barboza show, I talked to Shapiro, Grimm, and guitarist Lydia Lund at the Capitol Hill bar where Shapiro works. In conversation, they display the same natural camaraderie that they do onstage. They glance at one another before answering my questions, and their answers often dissolve into spirited tangents about the band’s history. They’re close friends first and bandmates second, a relationship Shapiro’s philosophy seems to bear out. “The point of playing music is to have fun with it,” she continues. “That’s the point right now. You want to enjoy it. That’s not to say that you can’t take what you do seriously, too, but it’s serious about having fun.” Chastity Belt’s roots are in this sort of carefree

spirit. The four—Shapiro, Grimm, Lund, and bassist Annie Truscott—met as students at Whitman College in Walla Walla, and formed the group as an excuse to play at parties. Early Chastity Belt shows, many of which took place

» CONTINUED ON PAGE 28

Short is also writing a memoir.

ANDREW MACNAUGHTAN

took the stage at Barboza, and, without a word to the audience, launched into “Pussy Weed Beer,” a late cut from its debut. As in many Chastity Belt songs, the music contradicted the title’s party-happy abandon. The guitars were clean, not overdriven, led by sunny, syncopated chords rather than furious strumming. Gretchen Grimm’s drumming was light and loose. Most tellingly, the four-piece’s behavior onstage was

Robin Crookall

Robin Crookall’s basement looks like a scene out of Jumanji. Large dioramas of empty museums and stark, empty hallways fill every table. On a corner shelf are eerily realistic miniatures of dinosaur skeletons, foxes, and horses. Preparing for tonight’s opening of Wear the Fox Hat, the artist says, “I get great joy out of the trickery. I

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

n music, humor is often ephemeral. This is obviously true of music-based comedy, where bands like Flight of the Conchords and The Lonely Island have quickly gone from relevant memes to pop-cultural footnotes, but it also holds for bands who incorporate humor into their music. For whatever reason—the incessant grind of touring and releasing new material, the existential dread of aging—bands who start with a sense of humor tend to lose it over time. Consider Vampire Weekend’s transformation from cheeky collegians to world-weary rock stars over the course of three albums, or the gradual maturation of irreverent pop-punk bands like Green Day and Blink182 as, respectively, they discovered politics and stopped writing songs about being young, dumb, and bored. At the same time, though, if a band is too funny for too long (like, say, They Might Be Giants), it runs the risk of being categorized in the popular consciousness as one of those comedy first/music second novelty acts. Humor, then, is risky, but can bear rewards as well: When staid self-seriousness has become the indie-rock norm, it can help a young band stand out. That’s the case with Chastity Belt, an act whose most salient attribute is levity, as is evident in its song titles (“Nip Slip,” “Giant Vagina”), its lyrics, and the intentional typo in the name of its recently released debut, No Regerts—an expert example of the band’s self-effacing wit. It’s even there in the band’s press photo—a shot of the group in floral-print dresses, with singer/guitarist Julia Shapiro lifting her skirt to reveal a literal chastity belt fashioned from some chain, a padlock, and a steak. Bands with Chastity Belt’s sound—melodic, mellow, guitar-led pop—usually aren’t very funny. That, along with some sharp songwriting and perhaps the unexpected dissonance of an all-female group singing loudly and plainly about drunkenness and sex, has made them one of Seattle’s most talked-about bands. The group has received reams of national press, including a gaudy 7.5 review from Pitchfork. This month, the band will embark on their first national tour. But as Chastity Belt’s popularity grows, it’s engaged in a balancing act of sorts between the public’s expectations of a national touring band and the devil-may-care ethos that made them so compelling in the first place. That balancing act was on display at the lateAugust release show for No Regerts. The band

» CONTINUED ON PAGE 29 27

arts&culture»

COURTESY OF THE ARTIST

No Joke » FROM PAGE 28

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

in Whitman’s “ridiculous” frat-party scene, were riotous, half-remembered affairs. When both the band and the audience were drunk, nuance was difficult and undesirable. “It was kind of a joke,” Shapiro says. “But then we played three or four shows in Seattle and they were really well-received, and we thought ‘Hey, we could actually do this; it doesn’t just have to be a joke.’ ” Those first Seattle shows, organized by fellow Whitman expatriates Dude York, led to Shapiro and Lund’s permanent move to Seattle in the

“Moving to Seattle, I think one of the most valuable lessons we learned was how much easier it is to play music when you’re not really drunk.”

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summer of 2012. Grimm and Truscott joined them soon after, and the relocation immediately sharpened the group’s focus. “Moving to Seattle, I think one of the most valuable lessons we learned was how much easier it is to play music when you’re not really drunk,” Grimm says. “It’s so crazy.” After the move, opportunities to play live abounded. The bandmates estimate they’ve played three to four shows per month over the past year or so, and all that experience has dramatically improved how they perform. Most important, Seattle changed how the band wrote songs. “We didn’t have to think about what a song would sound like at a frat party or something,” Shapiro says. This led to more contemplative fare like “Seattle Party,” the first single from No Regerts and one of the record’s best tracks, alongside more meditative ones like “Happiness” and “Black Sail,” the

group’s most popular song. A mid-tempo, somber ballad, it’s more torch song than punk song, and its earnestness wears on Shapiro. “Sometimes it’s kind of painful singing ‘Black Sail,’ ” she says. “I’m just not in the mood. It’s just really sentimental or something, and sometimes it just seems really weird to sing. I like the song and everything, but for me, songs that are lighter are way more fun to play live. I don’t know, maybe that’s just where I’m at right now.” More often Shapiro’s songwriting is both dryly acerbic and painfully direct. A good example is the chorus of “James Deen.” Apropos for a song named for a porn star, Shapiro bellows, “Oh boy, when I fuck you, you make me feel like a prostitute.” No Regerts is full of such moments—lyrics that could scan as confessional, but are actually crassly deadpan. Though so brazen in her songs, Shapiro is soft-spoken, even demure, in person, and doesn’t have much to say about the genesis of her songwriting. “My sense of humor is kind of crass, so I guess that’s why my music is like that,” she says. “That just goes along with not taking things super-seriously and having fun with it.” This central dichotomy—skillfully written songs whose flippant, vulgar humor might make them seem carelessly tossed-off—makes Chastity Belt a difficult group to parse. It’s tempting to assume that the personality it projects on record is at least somewhat a put-on. But Sam Mouser and Jake Muilenburg, whose upstart label Help Yourself Records released No Regerts, insist there’s no artifice to the music. “It’s earnest, but not in a weepy sort of way,” Muilenburg says. “They’re not being earnest about sappy things. The band is them, and they are the band.” E music@seattleweekly.com

THE HIGHLINE 210 Broadway Ave. E., 328-7837. $7. 9 p.m. Sat., Oct. 5.

arts&culture» Agenda Agenda » FROM PAGE 27 love when people think my photos are of real animals.” She explains that the show’s title is a play on the question most often asked about her about her diorama photos: Where the fuck’s that? The confusion is testament to Crookall’s craft. Trained at the UW, she uses her skill with modeling clay and armature to create her incredibly detailed bestiaries. Then she photographs her miniature natural-history-museum scenes, carefully controlling the lighting to make things appear hyperrealistic. “I loved animals as a kid,” she says, “but I got to college and was told I couldn’t make anything cute. So I figured out how to get animals in my work without being cute. My work is about futility. It’s funny that man had to figure out this way to create nature and put it in a room, or make special spots on the sidewalk to put trees. My work is sort of me saying, ‘Hey look, isn’t this ridiculous?’ ” (Through Oct. 31.) Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296-7580, 4culture. org. Free. Reception 6–8 p.m. KELTON SEARS

Axis Dance Company

The work that Judith Smith and her crew of mixed-ability movement artists present is the opposite of what critic Arlene Croce has called “victim art.” The goal is to make compelling choreography for the variety of performers in the ensemble, whatever their skills and limitations. With this work they create a new definition of virtuosity, one that is less about physical perfection and more about functioning at the extremes. The tools that are often tokens of disability in our culture—wheelchairs, crutches, prosthetics— are valued as much for their kinetic potential as for their traditional uses. They extend possibilities for the artists using them, no matter who they are. The company will perform three works: Full of Words, The Narrowing, and What if Would You. (Through Sun.) Meany Hall (UW campus), 543-4880, uwworldseries.org. $39–$44. 8 p.m.

SANDRA KURTZ

FRIDAY, OCT. 4

Sugar Daddies

L’Avventura

Booed at the Cannes Film Festival, praised by Pauline Kael as the best movie of 1960, running 143 ennui-filled minutes, Michelangelo Antonioni’s L’Avventura is one of those art films both esteemed and often paused on DVD. (You need a break from the desolation; maybe take the dog for a walk.) On the remote Mediterranean island where Anna (Lea Massari) goes missing, the long, slow search for her is hypnotically beautiful in the widescreen compositions of cinematographer Aldo Scavarda. And the searchers (Gabriel Ferenzetti and Monica Vitti) are no less elegant as they survey the eerie, volcanic landscape. The looming sky and hostile terrain push Sandro and Claudia together—less out of love than as a kind of mutual protection, a defense against the pitiless elements (or whatever has taken Anna away). Is she dead? Did she flee on another yacht? L’Avventura is a different kind of mystery than that. The movie’s famously long shots go beyond mere tension and into the abyss—their duration suggests time on an almost geologic scale. If Anna isn’t dead already, she, Sandro, Claudia, and we filmgoers soon will be; our lives are but a flicker in the cosmic scheme of things. Part of its power is that L’Avventura refuses to reassure you. Sandro and Claudia must eventually go back to their idle, rich existence on shore; their search for Anna might seem to give meaning or “adventure” to their lives, but eventually it has to be abandoned, along with hope. (Through Thurs.) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6–$10. 7 p.m. BRIAN MILLER E

LARAE LOBDELL

Chisholm’s Sasha and her spoils.

acttheatre.org. $41 and up. 8 p.m. BRIAN MILLER

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

It’s noteworthy when ACT gets to stage the U.S. premiere of the British hit Sugar Daddies, and even more so when its prolific author, Sir Alan Ayckbourn, comes to Seattle to direct the 2003

play. It’s not quite a comedy, though the setup might suggest mirth: Sasha (Emily Chisholm) saves a sidewalk Santa from a hit-and-run, then unwisely invites him home. But Val (Sean G. Griffin) is not what he seems. Yes, he bestows gifts upon Sasha (hence the play’s name), yet his largesse carries an ominous expectation. If a younger woman accepts the financial generosity of an older man, should she be surprised at his leer? Sasha is naive, and her sister (Elinor Gunn) warns her about the possible sexual repercussions. Yet even then Ayckbourn avoids the obvious conclusion to such awkward negotiations. Terms and favors are cast back and forth, and Val’s investment yields an unexpected reward. (Previews begin tonight; opens Oct. 10; runs through Nov. 3.) ACT Theatre, 700 Union St., 292-7676,

the geekly report» View From the Passenger Seat: GTA V and Morality

BY TERRA CLARKE OLSEN

GROUPS OF 10 OR MORE CALL (206) 315-8054 FOR SINGLE TICKETS CALL (877) 784-4849

The Oldest New Theatre in Town EST. 1907 • 2ND & VIRGINIA

you want! That’s right, Rockstar even created an underwater world for you. Sweet! Intrigued, I watched gameplay videos uploaded to YouTube by proud gamers. It started OK. I watched a player blast through cops, screaming all the expletives you would expect, but nothing was really all that alarming to me at that point. No, I don’t believe that you should kill cops. But these cops are after your character, and like any other game, you have to stop the people who might prevent your successful completion of the game. And by stop, I mean blast them with a military-grade weapon. Fast forward. The player goes into a gun shop to buy new weapons. Realizing that he

ROCKSTAR GAMES

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

STGPRESENTS.ORG

ince the release of Grand Theft Auto V last month, my news feeds have been dominated once again with commentary about video-game immorality. Parents, activists, and others are using the latest installment of the crime-drama driving game to try to direct the nation’s moral compass, complaining that the violence, sexism, and vulgar language in video games is corrupting our youth. In response, gamers defend their right to play games like GTA V, saying its violence and sex is no worse than what you see in Hollywood movies. It’s a good argument. And yet, reading the gamer arguments, it’s clear they’re coming from an entirely different universe. Literally. If I played GTA V right now, I would play it as it’s intended to be played—shooting innocent people, having sex with hookers, and eliminating rivals. I would glory in the gangster life— poppin’ bitches and pimpin’ hos. That’s because morals are quickly swept Questioning his morals aside once you’re in GTA V. Grand Theft Auto V inside a game. You play to win, meaning you play by the game’s rules. That is the nature of gaming. Video games take place in fantasy worlds with abstract systems and rules, often resulting in moral codes different from our society’s. Most games, even ones no one would consider immoral, have killing in their game mechanics. Super Mario Bros., one of the most beloved games of all time, includes mass murder (how many koopas have you killed?). This is why, if you truly want to objectively gauge the morality of a game, you can’t do it from inside the game. Before jumping into the driver’s seat, you should expose yourself to the game from the passenger side. You should research it beyond the promo video and head to YouTube, where you can find an infinite number of gameplay videos. By watching gameplay as a spectator, you’ll be able to form a more objective opinion of the game and its morals or lack thereof. Here, long before you’re pressing buttons on a controller, is where the real moral choice in gaming is made. I did this with Grand Theft Auto V, and it helped me decide whether I wanted to be one of the 15 million people who have bought the game. I had previously watched the promo video, and was impressed. Rockstar has been working on this game for years, and it shows. The sheer amount of detail is mind-blowing, not to mention the fact that you can interact and adventure all over SoCal. And you can do more than explore the entire world; you can also play mini-games. You can go freakin’ scuba diving if

can’t shoot people in the gun range or rob the store, he leaves the store frustrated, declaring, “Somebody is going to catch one of these!” as his character punches the air. He turns to see a woman standing on the street corner. He approaches her, punches her in the head, she stumbles and puts her hands up in defense. Then he shoots her point blank in the head. I was shocked. Why? I knew what I was watching, a game where you kill prostitutes to get your money back. But watching it as a spectator stirred up a lot of negative feelings. I watched a few more videos for good measure, and finally couldn’t handle it any longer. Morally, I could never bring myself to play this game. Even though I know it’s a fantasy world, it was too real and glorifying too many things I stand against. As a gamer, I made the moral choice not to enter that world. So I propose to other gamers: Before entering a game, educate yourself. You might decide that the awesome mechanics outweigh whatever questionable material is present. That is fine. But I suspect that if more players stopped to think about what they’re playing before they play, they might choose fewer games like GTA V. Maybe then there would be more games that reward you for creativity and abstract thinking (Project Spark, anyone?), and not for killing women after paying them for sex. E

geeklyreport@seattleweekly.com

arts&culture» Stage

Opening Nights

tricking us into thinking he can’t dance as well as the father, which makes his triumph extrasweet. Carrie Imler and Laura Tisserand are the fractious women, partnered with Kiyon Gaines and Jonathan Porretta—all four of them totally

audience mist up?) “Mr. Bojangles.” Les Petits Freres and the local Duo Madrona round out the cast and contribute energetic tumbling and trapeze performances. Despite its mainstream commercial appeal, TZZ has gratifyingly managed to retain some of the louche scruffiness—not in execution, but in attitude—of the alternative cirque/burlesque world, the Moisture Festival and the like, that’s burgeoned in Seattle in recent decades. You pay a lot more than you might for a show at Re-Bar or the Pink Door, but the whole immersive experience still seems a bargain: You’re not just buying dinner and a show, but a lavish evening-length party. And as usual, the food never disappoints. The highlight of chef Erik D. Carlson’s menu was an immense slab of succulent halibut that I wanted to curl up and nap on. GAVIN BORCHERT

The Matchmaker TAPROOT THEATRE, 204. N 85TH ST., 781-9707, TAPROOTTHEATRE.ORG. $15–$40. RUNS WED.–SAT. ENDS OCT. 19.

PAir Twyla MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 441-2424, PNB.ORG. $28–$174. 7:30 P.M. THURS.–SAT., 1 P.M. SUN. ENDS OCT. 6.

immersed in every bump and shimmy. Waiting is flanked by two prior Tharp works. Brief Fling (1990), new to PNB, makes more distinction between balletic and modern virtuosity. It’s a great showcase for the company’s range, especially the contrast between Kaori Nakamura and Leta Biasucci in different roles. Nakamura’s rock-solid classical technique makes everything look simple, while Biasucci is the tricky ringleader of a group of boisterous hooligans. In the iconic 1982 Nine Sinatra Songs, all the couples are exactly matched with Tharp’s tone. Thirty years ago, her choice of music seemed ironic, but it’s obvious now she created a classic that complements the American songbook. SANDRA KURTZ

Hail Caesar: Forbidden Oasis TEATRO ZINZANNI, 222 MERCER ST., 802-0015, DREAMS.ZINZANNI.ORG. $108 AND UP. RUNS WED.–SUN. ENDS JAN. 26.

A five-course dinner + circus and vaudeville acts + audience-participation tomfoolery + the slenderest possible wisp of narrative: The TZZ formula never varies, but never palls, either, thanks largely to the emcees who juggle it all. Here Frank Ferrante returns as the flamboyant chef Caesar, a sort of omnisexual Liberace/Chazz Palminteri mashup. The sharpness and speed of his wisecracking improv skills are impressive, as would be expected from a performer who’s earned acclaim impersonating Groucho Marx. The slinky Dreya Weber, equally skilled as an aerialist and singer, plays a resurrected Cleopatra. Vita Radionova, star of a dazzling how-isthat-even-possible hula-hoop routine, plays an Egyptian goddess in charge of a “love spice” that everyone’s after. Wayne and Andrea Conway Doba—in showboat parlance, a “general business team,” able in comedy, song, dance, character work, whatever’s required—provide the evening’s emotional heart with a tap-dance routine to “Top Hat, White Tie and Tails,” “Cheek to Cheek,” and (what song could more reliably make an

THE 5TH AVENUE THEATRE, 1308 FIFTH AVE., 625-1900, 5THAVENUE.ORG. $29 AND UP. RUNS TUES.–SUN. ENDS OCT. 6.

Given its stated mission to send a new musical to Broadway every season, the 5th Avenue has scored one bull’s-eye after another. With successful launches of First Date, Memphis, and Catch Me If You Can, later subject to a few tweaks and refinements, they’ve made it look easy—until now. Though its problems aren’t insurmountable, Secondhand Lions will require a substantial rethink. Based on a 2003 movie in which lovable old Texas codgers Robert Duvall and Michael Caine schooled young Haley Joel Osment (remember him?), this stage musical proffers a stupefyingly talented cast and two or three killer showtunes. What it doesn’t have, and desperately needs, is focus, despite such a simple plot. Walter (the pitch-perfect Johnny Rabe) is an 11-year-old nebbish sent by his philandering mother to spend what promises to be a miserable summer with uncles Garth and Hub (Broadway mainstays Gregg Edelman and Mark Jacoby). Walter discovers that his uncles are the stuff of legend—unless he’s falling for their Texas-sized tall tales. There’s a trunk of money hidden on the premises, the locals murmur. Is it the illgotten gains of a bank-robbing career? Or did the uncles really once have exotic adventures in the Foreign Legion? To illustrate these yarns, greatly expanded from the movie, playwright Rupert Holmes creates entire fantasy sequences featuring the swashbuckling young Garth and Hub. We see how, for example, they rescued a damsel (the voluptuous Jenny Powers) from the clutches of a dastardly sheik ( Jason Danieley, who chews the scenery with Saturday-matineeserial fervor). Like The Wizard of Oz or The Princess Bride, Secondhand Lions is a fable, a story-withina-story bookended by a familiar reality. It’s a promising conceit, maybe even a future classic with enough rewriting. But Holmes and director Scott Schwartz make a serious misstep in treating the show’s action-filled center—the uncles’ supposed Arabian adventures—as cornball and camp. It’s tantamount to hearing Christian Bale’s Batman reflect on his crime-fighting career, then watching Adam West’s TV Batman perform those escapades in flashback. In the second act, everything grinds to such a halt that even the present-day Texas characters call bullshit and break into the flashbacks to try to set things right. If that weren’t bad enough, the actual lion from the movie is gone and an extraneous new human introduced, the know-it-all girl Jane (Sophia Anne Caruso). Likely intended to increase the show’s demographic appeal, this irritating character only adds to the goulash of a story. Cast excluded, this Secondhand Lions is nowhere near ready for Broadway. Eugene Lee’s main set—a makeshift barn wall that serves double duty as the backdrop for desert adventures—demands serious reconsideration. First Date composers Alan Zachary and Michael Weiner’s songs are safe and sensible, and a few boast memorable tunes you’ll want to hear again and often. But until its creators take the whole story seriously—legends included—this lion will never roar. KEVIN PHINNEY E

stage@seattleweekly.com

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

Twyla Tharp has been making dances since 1965, and for all that time she’s used just about every element she could find. Her work is both intensely intellectual and deceptively casual, physically grueling and kinetically relaxed. Tharp’s trademark is this combination of genres—of movement, music, theater, and literature. Which means that her newest work, made for Pacific Northwest Ballet, mixes classical vocabulary with the Lindy Hop, Greek mythology with American stereotypes. Waiting at the Station is a narrative work, but far from a traditional story ballet. We follow a solitary man as he tries to connect with his son. Yet he’s distracted by the people around him, couples flirting and squabbling, and pursued by a trio of women who may turn out to be the Fates. He’s more frustrated than anything: His son doesn’t pick up the steps he wants to teach, and he’s constantly trying to dodge the fatal trio. It’s only after he seems to die and come back to life that he puts everything right, defusing the quarreling couples and launching his son to follow in his jazzy footsteps. Only then he can catch the train he’s been waiting for, bound for the next world or the next town. Santo Loquasto’s designs locate this work in the 1930s, and the score by renowned R&B master Allen Toussaint zeroes in on New Orleans. Tharp has always had a special affinity for jazz, and it’s been a key element in developing her signature style. The seemingly easy virtuosity that lies on top of some fiendishly difficult movement is a perfect match for Toussaint’s rhythmic play. (His appearances during the first week of the program were also an incredible bonus.) As the father, James Moore has one of his best roles, bringing his technical skills to the service of the character. Price Suddarth plays his son,

ERIK STUHAUG

Nolte as the irrepressible Dolly.

Thornton Wilder’s classic farce is a tortured piece of art. A 1954 variation on an oft-retooled tale built around mistaken identities and general buffoonery, The Matchmaker has found timelessness through the playwright’s valiant attempt to reach for something more elevated than base ridicule. When a production achieves its intended balance, the play—later adapted as the Broadway musical and movie Hello, Dolly!—manages to knit themes of love, mortality, class, and the dread of loneliness into delightful and thoughtprovoking theater. When it doesn’t—well, you at least hope the buffoonery is good. The great aims of the play, set in the 1880s, are embodied by widowed marriage broker Dolly Levi Gallagher (played boldly and joyfully by Pam Nolte). With a thick Irish brogue and twinkling eye, she encourages the ridiculous adventures of the tale’s naive working-class adventurers to achieve her ultimate goal: marrying her client, the tight-fisted Yonkers half-millionaire widower Horace Vandergelder (Robert Gallaher). She’s after his money, a base desire good for easy comedy, but Wilder has written her a higher purpose. “I’ve always felt money— pardon my expression—is like manure,” Dolly says during her grand soliloquy. “It’s not worth a thing unless it’s spread about, encouraging young things to grow.” Dolly’s deeply sad but life-affirming speech is impassioned and moving, and yet it seems to come out of nowhere. Wilder peppers his hit play with expertly crafted dialogue that makes us empathize with his characters’ crushing loneliness or economic plight, but the cast generally fails to deliver on such moments; Wilder’s subtle strokes are skipped over as setups for broad laughs. Thankfully, those laughs land consistently. Directed by Scott Nolte, this production is buoyed by the manic energy generated by its two slapstick teams: Robert Hinds and Brad Walker as Vandergelder’s bachelor employees, and Natalie Anne Moe and Asha Stichter as man-hunting hatmakers. Hinds is impossibly likable as the rube Cornelius, at his best when he’s turning a particular goonish phrase. As his counterpart Mrs. Malloy, Moe is a riot, playing her youngwidow role with a bug-shit abandon that hints at a deeper inner darkness. But in a play so obvious, hints are never enough. MARK BAUMGARTEN

Secondhand Lions

arts&culture» Performance TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

MIRROR IMAGES The premiere of Scott Timmons’ mother/

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

daughter drama. DownStage Theatre, 4029 Stone Way N., 800-838-3006, playwrights-theatre.org. $16. Opens Oct. 4. 8 p.m. Fri.–Sat., plus 2 p.m. Sun., Oct. 13 & 20. Ends Oct. 26.

Stage

OUR ROOTS ARE SHOWING: VOICES OF BLACK MEN Short plays and stories are read. Northwest African

OPENINGS & EVENTS

THE BIKE TRIP Martin Dockery’s solo storytelling show

Oct. 9

Jesmyn Ward & Vivian Phillips ‘Men We Reaped’: A Memoir

(10/2) Sightline Institute presents Matt Taibbi How Money Influences Governance

recounts Dr. Albert Hofmann’s pioneering LSD experience. West of Lenin, 203 N. 36th St., westoflenin.com. $15. 7:30 p.m. Wed., Oct. 9. BLAK CLOUD The Crucible meets improv. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcity improv.com. $12–$15. 8 p.m. Thurs.–Fri., Oct. 3–18 and Oct. 31–Nov. 22. THE BRICK AND THE ROSE Ten actors portray 46 characters in this “collage for voices.” Runs in various area venues Oct. 3, 5, 8, 9, 10; see arouet.us for complete info. CANNIBAL! THE MUSICAL! The tale of Alferd Packer, written by those South Park guys. Unexpected Productions Market Theater, 1428 Post Alley, 800-8383006, unexpectedproductions.org. $12–$15. Opens Oct. 4. 8:30 p.m. Fri.–Sat. Ends Nov. 2. DAVE CHAPPELLE Three nights left for the edgy, mercurial comic. The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org. $55. 7 p.m. Wed., Oct. 2–Fri., Oct. 4. THE DOUGLAS PAASCH PUPPET PLAYHOUSE

(10/4) Paul Polak & Mal Warwick ‘The Business Solution to Poverty’ (10/4) Margaret Atwood ‘MaddAddam’ (10/5) Earshot Jazz Festival presents La Familia Valera Miranda (10/6) Short Stories Live Portraits of Three Women (10/7) Debora Spar ‘Wonder Women’ (10/7) UBS presents Salman Rushdie ‘Joseph Anton: A Memoir’

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

(10/8) ParentMap presents Rosalind Wiseman The Secret Life of Boys

(10/8) Tom Barbash with Jess Walter ‘Stay Up With Me’ (10/9) Jill Lepore Benjamin Franklin’s Sister (10/10) Seattle Public Library presents Jhumpa Lahiri (10/10) Women’sFunding Alliancepresents Modern Girlhood Redefined (10/10) S eattle Speaks Wage Worries @NEWHOLLY GATHERING PLACE TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

WWW.TOWNHALLSEATTLE.ORG

Strawberry Theatre Workshop presents a showcase of puppetry arts. Seattle University, Lee Center for the Arts, 901 12th Ave., 800-838-3006, strawshop.org. $10–$25. 7:30 p.m. Thurs., Oct. 3–Sat., Oct. 5, 2 p.m. Sun., Oct. 6. AN EVENING OF CHRISTOPHER DURANG Fantastic.Z presents four short plays. JewelBox/Rendezvous, 2322 Second Ave., 800-838-3006, fantasticz.org. $15–$20. Opens Oct. 2. 7 p.m. Wed., plus Tues., Oct. 8. Ends Oct. 30. 5TH OF JULY Lanford Wilson’s play about a post-Vietnam reunion of Berkeley alums. West of Lenin, 203 N. 36th St., theatre22.org. $10–$20. Preview Oct. 3, opens Oct. 4. 8 p.m. Thurs.–Sat. Ends Oct. 26. GREAT SOUL OF RUSSIA ACT’s reading series of (mostly) Russian authors. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15. 7 p.m. Thurs., Oct. 3. I’M/MIGRATION Playwrights Yussef El Guindi and Chad Goller, among others, explore issues of movement, identity, belonging, and home. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145 x109, youththeatre. org. $12. 7 p.m. Fri., Oct. 4–Sat., Oct. 5, 2 p.m. Sun., Oct. 6. L’EDITION FRANCAISE New dance/burlesque works by Lily Verlaine, Kitten LaRue, and Olivier Wevers. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $15–$28. 8 p.m. Thurs., Oct. 3, 7:30 & 10:30 p.m. Fri., Oct. 4–Sat., Oct. 5.

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CURRENT RUNS

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

can this marriage be saved? TPS Theatre 4, Seattle Center, Center House, 4th floor, 800-838-3006, localjewell. com. $12. 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Oct. 5. BENGAL TIGER AT THE BAGHDAD ZOO In Rajiv Joseph’s 2009 drama, Mike Dooly is the chatty, anthropomorphic tiger, given to both savage amorality and guilt-wracked self-reflection. His death sets off a chain reaction, as characters get sucked into the black abyss of war. Yet Joseph, belaboring his every point, fails the cast and the audience. KEVIN PHINNEY Washington Ensemble Theatre, 608 19th Ave. E., 325-5105, washingtonensemble. org. $15–$20. 7:30 p.m. Thurs.–Mon. Ends Oct. 7. 50 HEARTBREAKS (AND I’M STILL IN LOVE WITH YOUKRAINE) Jenna Bean Veatch and Nadia

Tarnawsky’s dance/theater hybrid mixes love and history. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre. org. $5–$20. 8 p.m. Wed., Oct. 2–Fri., Oct. 4. JULIUS CAESAR Handwritten Productions comes to stage Shakespeare, not to praise him. The Ballard Underground, 2220 N.W. Market St., handwrittenproductions.org. Pay what you will. 7:30 p.m. Thurs.–Sat. Ends Oct. 12.

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

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do-well heroine Dolores Price is played by Jocelyn Maher, who makes the trek from preteen to 40-something with dogged believability. She gets fat and loses it; she endures physical and emotional traumas; and, unlike so many of her generation, she gets over them. Supporting players give the play much of its warmth and forward motion; but, perhaps wanting to include too much of the book, director Kelly Kitchens’ adaptation often makes dramatic turns with battleship speed. KEVIN PHINNEY Center House Theatre, Seattle Center, 216-0833. $24–$38. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends Oct. 13.

TEATRO ZINZANNI: HAIL CAESAR: FORBIDDEN OASIS SEE REVIEW, PAGE 31. XANADU What makes this production spring to life are

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the two perfect leads: Dane Stokinger as Sonny Malone, Venice Beach’s resident chalk artist/bandanna’d lunkhead/roller-disco visionary, and Jessica Skerritt, aglow with charisma, as Kira, the muse who descends to Earth to inspire him. GAVIN BORCHERT Village Theatre, 303 Front St. N., Issaquah, 425-392-2202, villagetheatre.org. $30–$65. 7:30 p.m. Tues.–Thurs., 8 p.m. Fri.–Sat., 7 p.m. Sun., plus some 2 p.m. weekend matinees. Ends Oct. 20; moves to Everett Oct. 25–Nov. 17. For many more Current Runs, see seattleweekly.com.

Dance

AXIS DANCE COMPANY SEE AGENDA, PAGE 29. • PACIFIC NORTHWEST BALLET SEE REVIEW, PAGE 31. KULTURA Savannah Fuentes headlines a night of music

and dance celebrating Romani culture. Columbia City Theatre, 4916 Rainier Ave. S., 800-838-3006, brownpaper tickets.com. $20–$25. 8 p.m. Thurs., Oct. 3.

THE ENGENDERING PROJECT: CASTING SHADOWS

Butoh artist Joan Laage explores gender fluidity with video artist/photographer Kaoru Okumura and a live string trio (with a roundtable discussion 5 p.m. Sun., Oct. 6). Velocity Dance Center, 1621 12th Ave., 325-8773, velocity dancecenter.org. $12–$15. 8 p.m. Fri., Oct. 4–Sat., Oct. 5. SPECTRUM DANCE THEATER Donald Byrd starts his second decade at Spectrum with his usual intensity as the fall season opens with his take on George Balanchine’s Prodigal Son. SANDRA KURTZ Madrona/ Spectrum Dance Studio, 800 Lake Washington Blvd., 3254161, spectrumdance.org. $20–$25 (opening night $50). Opens Oct. 4. 8 p.m. Fri.–Sat., 6 p.m. Sun. Ends Oct. 20.

Classical, Etc.

• DAS OBOE TRIO Self-explanatory. They’ll premiere sev-

eral works for this unusual combo. Chapel Performance Space, 4649 Sunnyside Ave. N., 789-1939, waywardmusic. blogspot.com. $5–$15. 8 p.m. Thurs., Oct. 3. SEATTLE SYMPHONY Thomas Dausgaard conducts Schubert and Beethoven. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$112. 7:30 p.m. Thurs., Oct. 3, 8 p.m. Sat., Oct. 5, 2 p.m. Sun., Oct. 6. S. ERIC SCRIBNER His SoundScroll IX for piano, string bass, and found sound, plus four dense improvisatory “Seattle Pieces” by Scribner and Keith Eisenbrey. Chapel Performance Space, 4649 Sunnyside Ave. N., 789-1939, waywardmusic.blogspot.com. $5–$15. 8 p.m. Fri., Oct. 4. MET OPERA AT THE MOVIES Another season of HD broadcasts from NYC opens with Eugene Onegin, starring Anna Netrebko. (Sat. broadcasts are live, Wed. are encores.) See metopera.org for participating theaters. 9:55 a.m. Sat., Oct. 5, 6:30 p.m. Wed., Oct. 9. CLARINETTISSIMO A festival of recitals (6 p.m. Sat., 7 p.m. Sun.), vendors, and master classes. Seattle Pacific University, 3307 Third Ave. W., osbornmusic.com. Free. Noon–8 p.m. Sat., Oct. 5, noon–9 p.m. Sun., Oct. 6. MUSIC OF REMEMBRANCE Music by Schulhoff, Golijov, and others in conjunction with SAM’s exhibit “In a Silent Way.” Seattle Art Museum, 1300 First Ave., musicof remembrance.org. Free. 2 p.m. Sat., Oct. 5. SEATTLE REPERTORY JAZZ ORCHESTRA To open their season, favorites from past concerts (Thad Jones, Ray Charles, and more). Benaroya Recital Hall, Third Ave. and Union St., srjo.org. $15–$44. 7:30 p.m. Sat., Oct. 5. MUSIC NORTHWEST Bartok, Beethoven, Stravinsky, and more on this chamber series. Olympic Recital Hall, South Seattle Community College, 6000 16th Ave. S.W., 937-2899, musicnorthwest.org. $12–$18. 7:30 p.m. Sat., Oct. 5. CHORAL ARTS Music in praise of the Virgin. At St. Joseph’s Catholic Church, 732 18th Ave. E., 7:30 p.m. Sat., Oct. 5, and 8595 N.E. Day Rd., Bainbridge Island, 3 p.m. Sun., Oct. 6. $18–$23. 800-838-3006, choral-arts.org. OPERA ON TAP This series of informal (and how) vocal concerts celebrates its second anniversary. Columbia City Theater, 4918 Rainier Ave. S., 800-838-3006, operaontap. com/seattle. $8–$10. 8 p.m. Sun., Oct. 6. BYRON SCHENKMAN AND FRIENDS SEE EAR SUPPLY, LEFT.

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EarSupply

» by gavin borchert

Labors of Love “All the things I can do best and love the most” is how Byron Schenkman describes his new chamber-music series, which debuts Sunday. For the keyboardist, that means five concerts devoted to Bach, Vivaldi, Rameau, Schubert, and, first up, Beethoven. Looking beyond the standard repertory, Schenkman is playing three rarely heard piano quartets written when the composer was 14 years old: ”ADD pieces,” he calls them, full of nose-thumbing oddnesses like the joke at the rousing end of the D-major quartet, where Beethoven asks the pianist to end two bars before the strings in a way that sounds like he’s lost his place—a written-out “mistake.” For two decades a vital member of Seattle’s early-music WILL AUSTIN

(10/2) Daniel Lieberman The Evolutionary Story of the Human Body

American Museum, 2300 S. Massachusetts St., 518-6000, naamnw.org. Free. 7 p.m. Thurs., Oct. 3. PSYCHLOTRON Infinity Box’s arts-discussion series features Craig Wollem and Tracy Willis.Lucid, 5241 University Way N.E., infinitybox.org. Donation. 6:30 p.m. Tues., Oct. 8. THE SERVANT OF TWO MASTERS Carlo Goldoni’s greatest hit. Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$80. Previews through Oct. 1, opens Oct. 2. 7:30 p.m. Wed.–Sun. plus some Wed. & weekend matinees; see seattlerep.org for exact schedule. Ends Oct. 20. MARTIN SHORT SEE THE AGENDA, PAGE 27. SHORT STORIES LIVE Actors read short fiction in “Portraits of Three Women.” Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org, $10–$15. 2 p.m. Sun., Oct. 6. SPIN THE BOTTLE Annex Theatre’s late-night variety show includes “meditations on madness,” “unsettling smut,” and much more. Annex Theatre, 1100 E. Pike St., 7280933, annextheatre.org. $5–$10. 11 p.m. Fri., Oct. 4. SUGAR DADDIES SEE THE AGENDA, PAGE 29. THE TAMING The Taming of the Shrew is turned into a Southern-set political farce. ArtsWest, 4711 California Ave. S.W., 938-0339. Opens Oct. 2. Ends Oct. 19. Check artswest.org for showtimes and ticket prices, because ArtsWest includes neither in their press releases. THE WALWORTH FARCE Enda Walsh’s absurdist tale of an Irishman and his two sons. New City Theater, 1404 18th Ave., 271-4430. $20–$30. Opens Oct. 4. 8 p.m. Thurs.–Sun., plus some Mon. & Wed., see wearenctc.org for exact schedule. Ends Oct. 27.

THE MATCHMAKER SEE REVIEW, PAGE 31. SECONDHAND LIONS SEE REVIEW, PAGE 31. SHE’S COME UNDONE Wally Lamb’s ever-kvetching ne’er-

scene, Schenkman is bringing in friends (not only locals, but musicians from San Francisco, Colorado, and Boston) for the series—part of a busy fall schedule that’ll take him out to New York and Connecticut and back to Portland before joining Cornish’s Gamelan Pacifica for an intriguing December concert exploring the similiarities between baroque and Javanese music. Benaroya Recital Hall, Third Ave. and Union St., 215-4747, byronschenkman.com. $10–$42. 7 p.m. Sun., Oct. 6.

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arts&culture» Visual Arts

JEAN ALBUS Ineffable collects the Montana artist’s

unsettling photos. Opening reception: 6-9 p.m. Weds., Oct. 2. CoCA Ballard Gallery, 6413 Seaview Ave. N.W., 728-1980, cocaseattle.org, Mon.-Fri., 10 a.m.-5 p.m. Through Oct. 25. BAM’S FREE FIRST FRIDAYS Strapped for cash? Here’s your chance to check out the 50-year retrospective honoring local ceramics artist Patti Warashina, among other exhibits. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org, Free, First Friday of every month, 11 a.m.-8 p.m. BANK OF AMERICA’S MUSEUMS ON US Saturday and Sunday, B of A and Merril Lynch cardholders can gain free access to Northwest African American Museum, Seattle Art Museum, Tacoma Art Museum, and Wing Luke Museum. Oct. 5-6.

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LAURIE LEE BROM, RANSOM & MITCHELL, AND SAIL Three seperate solo exhibitions of paintings, digi-

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

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Be wary the kindness of strangers…

Oct 4-Nov 3

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

OPENS NEXT WEEK!

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

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

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

tal work, and drawings that all share a similar baroque, gothic undertone. First Thursday opening reception, 6-9 p.m. Roq La Rue, 532 First. Ave. S., 374-8977, roqlarue. com, Weds.-Sat., 12-5 p.m. Through Nov. 2. BEN BUTLER In Propagation, he constructs strange, organic sculptural forms out of wood that twists and spirals. First Thursday opening reception 6-8 p.m. Davidson Galleries, 313 Occidental Ave. S., 624-1324, davidsongalleries.com, Opens Oct. 3, Tues.-Sat., 10 a.m.-5:30 p.m. Through Nov. 2. DEBORAH BUTTERFIELD She will be presenting her life-sized sculptures of horses, constructed out of bronze casts of castoff sticks, branches, and other plant material. First Thursday opening reception, 6-8 p.m. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com, Opens Oct. 3, Thurs.-Sat., 10:30 a.m.5:30 p.m. Through Nov. 16. ROBIN CROOKALL SEE THE AGENDA, PAGE 27. DOME ART COLLECTIVE GRAND OPENING The opening celebration of this new gallery features work by Joe Lavely, Aaron Morgan, and Bob Antone. First Thursday opening reception 5 p.m. onward. Currency Art Gallery, 214 Fourth Ave. S., Seattle, facebook.com/ Domeartcollective, Opens Oct. 4, Fri., Sat., 5-9 p.m. Through Oct. 31. PATRICE M. DONOHUE Emanations showcases built surfaces of wax, paper, and clay that convey a sense of breaking through. First Thursday opening reception, 5-8 p.m. Shift Collaborative Studio, 312 S. Washington St. (Tashiro Kaplan Building), 547-1215, shiftstudio.org, Opens Oct. 4, Fri. & Sat., 12-5 p.m. Through Oct. 26. JAN ERICKSON Dark Thaw presents Erickson’s new series of drawings exploring the idea of decomposition and loss. First Thursday opening reception, 5-8 p.m. Punch Gallery, 119 Prefontaine Place S. (Tashiro Kaplan Building), 621-1945, punchgallery.org, Opens Oct. 3, Thurs.-Sat., 12-5 p.m. Through Nov. 2. FREMONT ART WALK Fremont’s First Friday artwalk venues include Activspace, Fremont Brewing Co., 509 Winery and Tasting Room, Caffe Vita, and Fremont Abbey. See fremontfirstfriday.com for participating artists. First Friday of every month, 6-9 p.m. SULLIVAN GILES He offers three large portraits of skulls, consisting of 30 layered stencils each. First Thursday opening reception 5-7 p.m. Zeitgeist Art and Coffee, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com, Opens Oct. 3, Mon.-Sun., 6 a.m.-7 p.m. Through Nov. 6. DEREK GILLAMN The Chinese-sculpture scholar will present a lecture on the life-sized ceramic sculptures discovered in caves in Beijing in 1912. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 6543100, seattleartmuseum.org, $5-$7, Thu., Oct. 3, 7-9 p.m. TYSON GRUMM The whimsical animals and other figures collected in The Near Side were inspired by his love for Gary Larson’s long-running cartoon strip The Far Side. First Thursday opening reception, 6-8 p.m. Patricia Rovzar Gallery, 1225 Second Ave., 223-0273, rovzargallery.com, Oct. 3-31, 11 a.m.-5 p.m. GAYLEN HANSEN Hansen’s rough-hewn paintings depict cowbody figures and coyote-infested landscapes of an imagined Wild West. First Thursday opening reception, 6-8 p.m. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com, Tues.-Sat., 10:30 a.m.-5 p.m. Through Nov. 30. WILLIAM HERNANDEZ In Milagros, the Peruvianborn artist shows his impressionistic paintings. First Thursday opening reception, 5-8 p.m. ArtXchange, 512 First Ave. S., 839-0377, artxchange.org, Tues.-Sat., 11 a.m.-5:30 p.m. Through Nov. 23.

2012 Pilchuck Emerging Artists in Residence: Jessie Blackmer, Lea Bucknell, Clark DeCapite, Elizabeth Fortunato, Anthony Sonnenberg, and Juliana Wisdom. First Thursday opening reception, 5-8 p.m. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), methodgallery.com, Opens Oct. 4, Fri., Sat., 12-5 p.m. Through Nov. 9. IZZIE KLINGELS In Playing Games, the British artist will be showing off her highly detailed annd whimsical illustrations that have earned her clients in The Guardian, Absolut Vodka, and Vogue. Some new works will be applied directly to the gallery walls. First Thursday opening reception, 6-8 p.m. M.I.A. Gallery, 1203 Second Ave., 467-4927, m-i-a-gallery.com, Tues.Sat., 11 a.m.-6 p.m. Through Nov. 2. ARTHUR & MARILOUISE KROKER The Krokers, professors from the University of Victoria and experts in technology and contemporary culture, will be presenting new work in the store window exhibition space. Noxious Sector Projects, 312 S. Washington St. (Tashiro Kaplan Building), noxioussector.net/projects, Opens Oct. 3, Mon.-Sun.. Through Oct. 30. MOHAI FREE FIRST THURSDAYS The museum is open late; and, in addition to its permanent collection (artifacts from our civic and maritime history), you can see John Grade’s 65-foot-tall sculpture Wawona and Celluloid Seattle, curated by SW film critic Robert Horton. Museum of History and Industry, 860 Terry Avenue N., 324-1126, mohai.org, Free, First Thursday of every month, 10 a.m.-8 p.m. MARK O’CONNELL & RYAN FINNERTY O’Connell presents work utilizing cut paper, acrylic, and wood. Finnerty shows large-scale portraiture. First Thursday opening reception, 6-8 p.m. Core Gallery, 117 Prefontaine Place S. (Tashiro Kaplan Building), 467-4444, coregallery. org, Weds.-Sat., 12-6 p.m. Through Oct. 26. RICK PHELPS It’s Only a Paper Ghost is a series of his highly varied paper-mache pieces that range from skulls to boquets to turtles. First Thursday opening reception, 5-7 p.m. Paper Hammer, 1400 Second Ave., 682-3820, paper-hammer.com, Opens Oct. 7, Mon.-Sat., 11 a.m.-6 p.m. Through Nov. 29. FAB RIDETI & GROUP EXHIBITION Rideti’s Perfect Families explores the concept of “family” through the lens of the seven deadly sins. In the back gallery, Descriptions explores the shifting notion of portraiture in today’s world of social networking. First Thursday opening reception, 6-8 p.m. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com, Weds.-Sat., 12-5 p.m. Through Nov. 2. SIGNS OF LIFE A celebration of contemporary jewelry art including the work of nine metalsmiths. Opening reception: 5-7 p.m. Weds., Oct. 2. Facere Jewelry Art Gallery, 1420 Fifth Ave., 624-6768, facerejewelryart.com, Opens Oct. 7, Mon.-Sat., 10 a.m.-6 p.m. Through Oct. 22. DARA SOLLIDAY & MOLLY MAGAI More Painting About Buildings and Cars is, well, a bunch of paintings of buildings and cars. Take note, architecture and auto enthusiasts. First Thursday opening reception, 5-8 p.m. Room 104, 306 S. Washington St. (Tashiro Kaplan Building), 953-8104, room104gallery.com, Weds.-Sat., 10:30 a.m.-5 p.m. Through Nov. 2. CAPPY THOMPSON Walking Through Heaven is a new collection of the artist’s painted glass vessels and ceramic sculpture. First Thursday opening reception, 5-8 p.m. William Traver Gallery, 110 Union St., 587-6501, travergallery.com, First Tuesday-Friday of every month, 10 a.m.-6 p.m. Through Nov. 3. SIOLO THOMPSON The Seattle artist explores the evolving archetype of women in popular culture in Girl In Landscape. Opening reception: 6-9 p.m. Sat., Oct. 5. Ltd. Art Gallery, 307 E. Pike St., 457-2970, ltdartgallery. com, First Tuesday-Sunday of every month, 11 a.m.-7 p.m. Through Oct. 22. JUNICHI TSUNEOKA Chibi Pockets collects the artist’s intricate wooden toy figurines of robots and futuristic beings. Opening reception, 4-6 p.m. Sat., Oct. 5. KOBO at Higo, 604 S. Jackson St., 381-3000, koboseattle. com, Opens Oct. 7, Mon.-Sun., 11 a.m.-6 p.m. Through Oct. 26. WIZARD BUSINESS & IOLE ALESSANDRINI In their group show, Denton Crawford, Elizabeth Kleene, and Justin Plakas present work probing the relationship between mysticism, spirituality, and art. Alessandrini’s Error 404: Site Not Found evokes the unusual triad of “Michelangelo, Steve Jobs, and Walt Disney.” First Thursday opening reception, 6-8 p.m. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org, Opens Oct. 3, Thurs.-Sat., 12-5 p.m. Through Nov. 2. THOMAS WOOD Northwest Land, Sea, and Sky is— surprise!—a collection of Northwest landscape paintings. First Thursday opening reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery.com, Opens Oct. 7, Mon.-Sun., 10:30 a.m.-5 p.m. Through Nov. 4.

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INNOVATION This group show features artists from the

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arts&culture» Film

Opening ThisWeek

Jacobs and Marino face gastrointestinal issues.

Bad Milo!

ROBERT HORTON

PGravity

Back on Earth, Dr. Stone (Bullock) is just the sort of Type A high-achiever who would make her online movie reservations early. Absent a family, she’s entirely devoted to her work, which involves some sort of experiment on the Hubble Space Telescope. We begin the movie outside that orbiting platform, as she and veteran astronaut Kowalski (Clooney) are performing routine repairs. She’s tethered to a giant arm. He’s cavorting about with a jet pack—of course Clooney gets the jet pack—and listening to country music. Kowalski’s cocky, experienced, about to retire; Stone’s the eager newbie trying to prove she’s got the right stuff. She has her chance, and then some, in the astonishing 12-minute opening sequence, seamlessly rendered via CGI by director Alfonso Cuarón (Children of Men, Y Tu Mamá También). Because there’s no sound in space (i.e., no atmosphere to relay that sound), Stone’s panicked breathing and frantic radio calls provide the human pulse to the terrifying scene, as bulletspeed space garbage cascades upon the shuttle and its fragile crew. (Like sins from the past, decomposing old Cold War satellites have caused the orbiting trash fusillade.) The camera occupies no fixed position. There is no up or down in the frame as it pushes and swoops among the wreckage and flailing astronauts. Scant warning of the disaster comes from ground control in Houston, voiced by Ed Harris, a nice little nod to Apollo 13. With so many satellites down, quips Kowalski, “Half of North America just lost their Facebook.” Spinning into the void, Stone can’t get her bearings; and the rest of the film consists of her navigating from one problem to the next. If the shuttle is disabled, let’s get to the International

Space Station. If no one’s home there, let’s try the Chinese station next door. For all its technical marvels and breathtaking panoramas reflected in Stone’s visor, Gravity is a very compact and task-oriented picture. It’s both space-age and hugely traditional, though with a modern, selfaware heroine who inevitably begins talking to herself—“You gotta be kidding me!”—to fight the loneliness and complain of each new setback. From speeding bus to orbiting space capsule, Bullock is again the everywoman confronted with haywire technology. And her character’s exasperated vulnerability makes for an interesting contrast to stoic, shipwrecked Robert Redford in All Is Lost, due October 25. As Stone retreats through airlock and bulkhead to find safety, grabbing at latches and lifelines dangling in her 3-D POV, each narrow escape recalls D.W. Griffith and the silent era. She has a bit of sad personal history to share with Kowalski, but otherwise she’s living (barely) in the moment of pure present peril. If one thing isn’t trying to kill her, another thing is. In a marvelously forward-thrusting film that doesn’t need much dialogue or introspection, Stone scores her biggest laugh with an exasperated aside: “I hate space.” Thanks to Cuarón, we know just the feeling. BRIAN MILLER

Herb & Dorothy 50 x 50 RUNS FRI., OCT. 4–THURS., OCT. 10 AT NORTHWEST FILM FORUM. NOT RATED. 87 MINUTES.

Dorothy and Herbert Vogel were the subjects of a prior doc by Megumi Sasaki, which played NWFF in 2009, the year after Seattle Art Museum was announced a beneficiary of their

OPENS FRI., OCT. 4 AT CINERAMA AND OTHER THEATERS. RATED PG-13. 91 MINUTES.

Why are they even offering this movie in non-3-D format? With George Clooney and Sandra Bullock stranded in orbit, menaced by regular bombardments of space debris? With the oxygen running out and no prospect of rescue from Earth? Of course you should spend the extra money on 3-D. That’s not even a decision. You should see it on the biggest possible screen. You should see it at the early shows on Thursday night. Then you should go back and see it again with friends who weren’t savvy enough to preorder Thursday tickets online. It’s that kind of movie.

Bullock gets beautifully lost in space.

WARNER BROS.

There are places even the celebrated body-horror filmmaker David Cronenberg wouldn’t go. Places—you might say—where the sun don’t shine. Such a place is explored in Bad Milo!, an energetic exercise in execrable taste that locates the source of its protagonist’s problems in the lower gastrointestinal tract. Ken (Ken Marino) carries a lot of stress inside him: His job as a number-cruncher is poisoned by a corrupt boss (Patrick Warburton); his wife (Gillian Jacobs) wants a child; and his father (Stephen Root) won’t speak to him. Ken’s mother (Mary Kay Place) has taken up with a much younger man (Kumail Nanjiani), and they suspect Ken’s physical ailments are a sign of erectile dysfunction. If only. No, the source of Ken’s chronic stomach pain is the big-eyed, sharp-toothed demon living inside his colon. The beastie, named Milo, has the ability to leap out and slaughter Ken’s enemies. As if that weren’t bad enough, Milo has the ability to slip back inside his host after running his errands, which somehow seems much, much worse. Director Jacob Vaughn includes just enough social context to prove he knows what he’s doing; in a world of cold corporate behavior and personal estrangement, why wouldn’t the demons inside begin to run amok? And thanks to explanations from Ken’s therapist, played by Fargo’s Peter Stormare at his wiggiest, we’re left with no doubt that Milo exists to act out Ken’s repressed wishes and represent the undigested compromises of existence. If it is not already evident, we should note that Bad Milo! is absolutely a comedy. The non sequiturs come in a steady stream, and the actors—as the end-credits blooper reel confirms—have been encouraged to improvise their way through individual scenes. (Toby Huss, as the doctor who informs Ken that he appears to have “a trouper in your pooper,” is especially incorrigible; he could easily merit his own DVD extra feature.) The cast is expert, led by the big-shouldered, straight-faced Marino, a veteran of The State and its comedic spinoffs. Still, there is no skimping on horror-movie gore, which makes the movie difficult to peg: It’s funny, it’s gross, and it has a few serious things on its mind. Is it any wonder David Cronenberg is thanked in the end credits?

MAGNOLIA PICTURES

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

RUNS FRI., OCT. 4–THURS., OCT. 10 AT SIFF CINEMA UPTOWN. RATED R. 85 MINUTES.

50 Works for 50 States bequest. Those donated works went on view at SAM this past March, and the exhibit runs through October 27. If you saw the first film, this one doesn’t add much. If you’ve been to the museum or are planning a visit, it’s well worth seeing. In brief, the Vogels were humble young collectors in the early ’60s whose buying criteria were essentially small, affordable, and minimalist. (They had no kids and enjoyed a rent-controlled Manhattan home.) Three decades later, they promised the National Gallery their 5,000 acquisitions, all kept in their one-bedroom apartment (!) —more than the Washington, D.C., institution could possibly store or exhibit. Thus the 50 by 50 program, which would send 2,500 works to museums in all the states. (We got works by Stephen Antonakos, Sol LeWitt, Terry Winters, Cheryl Laemmle, Robert Mangold, and others.) In declining health (particularly Herb), the Vogels clearly trust Sasaki, who trails them to museum openings and receptions in New Jersey, Hawaii, Nevada, and even North Dakota. It’s a celebratory tour where they’re treated like rock stars, and this modest, middle-class couple clearly relishes the attention. (Herb plays the curmudgeon, but lets slip a few proud smiles.) During the recession, one museum director explains, they can’t afford to make acquisitions, so the Vogels’ gift is all the more striking. Artists they supported are interviewed (some resist the collection’s dispersal), and this also makes for a repetitive tribute of praise for and demurral by the Vogels. You might not share their taste or like everything now hanging at SAM, but it’s impossible not to admire their generosity. BRIAN MILLER

Parkland OPENS FRI., OCT. 4 AT PACIFIC PLACE AND SUNDANCE CINEMAS. RATED PG-13. 93 MINUTES.

The only interesting thing about Parkland is that it exists. And it exists because of our collective unwillingness to let go of what happened on November 22, 1963, the day a young prince died and a still-unresolved mystery began. Culled from Vincent Bugliosi’s 2007 book Four Days in November, the movie presents narrow-gauge vignettes, acted out by supporting players in Dallas during the tragedy. Supporting players, but not peripheral. The most gripping section of the film unfolds at Parkland Hospital, where an unsuspecting overtime ER crew deals with the arrival of a U.S. president with a severe head wound. Marcia Gay Harden contributes her granite professionalism as the nurse on duty; although here, as in other episodes, the cast tends toward the TV-guest-star vein, with Zac Efron and Colin Hanks also pulling duty. (Hanks’ dad, Tom, produced the film.) There’s a very dull storyline about Lee Harvey Oswald’s brother Robert ( James Badge Dale), enlivened only by the battiness of Oswald’s mother ( Jacki Weaver, in her Animal Kingdom monster mode). The movie takes no position on Oswald’s guilt or any conspiracy theories surrounding the Kennedy assassination, because it keeps its gaze at ground level. The director, longtime investigative reporter Peter Landesman, seeks to show things “as they happened” and forgo commentary. So take that, Oliver Stone. An entire feature could be made from the story of Abraham Zapruder, whose name became a household word after he clocked the presidential motorcade with his 8 mm cam-

ART CREDIT

Thornton and other pros era. In Parkland, Zapruder’s can’t help the Parkland story repeats a single note— cause. anguish—as it tracks the sudden attention he gets from a Secret Service agent (Billy Bob Thornton, a good turn) and a Life magazine representative. As Zapruder, Paul Giamatti does his expected fine work, but he’s got nowhere to go either. Everybody keeps watching the Zapruder film, reacting in horror, and not finding an answer. Watching Parkland, you may feel the same way. The whole movie is like adding more frames to an already endless film loop—as if by sifting through these remnants we’d settle something. When five years after the fact. After fixed lines Woody Allen’s character in Annie Hall realized are severed by a massive icefall that strands his obsession with the JFK case was just a way of McDonnell and others on the deadly descent, avoiding intimacy with his wife, it was a clever there is no central, reliable Krakauer figure on passing joke. Now it looks like an accurate diagthe mountain. (Books have since been written, nosis of the national sickness, our inability to live and the Internet was abuzz with reports even with the idea that we might never know what before the body count was known.) happened—or that the likeliest explanation is As a result, sober analysis of the incident insufficiently grand to fit such a history-altering gives way to weepy testimonials—padded with event. Parkland is a particularly feeble drop in the the story of Italy’s first ascent of K2 in ’54—in bucket. ROBERT HORTON an avalanche of sentiment. Whenever possible, Ryan opts for tears and conjecture instead of facts. His intent, it emerges, is to make The Summit OPENS FRI., OCT. 4 AT HARVARD EXIT. McDonnell the hero, an Italian alpinist the RATED R. 99 MINUTES. heel, and the South Koreans the clowns who got in everyone’s way. But really, as with most Only a few Seattle climbers have seen the top of big mountaineering disasters, the weather and K2, Everest’s less-traveled little brother in Pakiovercrowding are to blame. As all the teams stan, which has a staggering 1:4 ratio of deaths swarmed the same bottleneck, a Dutch climber to summit successes. In 2008, as was widely recalls, “Everyone wants to use this window,” reported, 11 mountaineers perished in a cascade meaning the clear skies overhead. But the fixed of bad judgment and warm-weather-caused lines weren’t ready because the different teams icefall on the 8,000-meter peak. (Global warmhadn’t cooperated, and McDonnell sensibly ing? Maybe.) Nick Ryan’s documentary uses asks “Aren’t we too late?” about the slow progreenactments, fresh interviews, and some original ress beneath huge overhanging seracs. (Those, footage to chronicle that calamity, with emphasis on Irish alpinist Gerard McDonnell, his country- viewed in real photos and video, are terrifying— man, who was making his second attempt on K2. like office towers made of ice, gradually coming unfrozen from the mountain.) This storytelling here isn’t Into Thin Air, As on Everest in ’96, climbers were suckered and the conflicting testimony among several by the weather. All their costly preparations nationalities and rival expeditions is not a couldn’t match their harsh, lofty objective, notes model of clarity. It’s like Rashomon in the the late, legendary Walter Bonatti: “Only the Death Zone. None of those oxygen-starved mountain attains perfection.” BRIAN MILLER E brains are ever going to agree on a sequence of events. It’s like asking drunks about a bender film@seattleweekly.com

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new criminal-justice doc. Panel discussion follows. (NR) Pacific Science Center, 200 Secon Ave. N. (Seattle Center), 443-2001, seattle.gov, Mon., Oct. 7. ENTER THE DRAGON In his 1973 hit, released soon before his death, Bruce Lee goes undercover to bust some drug runners, entering a big kung fu competition en route—and you can guess who wins. With Lee’s furious energy, charisma, and head-popping roundhouse kicks. (R) Harvard Exit, 807 E. Roy St., 323-0587, landmarktheatres.com, $8.25, midnight, Sat. Oct. 5. THE EVIL DEAD Sam Raimi’s wildly influential and ultra-violent 1981 underground hit helped make him a future Hollywood star and also brought Bruce Campbell’s chin to a grateful world. Nobody will ever go to a cabin the remote woods again without thinking CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED of the film, nor will filmmakers ever be able to make a movie about kids going to a cabin in the remote woods without thinking of what Raimi would do there. (R) Central Cinema, 1411 21st Ave., 686-6684, central“ cinema.com, $6-$8, Oct. 4-9, 9:30 p.m. GHOSTBUSTERS Who you gonna call? I think we all know the answer: the top-grossing film of 1984, Ghostbusters! Bill Murray, Dan Aykroyd, Harold Ramis, and Sigourney Weaver star in the paranormal smash comedy, which inspired only one so-so sequel and a Horror fans, here is that one, big, “you can’t miss this” surprising number of video games. It was, of course, a independent gem of a genre movie for 2013.” simpler time back then, when special effects weren’t – Matt Donato, We Got This Covered quite so seamless, and the greatest threat facing New “one of the most unique, achieveD, WED 10/02 York City was the Stay Puff Marshmallow Man. The crazy, movie was a total star turn for Murray, playing the anD entertaining comeDies in recent memory. 1 COL. (2.33”) X 3” ” loosest andJL/RT least professional academic on campus. . - Carlos Aguilar, Filmophilia ALL.IFA.1002.SW Using Aykroyd as his uptight foil, with well-timed sideline zingers from the wonky Ramis (who co-wrote the script with Aykroyd), Murray is freed to embrace his inner, off-kilter leading man. (PG) BRIAN MILLER Central Cinema, $6-$8, Oct. 4-9, 7 p.m. • L’AVVENTURA SEE THE AGENDA, PAGE 29. MARS ATTACKS! Tim Burton’s 1996 spoof of old alieninvasion movies has a lot of fun with its cast, which includes Jack Nicholson, Pierce Brosnan, Sarah Jessica Parker, and Annette Bening. (PG-13) Central Cinema, $6-$8, Thu., Oct. 3, 8 p.m. MUMIA: LONG DISTANCE REVOLUTIONARY The crux of Mumia comes midway through this partisan documentary about Mumia Abu-Jamal, the convicted Philadelphia cop killer who’s become a celebrated writer during his three decades on death row (a sentence commuted to life last year). Through Mumia’s first half, drawing on interviews with Cornel West, Alice Walker, Amy Goodman, and others, director magnetreleasing.com/badmilo/ Stephen Vittoria recounts the racism that pervaded Philly in the ‘70s, when journalist Abu-Jamal became eXclusive engagement Seattle SIFF Cinema Uptown personally involved in the civil-rights stories he was starts friDay, october 4 (206) 324-9996 covering. In this way, Vittoria creates a tantalizing tension as we approach the 1981 shooting, seeing Abu-Jamal’s radicalization in advance and knowing his lonely future fate. As a result, it’s absolutely befuddling and nearly fatal to the doc when Vittoria spends a scant two minutes describing the killing of officer Daniel Faulkner. From then on, any claim of Abu-Jamal as a political prisoner—a claim Mumia repeats endlessly—rings completely hollow. (NR) DANIEL PERSON Keystone Congregational Church, 5019 Keystone WED 10/2 Place N., 632-6021, Free, Fri., Oct. 4, 7 p.m. 1 COL(2.33”) x 4”MUSICWOODLT In this new eco doc, directed by Maxine guitar makers Chris Martin, Bob Taylor, and ALL.BML.1002.SW Trump, Dave Berryman visit the Alaska rainforest to learn about harvesting more sustainable wood for their coveted musical instruments. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org, $5-$8, Thu., Oct. 3, 7 p.m.; Sat., Oct. 5, 5 p.m.

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Screened in 35 mm will be Seven Grandmasters (1977) and The Victim (1980), both with action aplenty. (R) Grand Illusion, $5-$8, Fri., Oct. 4, 8 p.m. THE PAW PROJECT Jennifer Conrad’s documentary examines the controversial practice of declawing cats. (NR) Grand Illusion, Free (RSVP via Facebook), Wed., Oct. 2. 7 p.m. PORTLAND GRINDHOUSE FILM FESTIVAL Visiting curator Dan Halsted will introduce a program of trailers, followed by Lucio Fulci’s famously gory 1980 Gates of Hell. (R) Grand Illusion, $5-$8, Sat., Oct. 5, 8 p.m.

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PRINT GENERATION Director J.J. Murphy will intro-

duce his 1974 found-footage art film, in which he successively reprinted the same 36 feet of film 50 times, the image constantly degrading, something like Decasia. (NR) Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org, $6-$10, Sun., Oct. 6, 5 p.m. RIDE THE NIGHT Continuing SAM’s fall film noir series, the 1945 Leave Her to Heaven has Cornel Wilde fall for Gene Tierney, which turns out to be a big mistake. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63–$68 series, $8 individual, Thursdays, 7:30 p.m. Through Dec. 5. SAMURAI CINEMA Toshiro Mifune and Tatsuya Nakada star in the 1966 The Sword of Doom, in which violence eventually leads to regret. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net, $6-$11, Mondays, 7 p.m. Through Oct. 21. SEATTLE SOUTH ASIAN FILM FESTIVAL With screenings also taking place at SIFF Cinema Uptown and the UW Bothell campus, this annual fest will screen over a dozen features and documentaries, plus many short films. Topics include political tension in Kashmir, sex trafficking, and film preservation in India. Mira Nair’s very topical new The Reluctant Fundamentalist is also on the bill. Various live musical events, forums, visitors, and parties are also planned. See tasveer.org for full schedule and details. (NR) SIFF Film Center, 305 Harrison St. (Seattle Center), $10$12 individual, $60-$250 series, Oct. 4-13. TOTALLY ‘80S TUESDAYS The Wizard and The Last Starfighter are screened (PG-13) SIFF Cinema Uptown, $6-$11, Tuesdays, 7 & 9:15 p.m. Through Oct. 22.

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Ongoing

BLUE JASMINE There’s nothing comic about the down-

fall of Blanche DuBois in A Streetcar Named Desire, the inspiration for Woody Allen’s miscalculated seriocom. Blue Jasmine is an awkward mismatch of pathos and ridicule, less fusion than simple borrowing. Grafted onto the story of delusional trophy wife Jasmine (Cate Blanchett) is a Madoff-like fable of the recent financial crisis. In flashback, we see her husband (Alec Baldwin) buying her consent with luxury while he swindles the Montauk set. In the present timeframe, Jasmine is broke and living with her sister Ginger (Sally Hawkins) in a shabby San Francisco apartment. Jasmine is a snob who needs to be brought low, a task relished by Ginger, her boyfriend (Bobby Cannavale), and her ex (a surprisingly sympathetic Andrew Dice Clay). You sense that Allen wants to say something about our present culture of inequality and fraud, but he only dabbles, never probes. (PG-13) BRIAN MILLER Kirkland Parkplace, Majestic Bay, Sundance Cinemas, others DON JON Joseph Gordon-Levitt wrote, directed, and stars in Don Jon, the story of a porn addict who’d be right in place amongst the braying loudmouths of Jersey Shore. However, the likable Jon is also a ladies’ man, prowling the disco for babes to bed. An encounter with the lushly named Barbara Sugarman (Scarlett Johansson, in a deft caricature) suggests that our boy may have found authentic love, but GordonLevitt throws in some reasonably fresh variations on the tale of an addict redeemed. One of them comes in the form of a night-school classmate (Julianne Moore) who’s got more honest life experience than most of the people in Jon’s circle. All this is in service of a very simple message, of the kind an earnest young filmmaker might feel is important to say for his generation. Which is maybe more endearing than insightful. Don Jon is a marshmallow heart wrapped in a spicy shell. (R) ROBERT HORTON Alderwood 16, Woodinville, Big Picture, Cinebarre, Varsity, Lincoln Square, Meridian, Thornton Place, others ENOUGH SAID Nothing much happens in a Nicole Holofcener film, and that’s OK. Enough Said is yet another well-wrought example of her focus on the problems intelligent women create for themselves through their constant worry. Ten years divorced, her daughter soon to leave for college, Eva (Julia LouisDreyfus) wearily lugs her massage table from client to client, hearing their petty complaints without comment, seemingly resigned to a single woman’s slide toward menopause. The large, hairy obstacle in that path is Albert (James Gandolfini). Eva has a secret pipeline to confirm her doubts about him: Albert’s ex-wife Marianne (Catherine Keener) is one of her clients. If there is a Hippocratic oath for masseuses, Eva knows she’s broken it tenfold. Yet she allows Marianne’s complaints to poison her relationship with Albert. In his last screen role, Gandolfini conveys a lumpy shyness and decency. Eva’s BFF (Toni Colette) tells her to learn to compromise in a relationship, even

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RUSH Ably directed by Ron Howard, Rush is the mostly

true stories of two star drivers of the ’70s: the British rogue James Hunt and the Austrian technician Niki Lauda. Hunt (Chris Hemsworth) is a posh, privileged, oversexed product of his times. The methodical, unlovable Lauda (Daniel Brühl) has meanwhile paid his own way onto the circuit: He makes every car faster through strict engineering discipline, not panache. He and Hunt are yin and yang, a dynamic that screenwriter Peter Morgan (The Queen, Frost/ Nixon, The Damned United) repeats far more often than necessary. Howard certainly remembers the ’70s, and with cinematographer Anthony Dod Mantle (Slumdog Millionaire) he gives Rush a wonderfully Campari-soaked period look. The racing scenes are excitingly conveyed with vintage cars, CGI, and snippets of real race footage among the many montages. Hemsworth, an Aussie from those Thor movies, isn’t a bad actor; and Brühl, a German-Spanish utility player, is a good actor soon to co-star in the WikiLeaks movie The Fifth Estate. I only wish the writing were up to their and Howard’s talents. Rush successfully captures the glamour and danger of its sport; only the script isn’t up to speed. (R) BRIAN MILLER Oak Tree, Woodinville Cinemas, Pacific Place, Bainbridge, Cinebarre, Guild 45th, Lincoln Square, others TOUCHY FEELY In Lynn Shelton’s latest locally made charmer, two siblings experience unexplained eruptions in their professional skills: Massage therapist Abby (Rosemarie DeWitt, from Your Sister’s Sister) is suddenly repulsed by the touch of human skin, and dentist Paul (Josh Pais) develops magical healing powers that can cure his patients’ jaw problems These phenomena are suspiciously related to the everyday issues afflicting the two, as Abby has been dawdling over an invitation to move in with her boyfriend Jesse (Scoot McNairy), and Paul has passively allowed his practice to dwindle because of his super-awkward manner. Meanwhile, Paul’s college-age daughter Jenny (Ellen Page) is trapped in her job as a dental assistant, and carries around an unrequited crush on someone who probably won’t return the feeling. In the film’s exactly observed living rooms and offices, something human is going on, in a way too many movies don’t get. Maybe this film is about the need to see people in a new way, which also describes Shelton’s deep-tissue work with actors. (R) ROBERT HORTON Sundance, Vashon Theatre THE WAY, WAY BACK Fourteen-year-old Duncan (Liam James) and his divorced mother Pam (Toni Colette) are dragged to a Massachusetts beach rental by her overbearing new bf Trent (Steve Carell). Trent. There is no way we are going to like a guy named that (and a car salesman, of course), and Duncan emphatically dislikes the bullying Trent. In this awfully broad and familiar tale, unhappy Duncan finds a sympathetic mentor in Owen (Sam Rockwell), the flippant king of the local water park where Duncan lands a summer job. Owen is the anti-Trent: goofy and fun-loving, spitting out nicknames and bald lies, treating his staff with affectionate sarcasm, and harboring a not-so-secret thing for his boss (Maya Rudolph). While the drunken adults enjoy “spring break for adults” (per Duncan’s glum crush object, played by AnnaSophia Robb), Duncan finds new pals and self-confidence. We’ve seen this story a thousand times. But what are its incidental pleasures? Rockwell, Rockwell, and Rockwell. (PG-13) BRIAN MILLER Kirkland Parkplace, Guild 45th, others THE WORLD’S END In this this third Edgar WrightSimon Pegg-Nick Frost collaboration, five grown Englishmen try to reprise a failed 1990 pub crawl. Decades later, the obnoxious black sheep Gary (Pegg) is the least successful of the bunch (how much so is gradually revealed), still stuck in the past. The rest of them—played by Frost, Paddy Considine, Martin Freeman, and Eddie Marsan—have accepted boring bourgeois adulthood as their due. They don’t want to leave their comfortable London lives for the leafy suburb of Newton Haven, which seems quite changed upon their return. There, however, The World’s End suddenly and enjoyably shifts genres (that being Plot Turn A). The film gets a needed jolt of energy: clumsy, comic fight scenes, panicked chases from pub to pub, and lines like, “Pop her head off like an aspirin bottle!” This works fine for a while—until, like the first section, it runs out of ideas. In their screenplay, Pegg and Frost again return to their love of cheesy old movie genres and the vicissitudes of male friendship (see Hot Fuzz and Shaun of the Dead). But here they’ve got to write a unified ending for both disparate halves of the movie, and they don’t. Instead they cough up Plot Turn B, an epilogue that should’ve been kept for the DVD extras. For all the prior goodwill generated by the WrightPegg-Frost combine, The World’s End plays like three different sketches from their early days in English TV. (R) BRIAN MILLER Cinebarre, Vashon

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SHOWTIMES

OCTOBER 4 - 10

GHOSTBUSTERS

FRIDAY - WEDNESDAy @ 7:00PM

THE EVIL DEAD

FRIDAY - WEDNESDAy @ 9:30PM

DEAD ALIVE

THURSDAY @ 8:00PM

DI NI NG

W E E K LY

M US I C

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

FILM

NEWSLETTER

F I LM

The inside scoop on upcoming films and the latest reviews.

HA PPY HO UR

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

while constantly dissing her husband (the excellently indignant Ben Falcone). For the women of Enough Said, too much candor has its risks, but remaining silent can bring disaster. (PG-13) BRIAN MILLER Pacific Place, Lincoln Square, Lynwood Theater (Bainbridge), Sundance GOOD OL’ FREDA Who is Freda Kelly? Merely the Beatles’ secretary for 11 years during the glory days—actually, she was working for the band before Ringo joined. Her utterly darling story is told in Ryan White’s Good Ol’ Freda, another documentary shard in the saga of the best band ever. Freda’s never cashed in on her proximity to the band; and after all this time, she has some charming stories to tell. With a fierce Liverpudlian clannishness, she kept secrets and bonded with the Fab families: Ringo’s mother became a maternal figure for the motherless Freda; Paul’s dad taught her how to drink. More personal intimacies involving the boys will remain unspoken, as Freda remains protective of her former charges, even after 40 years of settling into a normal life. (PG) ROBERT HORTON Sundance IN A WORLD... Carol Solomon (writer-director Lake Bell) is a voice nerd, fascinated by the accents she covertly tapes with her ever-present Dictaphone, yet her career is confined to voice coaching, not doing voiceovers for movie trailers, her family trade. When her widowed father Sam (Fred Melamed) kicks her out of the house to make way for a young new girlfriend (Alexandra Holden), he condescendingly tells Carol, “I’m going to support you by not supporting you.” Implicit in his rebuke is that women, with their higher voices, have no place in his manly profession. Then the couch-surfing Carol catches a break at a recording studio run by amiable Louis (Demetri Martin). Everything that transpires among Lake’s players is predictable, but in a pleasant, breezy way. In a World… plays like an overstuffed sitcom, with Carol’s wacky friends and neighbors dropping in for brief, effective bits (these include Nick Offerman, Rob Corddry, and Tig Notaro). It’s a knowing industry satire, but not a mean industry satire. (R) BRIAN MILLER Sundance INEQUALITY FOR ALL The basis for this advocacy doc, Robert Reich’s Aftershock, was published three years ago as we were tentatively clambering out of the Great Recession, which began with the subprimemortgage collapse of 2008. The market is up today, but we also have a jobless recovery for the middle class. Why is that? Using the same graphs he employs as a UC Berkeley professor, Reich shows how the inequality curve began climbing in the ’80s, accelerating with the deregulation of financial markets during the Clinton era (when he worked in the White House). It’s a 40-year trend, with technology, globalization, outsourcing, and other causes. To counter that trend, Reich advocates federal stimulus and other policies to grow the middle class and get it spending again, to raise that median income (essentially flat since the pre-OPEC ’70s). Reich would raise taxes on carbon and capital gains, and he encourages federal spending in areas like bridge repair and infrastructure. Meanwhile, Republican rhetoric about an “opportunity society” has become a cruel irony: Social mobility is heading in the wrong direction, making the country ever more polarized. And that is why, despite Reich’s ebullience, this is such an important, dismaying film. (PG) BRIAN MILLER Harvard Exit PRISONERS Crime movies about child abduction raise the usual alarm bells. Here’s a chance for actors to shriek and curse, to pound the floor and squeeze out those Oscar-friendly tears. Yet writer Aaron Guzikowski and director Denis Villeneuve mostly tamp down the emotional explosions in this damp, depressive thriller; there’s a mood of fatigue and resignation in the struggling Pennsylvania suburb where two girls go missing on Thanksgiving. Their fathers (Hugh Jackman and Terrence Howard) join the cops in combing the woods; dirty rain turns to derelict sleet; and the mothers (Maria Bello and Viola Davis) crumple into passive grief at home. The sullen detective on the case (Jake Gyllenhaal) offers little reassurance; with his tattoos and pent-up anger, he seems not just disgusted by the kidnapping suspect (Paul Dano) but by the world in general. Prisoners runs long, and the clues and plot twists are roughly knotted into the fabric. It feels like a single-season TV series trying to develop, and the only character given room to grow is Jackman’s. Dover is a contractor whose business has been cut by the recession; he’s a disaster-prepper with a basement full of canned food and guns; and he turns into a monster when he lays hands on the prime suspect. Outside of his family, he doesn’t see much good in the world. And in a film gloomily suffused with Catholicism and prayer, though looking for innocent kids, Dover finds the sinner within. (R) BRIAN MILLER Oak Tree, Woodinville, Pacific Place, Bainbridge, Varsity, Lincoln Square, SIFF Cinema Uptown, others

THE SMOOTHNESS TO BLEND IN. THE BACKBONE TO STAND OUT. Sailor Jerry’s blend of Caribbean rums lays down a

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

smooth-as-hell base for any drink. Meanwhile, its bold spiced character stands out, so even fancyass cocktails taste better.

arts&culture»Music

Middle Woman

Catching up with Cumulus’ Alexandra Niedzialkowski on the eve of her band’s brilliant debut. BY MARK BAUMGARTEN

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

Wednesday, Oct. 2 YELLOWJACKETS Felix Pastorius, son of legendary

Niedzialkowski, center, with Lance Umble, left, and Leah Julius, right.

Thursday, Oct. 3

COLT KRAFT BAND This show should be a warm-up

JESSY LOU D’APRILE

t is raining fiercely outside, but Alexandra Niedzialkowski is dry now, sitting at a Capitol Hill coffee shop sipping a steaming cup of chai. While everyone else has been curling up indoors, she has spent this Sunday afternoon putting up posters for her band’s upcoming record-release show, Thursday night at Neumos. Between the rain coming down outside and the Hill’s viciously competitive postering culture, she wonders out loud if her work was worth it. Still, she smiles broadly. A quiet energy pulses beneath her glowing countenance. Friday was her last day of work as a secretary for a very big tech company—at least for the next month. Since then Niedzialkowski has been resting, though she can’t stop writing songs. She just started a new one about how messy her apartment is. It quickly morphed, she says, into a song about the current chaos of her life, which, given her talents as a pop songwriter, would be heard by her fans as a song about the unpredictability of life in general, or their lives specifically. This is her process, she says, recalling her earliest days as a secret songwriter at Western Washington University in Bellingham. “I started just writing joke songs and singing about my day into my laptop,” she says. “That is still kind of what I do.”

Tomorrow she gets to sleep in, but it isn’t a day off. She will be joined by her bandmates— guitarist Lance Umble and bass player Leah Julius—to begin practicing in earnest for their first national tour, during which they will play 28 shows in 30 days. T hen on Tuesday, Cumulus’ debut full-length album, I Never Meant It to Be Like This, will be released on Trans-, the record label run by Death Cab for Cutie guitarist and producer Chris Walla. It is a surprising and strong debut, filled with aching power-pop songs, each located emotionally in transit, somewhere between being lost and lonely and being found and surrounded. Like debuts often are, this record is a culmination of years of writing, its contents tracking the songwriter’s journey from her Oak Harbor hometown to college, then to her musical mecca of Anacortes, and finally to Seattle.

The song that Niedzialkowski has been thinking about the most lately, she says, is “Middle.” She began writing it soon after arriving in Seattle in 2010, a time when she was fighting the urge to feel lonely. Seeking a sense of community, she snagged an internship at Sub Pop while volunteering at the Rain City Rock Camp for Girls and Hollow Earth Radio. Fittingly, she didn’t finish the song alone; Umble and Julius collaborated on the final product. “Why don’t you come along,” she sings over the song’s bright clatter. “Why don’t you get in the middle.” The oldest song on the album, she says, is the first single, “Do You Remember”—a song that upon its late-summer release was praised for its throwback ’90s indie-pop sheen, made fresh by Umble’s muscular, galloping guitar parts and Niedzialkowski’s comely coo. A potent piece of instant nostalgia, the song was penned six years ago at a time when the songwriter, now 25, sat on rooftops with her college friends, staring at the stars, drinking beer. Sitting in the coffee shop, Niedzialkowski struggles to express the feeling she was trying to evoke. I know the feeling, because the song captures it so perfectly. “Do you remember when young meant invincible?” she sings as the instrumental lifts you up as if to remind you again of that very feeling. Inf inite is the popular way of putting it. Limitless seems more fitting for Niedzialkowski. With Kithkin, Sundries. Neumos,

925 E. Pike St., 709-9442, neumos.com. $10 adv. 8 p.m. Thurs., Oct. 3. E mbaumgarten@seattleweekly.com

before Kraft and his band enter the Avast! studio to record a batch of their mid-tempo barroom ballads woozy with pedal steel and drunk on the leader’s rich baritone. Still relatively young, the band has been playing catch-up with that preternatural voice in live settings, but the new material—notably “High School” and “Minnesota”—are coming along, drinking songs you don’t have to be drunk to enjoy (though it helps). With Susie Phillips, Zach Michaud and the Washington Boys. Skylark, 3803 Delridge Way S.W., 935-2111, skylarkcafe.com. 8 p.m. $6. MARK BAUMGARTEN RICHARD MARX It is not largely recognized, but the ’80s did not end in 1991 with the opening chord progression of “Smells Like Teen Spirit.” Rather, that era of obfuscation came to a screeching halt that same year when Richard Marx cut his hair in the middle of the video for “Hazard.” That was the moment when the pretending was over, for both the ’80s and for Marx. See, Marx has exhibited an affinity for the trappings of the rocker throughout his 30-year career—leather vests, grainy footage of smoky arenas filled with screaming fans, blown-out mullet—but he isn’t a rocker. Marx is a balladeer, and an excellent one at that, responsible for contemplative adult-contemporary pop hits like “Hold On to the Night,” “Right Here Waiting,” and “Hazard,” the shearing song about the deep hell of lost love and undue persecution, which features a mandolin. Marx has gone on to write ballads for ’N Sync and Keith Urban while continuing his own craft. He is still prone to episodes of rockerism, but his brightest, most truthful songs are still the smoldering ones. Snoqualmie Casino, 7500 S.E. North Bend Way, Snoqualmie, 425-888-1234, snocasino.com. 7 p.m. $30–$47. MB

Friday, Oct. 4

FLOATER has consistently released pop-laden rock to

the world since 1994, and its latest album, 2010’s Wake, does not disappoint. The three-man Eugene, Ore., band has a cult following in the Pacific Northwest and even two Grammy nominations on their resume. “Breakdown” and “Matadors” feature the vocal-heavy rock that the group is known for. With the New Futures and Ghost Town Riot. The Crocodile, 2200 Second Ave, 441-4618, thecrocodile.com. 8 p.m. $15. ALICIA W. PRICE JUDITH HILL Where does one go musically after working with the likes of Michael Jackson and Stevie Wonder? Well, you continue to go up, of course. At least that’s Hill’s mindset. The former backup singer, who recently blew away The Voice fans with her powerhouse vocals, is stepping into the spotlight,

Saturday, Oct. 5

WIMPS As fun punk bands go, Wimps are just about

perfect. The Seattle trio builds urgent blurt-along anthems out of the most superfluous of daily annoyances—many of which result from accidentally drinking too much—and deliver them with an amphetamine beat. Tonight the band celebrates the release of a new seven-inch and shares the stage with dreamy pop act Chastity Belt, which you can read about on page 27. With Pony Time, Babies. Highline, 210 Broadway Ave. E., 328-7837, highlineseattle.com. 9 p.m. $7. MB GARY CLARK JR. is a phenomenal guitar player, but do him a favor: Don’t call him a god. In an age when electronica-fueled pop, hip-hop, and country music has rendered rock ’n’ roll a red-headed stepchild, the guitar-god moniker has ceased to carry any real weight or importance. Once, being counted among the order of six-string deities might have provided entrée into music’s highest levels of fame and adulation; the label now hangs around its newest members’ necks like an albatross. The title has become synonymous with the word “old,” and an affiliation with rock ’n’ roll’s past could usurp Clark’s role in crafting its future. As it stands, Clark has the potential to do just that—his newest record Blak and Blue is a dynamic collection of blues-flavored rock that breathes new life into a very tired format. It’s not Clark’s fault that the public at large loves to recreate the past—we all need to come to terms with the fact that Jimi Hendrix and Stevie Ray Vaughan aren’t coming back. Though no torchbearer, he’s not a throwback, nor is he rock’s salvation. He’s something entirely new and different, and while he may indeed be a guitar god, the former label is vastly more impressive. The Neptune, 1303 N.E. 45th St., 6821414, stgpresents.org/neptune. 9 p.m. Sat., 8 p.m. Sun. $29.50. CORBIN REIFF MAN MAN While the latest album from Philadelphia experimental pop band Man Man has faced accusations of being its most accessible yet, the group is still planted firmly in the world of outsider pop—as evidenced by the live experience, which mixes the band’s cacophonous dance music with a lot of bubbles, neon, and the antics of leader Honus Honus, who is so committed to crowd participation that he will grab his fans by the face to pull them into his songs. So, yeah, I guess that is a kind of accessibility. With Xenia Rubinos. Neumos, 925 E. Pike St., 709-9467, neumos. com. 8 p.m. $18 adv. MB PAPA ROACH Even though the guys in Papa Roach are probably filthy millionaires at this point, they still always sing about how sad they are. Vocalist Jacoby Shaddix is always about to “cut his life into pieces” or reopen his scars or something. He and Billie Joe Armstrong from Green Day should do a “40-Year-Old Dudes With Eyeliner” tour. With Pop Evil and Age of Days. Showbox at the Market, 1426 First Ave, 628-3151, showboxpresents.com. 8 p.m. $25 adv./$30 DOS. All ages. KELTON SEARS BON JOVI is such a mammoth touring attraction that the first half of the band’s +100-stop current world tour generated over $140 million. Even the recent emergency gall-bladder surgery of drummer Tico Torres couldn’t slow the New Jersey rock vets. They’ll play Tacoma tonight with backup drummer Rich Scannella. Tacoma Dome, 2727 E. D St., 253-272-3663, tacomadome. org. 7:30 p.m. $30 and up. DL CONSTANT LOVERS In a city with plenty of high-quality heavy rock, Constant Lovers stands out by throwing especially thunderous percussion into the mix. The band recently added local ampsmith Ben Verellen, playing what very likely may be the largest bass drum in the entire city. Macefield Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended

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SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

“I started just writing joke songs and singing about my day into my laptop,” she says. “That is still kind of what I do.”

bassist Jaco Pastorius, joins the long-running jazzfusion quartet tonight, playing songs from their 22nd LP, A Rise in the Road. Jazz Alley, 2033 Sixth Ave., 4419729, jazzalley.com. 7:30 p.m. $24.50. DAVE LAKE GLENN TILBROOK OF SQUEEZE Squeeze is one of the great unsung bands of the ’80s, and Tilbrook was half its songwriting team. Hear favorites like “Pulling Mussels (From the Shell)” and “Tempted” as they sound best: in an intimate, seated environment. With Joe Michelini. The Tractor, 5213 Ballard Ave. N.W., 7893599, tractortavern.com. 8 p.m. $20. DL

and is set to release her debut album later this year. With Josh Groban. KeyArena, 305 Harrison St., 6840761, keyarena.com. 8 p.m. $60 and up. All ages. AZARIA PODPLESKY

mainstage

dinner & show

WED/OCTOBER 2 • 7PM & 9:30PM

john scofield’s uberjam THU/OCTOBER 3 • 8PM - LILY VERLAINE PRESENTS FRI/OCTOBER 4 & SAT/OCTOBER 5 • 7:30PM & 10:30PM

la danse! le burlesque! l’edition francaise!

SUN/OCTOBER 6 • 7:30PM EARSHOT JAZZ FESTIVAL & KBCS 91.3 WELCOMES

vinicius cantuaria

MON/OCTOBER 7 • 7:30PM - KBCS 91.3 WELCOMES

bob schneider w/ gabriel kelley TUE/OCTOBER 8 • 7:30PM - STG PRESENTS

kat edmonson w/ shelby earl WED/OCTOBER 9 • 7:30PM - 91.3 KBCS WELCOMES

dave simonett (trampled by turtles) w/ ark life (acoustic trio)

THU/OCTOBER 10 • 8PM

SEATTLE WEEKLY • OCTOBER 2 — 8, 2013

wendy ho

next • 10/11 hypnotikon: cave, lumerians, midday veil, fungal abyss • 10/12 hypnotikon: silver apples, cloudland canyon, night beats, jetman jet team • 10/13 greg brown w/ love over gold• 10/16 mehliana (brad mehldau and mark guiliana) • 10/18 carbon leaf w/ brian wright • 10/20 the bad plus • 10/21 savoy brown • 10/24 - 31 this is halloween! • 11/1 - 3 manhattan transfer

happy hour every day • 10/2 charles mack • 10/3 first thursday art opening w/ dave morrow / billy brandt • 10/4 shady bottom • 10/6 d’vonne lewis’ limited edition trio • 10/7 monday night jazz w/ synthesis • 10/8 singer-songwriter showcase featuring: vince martinez, susy sun and rl heyer • 10/9 wes weddell • 10/10 midtown groove TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1 HOUR PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

arts&culture»Music Music Festival (see page 44), Tractor Tavern. 9 p.m. $10 adv./$15 DOS. 21 and over. KS FAME RIOT If Lady Gaga and David Bowie gave birth to two children in a disco maternity ward in outer space, they would be Fame Riot. These dudes churn out factory-fresh pop bangers and wear the glitzy getups you only wish you could pull off. The pants. Are so tight. Macefield Music Festival, Tractor Tavern. 6 p.m. $10 adv./$15 DOS. 21 and over. KS

Sunday, Oct. 6

HOUSES’ sophomore release, A Quiet Darkness, cap-

tures the loneliness felt by a husband and wife as they struggle to reunite along a California highway in the midst of a nuclear disaster. Seriously. In reality, the married couple that makes up the Chicago-based indie duo, Dexter Tortoriello and Megan Messina, are doing just fine. With Amp Live. Barboza, 925 E. Pike St., 7099467, thebarboza.com. 8 p.m. $10. 21 and over. AP LE1F In the music video for “Wut,” Le1f raps while sitting in the lap of a buff gentleman wearing a Pikachu mask. If this hasn’t already sold you, let me assure you that Le1f is indeed one of the funnest rappers in the game right now. His songs are a suave strut through a bounce-tastic night at the club, bubbling with silky come-ons and trickling beats, especially on his lush new mixtape, Tree House. Opening is Antwon, a fascinating lyricist who spits over everything from classic, funky ’90s beats to post-rock and shoegaze samples—a pleasantly confusing clash of styles that forges exciting new ground. Antwon’s shows are rumored to be more punk than hip-hop, which makes sense in light of his upcoming tour with Vancouver,

Laura Veirs

Friday, October 4

Monday, Oct. 7

J. RODDY WALSTON AND THE BUSINESS The

lyric video for this Baltimore-by-way-of-Tennessee quartet’s “Heavy Bells,” off its latest album, Essential Tremors, features a record player that starts smoking as the song peaks—a simple yet effective visual for the band’s blend of Southern rock and punk attitude, capped by Walston’s mumble-heavy singing style. With Gringo Star and Stag. Tractor Tavern. 8 p.m. $10 adv./$12 DOS. 21 and over. AP

Weft is the songwriter’s ninth solo release, and Veirs’ serious commitment to her craft and the women who inspire her is fully palpable on it. Some ladies might slow or suspend their songwriting to raise their children, but Veirs’ growing family appears to invigorate her—she even tours with her kids. “I’m haunted by the idea that something terrible could happen to my kids, but that fear pushes me to embrace the moment,” Veirs says in a press release. “This record is an exploration of extremes—deep, dark suffering and intense, compassionate love.” For all its heaviness, the album’s great storytelling and musicianship, true to its name, always tacks back to the bright side (there’s origami in some copies, to boot). Veirs’ strong instincts guide these 12 songs, and she knows when to take a step back, as she does on “Sun Song,” allowing Case’s backup vocals a haunting resonance. For her part, Veirs’ clean, lilting voice never fails to convey Warp and Weft ’s overarching message: Follow your intuitions and everything’s going to be OK. With Karl Blau. The Tractor, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9:30 p.m. $15. GWENDOLYN ELLIOTT

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aura Veirs’ stunning new album, Warp and Weft, is full of double meanings and loaded lyrics—not to mention an enviable who’s-who in the studio (Neko Case, Jim James, k.d. lang, Karl Blau, and her husband Tucker Martine, to name a few). The album was recorded while Veirs was eight months pregnant with her second child, a fact that adds extra weight to some of its themes: gun violence, spirituality, fleeting moments. Singing about the first of these, on “America,” she twists the idea of this nation as promised land: “Every madman finds his piece in America.” The upcycled traditional “Say Darlin’ Say” recalls the industrial tones of PJ Harvey or Suzanne Vega, and it’s absolutely righteous—the new “Single Girl, Married Girl” anthem for the ’10s. The track that follows, “That Alice”—as in Coltrane—lovingly joins the deceased jazz harpist’s accomplishments to Veirs’ deep respect for her artistry and grace. (Veirs similarly lauds the “first lady of bass” in “Carol Kaye” from her album July Flame.)

B.C., thrashers White Lung. For hip-hop heads on the adventurous side, Chop Suey is the place to be tonight. With Lakutis. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 9 p.m. $10 adv./$12 DOS. 21 and over. KS FATHER JOHN MISTY, aka Joshua Tillman, has stolen the hearts of many music lovers since splitting from Fleet Foxes and going solo last year. His drawling voice and sarcastic humor—not to mention his groovy, possibly ayahuasca-addled dance moves—make for a show that should not be missed. With Kate Berlant. Moore Theatre, 1932 Second Ave., 467-5510, stgpresents.org/ moore. 7 p.m. $25. AWP BLUE OCTOBER The last time Justin Furstenfeld and co. came through Seattle, they brought all the things you’d expect from an act that’s been pulling heartstrings via Gothic alt-rock since the early ’90s: drama, fog, and lots of feelings. It’s safe to assume tonight’s show will bring loads more of that, as their newest release, Sway, is their sappiest yet. With the Unlikely Candidates and Tori Vasquez. Showbox at the Market. 7:30 p.m. $30. All ages/bar with ID. KEEGAN PROSSER

arts&culture»Music SAXON As one of the key bands in the new wave of

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out of a garage, tonight is a great night to venture out. Vintage Japanese shredmasters Guitar Wolf will join the Coathangers, Atlanta’s premier ladypunks, responsible for penning classics such as “Don’t Touch My Shit” and “Nestle in My Boobies.” With Coward, Trash Fire. Chop Suey. 8 p.m. $13 adv./$15 DOS. 21 and over. KS MARK LANEGAN The deep-voiced Screaming Trees singer has had an unpredictable solo career, following his artistic muse wherever it takes him. His latest album, Imitations, is a covers record, with songs from his parents’ record collection alongside those from his contemporaries, veering from Neil Sedaka to Nick Cave. With Sean Wheeler and Zander Schloss. The Neptune. 8 p.m. $26.50. DL

Macefield Music Festival Saturday, October 5

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or those unfamiliar with the local history that inspired this festival’s name, a quick lesson. In 2006, octogenarian Edith Macefield refused to sell her Ballard home to commercial real-estate developers, famously turning down a $1 million offer for her property. The striking image of her tiny home surrounded by five-story concrete walls during the construction project stood as a testament both to her stubbornness and to her love of the heretofore working-class neighborhood where she lived. It stands to reason, then, that the festival bearing Macefield’s name is also informed by civic pride. In August, Seattle Weekly announced the cancellation of Reverb, a showcase of local music that had been running for eight years. Shortly thereafter, talent booker Kwab Copeland, who’d programmed Reverb for its duration, teamed up with three other Seattle music-industry veterans, all of whom sport tattoos of Macefield’s house, and resurrected the festival under a new name.

the British heavy-metal movement, Saxon helped define the genre and influenced scores of important metal acts, including Metallica. The current lineup features founding members Bill Byford and Paul Quinn, who have been with the band for nearly 40 years. With Fozzy. Studio Seven. 110 S. Horton St., 286-1312, studioseven.us. 7 p.m. $20 adv./$25 DOS. DL KAT EDMONSON’s latest, 2012’s Way Down Low, sounds like a record of yesteryear—not in the production, but in the singer’s vocals: The Austinbased songbird makes jazzy pop songs with a vintage twist. Her voice is both fresh and timeless, at times so light it sounds as if it could float away from the music at any second. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $20. All ages. AP

Though without an all-ages component, Macefield looks to maintain much of Reverb’s spirit and will feature a lineup originally selected with the help of Seattle Weekly ’s music staff and contributors. The festival remains a diverse cross-section of Seattle’s musical talent, as well as a place to catch upand-coming local acts before they blow up— the 2007 festival, for instance, saw Fleet Foxes and Macklemore perform three hours apart at the Sunset Tavern. Macefield this year may not boast the next Macklemore, but it has its share of rising talent. Tacoma rap collective ILL FIGHTYOU headlines a strong slate of hiphop rounded out by Jarv Dee and Key Nyata; producers Kid Smpl and Vox Mod are the best of Constant Lovers the fest’s electronic music; and on the rock front, fresh faces like LURES and Learning Team are buoyed by veteran acts like The Intelligence and Constant Lovers. It’s tough to say what Macefield would think of the music—she preferred opera—but it’s not hard to imagine she’d appreciate the community-building sentiment behind this new-but-old festival. Various artists. Ballard (Tractor, Sunset, and Conor Byrne taverns), macefieldmusicfestival.com. $10 adv./$15 DOS. ANDREW GOSPE

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JUST ANNOUNCED 10/21 EARTHLESS / THE ICARUS LINE 10/24 CAPSULA 11/8 LOUNGE MEGA RAN W/K-MURDOCK 12/3 LOUNGE DANIELIA COTTON 12/5 SUICIDAL TENDENCIES 2/6 NEO GEO / STITCHED UP HEART 5/10 PRIMAL FEAR UP & COMING 10/9 ICON FOR HIRE 10/10 FUCKED UP / TERROR 10/10 LOUNGE HUGH CORNWELL 10/11 THE MAINE / ANBERLIN 10/12 ZEKE (20TH ANNIV. SHOW) 10/13 MOURNING MARKET 10/14 STEPDAD 10/14 LOUNGE THE MAXIES 10/15 THE PRETTY RECKLESS 10/16 LIONS LIONS 10/19 MONSTERS SCARE YOU 10/22 SUICIDE GIRLS: BLACKHEART BURLESQUE 10/25 THE ONE MIC COMEDY TOUR FEATURING: SHULI EGAR & MADDOG MATTERN 10/26 MONETA 10/26 LOUNGE INTO THE FLOOD Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

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with The Faceless, Contortionist, Safety Fire, and Lo’ There Do I See My Brother Doors at 6:30 / Show at 6:45PM All Ages/Bar W/ID. $20 ADV / $24 DOS

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we all are for another wave of epic, rowdy rock— with a punk disposition, of course. (Fri., Oct. 4, Neumos) KEEGAN PROSSER Don Muro, It’s Time (10/8, Light in the Attic, donmuro.com) It’s easy to forget in 2013, when dance music is more popular than ever and anyone with a MacBook and a copy of Ableton can be called a “producer,” that there was a time when making electronic music was difficult. In the 1970s, synthesizers were expensive; recording tools were primitive compared to today’s infinitetrack DAWs; and the audience for electronic music, though certainly not invisible, was much smaller. This is the context in which composer, music educator, and synthesizer wizard Don Muro amassed the equipment and recording know-how to make It’s Time, a largely forgotten work that Light in the Attic has remastered and reissued. Released in 1977, the same year as celebrated electronic records like Kraftwerk’s Trans-Europe Express and Giorgio Moroder’s From Here to Eternity, it’s the labor of a studio

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HALIE LOREN TUES, OCT 15 - WED, OCT 16

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ADAM BURKE

and the latest reviews.

Mark Pickerel, Tess (out now, Candy Cross, bloodshotrecords.com/artist/mark-pickerel) For music called “tumbleweed noir,” there’s a sense that Mark Pickerel’s dark Americana relies as heavily on mystique as on musicality. Pickerel, of course, has history: His work with Nirvana, Screaming Trees, and Truly put him on the map. Nowadays, his solo career notwithstanding, collaborations with the likes of Neko Case and Brandi Carlile maintain his relevance. For someone so attuned to the zeitgeist, Tess, Pickerel’s third album with his band His Praying Hands, seems like it’s trying too hard. Finely played though it may be, Craig Flory’s sax solo on “Your Avenue” seems a little grabby of the ’80s nostalgia Justin Verner so acutely tapped into on Bon Iver, Bon Iver. (Actually, I can’t help but hear Hall & Oates’ “Maneater.”) Adding to the irony: Though Pickerel has a intuitive sense of how to collaborate and plays with some great musicians here ( Jeff Fielder, Maggie Bjorklund, Jim and Johnny Sangster, Zoe Muth), their efforts are often obscured. For instance, except for her small parts in “I Study Horses” and “The Throes of Love,” Muth’s tender twang is lost to layers of reverb. “Burn the Shrine,” Tess’ best track, brings the talents of Pickerel’s crew into better balance, toning down lead vocals that make way for Barb Hunter’s haunting cello and Johnny Sangster’s sharp, steely guitar. Only eight tracks long, the album might have more moments like these to share if only Pickerel had stepped back to let his band do more of the work. (Fri., Oct. 4, Easy Street) GWENDOLYN ELLIOTT

P R OMO TION S

DAVE HOLLAND - PRISM: FEATURING KEVIN EUBANKS, CRAIG TABORN AND ERIC HARLAND TUES, OCT 8 - WED, OCT 9

MUSIC NEWSLETTER

arts&culture»Music

Hobosexual, Hobosexual II (10/4, self-released, reverbnation.com/hobosexual) These guys are storytellers. That was clear on Hobosexual’s 2010 self-titled debut, and is even more so on Hobosexual II. For their sophomore effort, the local duo of Jeff Silva and Ben Harwood took the storytelling thing to the next level, mixing their love of ’70s-influenced riffs and ’80s glam rock to create a complex story about a post-apocalyptic world. The year is 2071, the protagonist is Kara, and the mission is to save the radiation- and poison-infested earth from the grasp of the “Sex Destroyers” street gang. The scene is set instantly by the aggressive opening notes of “Switchblade Suburbia,” a sonic assault that makes the following track, the rolling, bluesy “The Black Camaro Death,” an even bigger surprise. The album’s high point is “A Motherfuckin’ Song,” a chant-heavy banger that’s part Sabbath and part My Chemical Romance (the catchy call-and-response thing, not the annoying emo-goth thing). It’s this variety of straightforward rock ’n’ roll and arena-ready anthems that makes Hobosexual II so compelling. The duo has found a perfect mix of nostalgia and novelty on this release, and the result is an homage to the greats that showcases just how hungry

geek enthralled with the infinite-seeming possibilities of the synthesizer and the recording studio. Which is to say that It’s Time is squarely a product of the ’70s. Though some tracks are synth-based—the multi-suite epic “Current Events” and the dancey “Squash” are the best examples—the album is a stylistically diverse studio experiment. There’s Steely Dan–esque synth-funk, smooth-jazz ballads, and a lot of stuff that sounds like standard ’70s AOR with electronic flourishes. The genre-hopping is permissible because the end results are thoughtfully composed and pristinely recorded. The next time you play something by Daft Punk (which gives props to Moroder on its new album) or attend a themed EDM bass-drop fest, remember that it was near-obscure pioneers like Muro who presaged the popularity and convenience of modern electronic music. ANDREW GOSPE

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toke signals»By Steve Elliott This Is How You Do It

’ve said it before, but it bears repeating: Medical-marijuana farmers markets are the purest form of patient empowerment short of growing your own. It’s a paradigm-changer. With booths lined up side by side, patients are in the driver’s seat. If one farmer/vendor doesn’t have the strains or the prices you’re looking for, keep walking—there’s another booth right there. And you can try the medicine, on the spot, at many booths—lots of them keep a pipe on hand just for that purpose. Not only does this exert downward pressure on prices through good old free-market competition, but it also puts upward pressure on quality,

STEVE ELLIOTT

products from the same fair location each Saturday. (If your feet are sore, you really should check out the Diana’s World foot balm . . . it got me through the second and third days of Hempfest this year.) Once you’ve shown your medical-marijuana paperwork and Washington ID at the door (both are required for entrance), you’re free to browse at your leisure among booths numbering just over a dozen on the Saturday I visited. The booths that day were predominantly vending flowers and concentrates, but with several medibles vendors also on hand, a good selection of treats was easy to Ripper Haze find. The default price for topshelf cannabis flowers at the Farmers Fair is $10 a gram, but a little shopping around will yield some bargains; I saw grams for as low as $7. Top-shelf ounces averaged around $200, but there were $150 ounces available as well, and I saw some bargain-basement ounces for as low as $75. Even the pickiest connoisseur, though, can find plenty to love at $10 a gram. I found some spectacular Ripper Haze at that price, and can definitely because if your strains or medibles don’t measure say that it puts to shame quite a few strains up to your neighbors’, guess where folks are for which I’ve paid $12 or $14 in Seattle. The going to spend their money? same goes for the big, gorgeous flowers of Jack The parking lot was almost full by the time Z I found; for some Inland Empire Kush with I arrived at the Kitsap Cannabis Farmers Fair an inviting, slightly cheesy smell; and for some recently (they’re held every Saturday in Gorst, scraggly but potent Afgoo. I was happy to have just east of Bremerton), but I was able to secure all three for $10. a spot right in front of the building, a converted If you want to see what I’m talking about church house. when I say “medical-marijuana community,” As an illustration of the deep local roots the check out this market. E vendors have, one of the couples with a booth at the fair, Wink and Diana (Diana’s World of tokesignals@seattleweekly.com Canna Beauty & Skin Health), got married in Steve Elliott edits Toke Signals, tokesignals.com, this very building a few years ago; now they vend an irreverent, independent blog of cannabis news, an expanding line of cannabis-infused topical views, and information.

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s 3)'. /. "/.53 &/2 2%#%.4 '2!$3 s %ARN UP TO YEAR BASED ON EXP s #ONSISTENT MILES

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

EOE M/F/D/V

HALLOWEEN COSTUMES COMING SOON!

FIND YOUR

REASON TO

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Employment General

ADVERTISING & MARKETING COORDINATOR Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. is seeking an Advertising and Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, event sponsorships and glossy publications. Responsibilities include but are not limited to management of digital inventory in DFP, social media, contesting, events, house marketing, newsletters and coordinating with staff as it relates to these duties. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match). If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to hreast@soundpublishing.com

No phone calls please.

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

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

866-867-5048

SleepoverRover.com

Employment General

PRINT AND DIGITAL ADVERTISING SALES MANAGER

MARKETING COORDINATOR

Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. is seeking a dynamic and motivated Print and Digital Sales Manager. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first problem solver who thrives in an exciting, hectic, fastpaced sales environment and can balance a variety of responsibilities. He or she will have a proven track record of sales and revenue growth, the ability to think ahead of the curve, and also possess the motivational techniques required to develop a successful staff and exceed revenue targets in print and online. Applicants should have 1-2 years of management experience as well as media and online sales/marketing experience. Position also requires use of personal vehicle, possession of valid WA State Driver’s License and proof of active vehicle insurance. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter along with salary requirements to

The Daily Herald, Snohomish County’s source for outstanding local news and community information for more than 100 years and a division of Sound Publishing, Inc. is seeking a Marketing Coordinator to assist with multi-platform advertising and marketing solutions of print, web, mobile, e-newsletters, daily deals, event sponsorships and special publications as well as the daily operations of the Marketing department. Responsibilities include but are not limited to the coordination, updating and creation of marketing materials across a range of delivery channels, social media, contesting, events, house marketing, newsletters and working closely with the Sr. Marketing Manager to develop strategies and implement the marketing plan. The right individual will be a highly organized, responsible, self-motivated, customer-comes-first proven problem-solver who thrives in a fast-paced, deadline-driven environment with the ability to think ahead of the curve. We offer a competitive salary and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.) If you meet the above qualifications and are seeking an opportunity to be part of a venerable media company, email us your resume and cover letter to

VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience. Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601

DRIVERS A NEW OPPORTUNITY! Are you money-motivated, outgoing & have a positive attitude? Do you have a P/U truck and want to travel the US? Take home *$2000 to $4000/week* No investment, we train. Must have valid drivers license & insurance. CALL NOW! Call 877.235.8490

Call Barry

260.255.9688

Apartments for Rent King County University District 1, 2 and 3 bedroom apts available for pre-leasing. 206-441-4922 9am–2pm

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

Home Services Excavations

Excavation Work Specializing in Small & Medium Jobs Demolition Trenching & Grating Brush/Stump Removal Hauling Services Top Soil/Bark/Rock

206-510-3539 Licensed, Bonded & Insured Home Services Drafting/Design

HOME DESIGN and CAD DRAFTING 360-386-9332

WA Misc. Rentals Want to Share

Any kind of

WA Misc. Rentals Want to Rent

YARDWORK *Bark *Weed *Trim *Prune *New Sod *Thatching

*Paving Patios *Rockery/Retaining Walls *General Cleanup

Call Steve

206-244-6043 425-214-3391

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

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

We work Full-Time Year-Round.

REQUIREMENTS:

Min. 2 Years Tree Climbing/ Trimming Experience. Must have own Gear (Saddle, Spurs, Ropes & Climb Saw) Valid Driver’s License & Vehicle

$160-$200/ day + OT

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

SELL YOUR MORTGAGE Note for Instant Cash! If you sold a property and took back a mortgage, we will buy that mortgage for instant cash! Call Today! 877-281-1445. Peevedcallevenow.com

Flea Market

STANOPLE cymbal 15” with rivets, made in Italy $125. 360-830-5979 1940’s LUDWIG & Ludwig 13” ton $125. 360830-5979 3 DRAWER DRESSER with mirror. 1943 style in excel cond! $150. Bellevue 425-641-0643. BEAUTIFUL VANITY Table with large mirror in excellent cond. $150. Bellevue 425-641-0643 Antiques & Collectibles

#1 MUSIC Collection 45’s, LP’s, Cassettes All excel! Various styles from mid 1960’s - mid ’s 1980 . Bring best offer, asking $600. 206-4440852. billandlaurie@comcast.net *WARHOL WANTED* Lichtenstein -S. Fairey, etc. Auction price competitive offers. Complimentary valuation. zyart@pacbell.net 310-259-9188

lic#stevegl953kz

Home Services Remodeling

WISH TO Rent to own, Cabin, Cottage or Trailer with water and power. Can pay $1000 per month. 206367-0913. Deperate, please help.

Professional Services Music Lessons

Professional Services Professional

Home Services Landscape Services

TUKWILA $550 month. Your own private living room, bedroom, bath. Private Entrance. Sink, fridge and counter area plus free TV. View, off street parking. Own parking place. Laundry on-site. Large quality home. Also, same type of smaller unit for $490. Employed with steady income. References and deposit required. No Smoking, No Pets. 1 Adult Only. 206-241-1700 Evenings

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

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

U-DISTRICT $425-$500 All Utilities Included! Call Peir for more info (206) 551-7472

Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298

Call

25 Years Experience

Employment Social Services

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

Local run, no long haul. Full benefit package,

Cellco Partnership and its controlled affiliates doing business as Verizon Wireless is proposing to replace existing antennas and add new antennas on the rooftop of a building located at 1334 Alaskan Way, Seattle, WA 98101. The overall height of the building including antennas is 92-feet. Public comments regarding potential effects from this site on historic properties may be submitted within 30-days from the date of this publication to: Paul Bean, Tetra Tech, Inc., 19803 North Creek Parkway, Bothell, WA 98011, 425-482-7811, paul.bean@tetratech.com

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

hreast@soundpublishing.com

CDL Flatbed Driver

Announcements

hreast@soundpublishing.com No phone calls please.

Employment Transportation/Drivers

No phone calls please.

< < < < < < < < < < < < NORTHEND MASSAGE< < FOR YOUR HEALTH < < < < LAURIE LMP, < < < < 206-919-2180 < < < < < < < < < < < <

4General Remodeling/ Construction 4Structural Rot Repairs 4General Home Repairs 4Stair Building/ Repairs 4Door Insulation 4Sheetrock Talk to Dennis 206-409-9264 Credit Cards Accepted Lic # TANDEC*040R4

Tools

# 1 TOOL/HOUSEHOLD Sale! Moving! Whole house must go! Welder, sander, layout table. Furniture, 42” TV, electronics, computer, desk, queen bed, freezer, dishes, small appliances! Professional women’s clothing too! Hole punch, clamps, 2 large tool chests, gas tanks. I’ve got it all. SeaTac 206444-0852. billandlaurie@comcast.net

Miscellaneous

Automobiles Classics & Collectibles 45th Annual Monroe Swap Meet, October 12th & 13th, Evergreen State Fair Grounds, Monroe Wa. Vendors $40/per stall per weekend. Car Corral, $40 per stall per weekend. Free Admission. Saturday 8am-5pm. Sunday 8am-3pm. Autos, Motorcycles, Tractors, Stationery Engines, Parts, Antiques & Collectibles. www.aarcbellingham.com

Auctions/ Estate Sales

billandlaurie@comcast.net

PUBLIC AUCTION FREEZER, UPRIGHT, $150. SeaTac 206-4440852. billandlaurie@comcast.net

WELDER, EXCELLENT working order. Incl copper wire & gas tanks. $150. SeaTac 206-4440852. billandlaurie@comcast.net

Garage/Moving Sales Pacific County Tacoma

GARAGE SALE: 1054 S. 88th St. Friday Oct. 4th. & Saturday Oct. 5th. 9am-4pm. Moved, lots of household items, Toys, Christmas decor, trampoline, sewing machine, old cabinets for garage storage, windows, & misc.

King County Surplus Sat October 5th -9 am

3005 N.E. 4 th, Renton, WA.

Previews Thursday, Friday 3rd-4th

No Buyers Premium Autos, Pickups, Trucks, Vans, Machinery, Heavy Equipment,much more!! Chech web for photos & lists. Harold Mather Inc. Auctioneers 253-847-9161 WSL144

www.matherauctions.com

Classified Ads Get Results!

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

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

As an Order Generator for TLC4Homes Northwest you speak to Home Owners and set them to meet with our Trained/Certified Arborists. Our Arborists Provide Home Owners Free Estimates and Free Safety & Health Inspections for Tree & Shrub Trimming, Pruning & Removal Services. Work year round helping home owners keep their Trees Safe & Beautiful!

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

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

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

509-227-7410 ext. 3304 or 3308

SEATTLE WEEKLY • O CTO BER 2 — 8, 2013

HELP WANTED!! Make up to $1000 A Week Mailing Brochures From Home! Genuine Opportunity! No Exp. Required. Start Immediately! www.themailinghub.com

Employment General

Classified

Call

@ 206-623-6231, to place an ad Burien Room For Rent... $130 a week w/no deposit! Includes Cleaning and Util. 206-762-2757

HAPPYHAULER.com Debris Removal • 206-784-0313 • Credit Cards Accepted!

Earn $100 per donation!

WWW.KIRKLANDGOLDBUYER.COM

If you have severe or life-threatening Allergies or an Autoimmune Disease your Plasma is vital. Learn more at www.plasmalab.com 425-258-3653 Fight for economic justice! Phone outreach jobs build your comm skills. Part Time M-F, Univ. District Call to set up an interview: 206.632.7734

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

Singing Lessons

FreeTheVoiceWithin.com Janet Kidder 206-781-5062 WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

Need frequent rescue from your controlled ASTHMA? Local doctors are looking for patients with uncontrolled asthma to help evaluate an investigational drug. Local doctors are currently conducting the LAVOLTA I research study for patients who are unable to control their asthma, despite the use of conventional asthma controller medications. They want to evaluate an investigational asthma drug to see if it can help better control asthma symptoms. If you’ve been medically diagnosed with asthma and are having difficulty controlling your symptoms, even with conventional asthma controller medications, please consider learning more about this study. To be considered for a screening visit, you must: • Be between 18 and 75 years of age • Have received an asthma diagnosis at least 1 year ago • Be taking an Inhaled Corticosteroid and a second asthma controller medication for the last 6 months, with no dose changes to these medications in the 4 weeks prior to the study To learn more, please contact: • Have asthma that is not controlled by these medications ASTHMA Inc Clinical Research Center All study-related visits, tests and investigational drugs will be provided at no cost. 206.525.5520 • studies@asthmainc.org In addition, reimbursement for time and travel may be provided. www.asthmainc.org

Meds Mari

The Only Safe Access in Mason County!

Massage Therapy $60 Auto & L&I with Prescription, not limited to MMJ Patients By appointment only.

Belfair

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

Shelton

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HAPPY HOUR MONDAY p ½ OFF DOOR 11PM-4PM 2,4,1 TUESDAY p 2 FOR THE PRICE OF 1 @ THE DOOR BOEING RECOGNITION WEDNESDAY p½ OFF DOOR* MICROSOFT RECOGNITION THURSDAY p ½ OFF DOOR* MILITARY FRIDAY p½ OFF DOOR* *I.D. Required American Liberty Adult Store

Select from a variety of DVDs, Mags, and Toys. Buy, Sell, Trade!!!! Ask Clerk for details about how you can save $$$ on your next purchase. Find us on Facebook @ jerrywoodhead · Follow us on Twitter @dancingbarestrp OPEN MON-SAT: 11AM - 2:30AM & SUN 2PM - 2:30AM

A Class Action Lawsuit Has Been Filed Alleging That Many Current and Former

EMPLOYEES ARE ENTITLED TO BACK PAY Under the Federal Fair Labor Standards Act.

You may be owed wages for the time that you worked.

TIME MAY BE SHORT.

Call today: 1-855-436-1832 Email: amazonclaims@johnsonbecker.com

Rebecca Roe, Esq. Adam Berger, Esq. Schroeter Goldmark & Bender 810 Third Avenue, Suite 500 Seattle, WA 98104 (206) 622-8000

Johnson Becker 33 S. 6th St., Suite 4530 Minneapolis, MN 55402 (612) 436-1800