Where to drink coffee in Seattle that’s not Starbucks

One of the things that Seattle is best know for is coffee. Sure, our city is home to Starbucks and Seattle’s Best but it doesn’t mean that you need to rely on these corporate giants to caffeinate you during your visit. Here is a list of small indie roasters and coffee shops that are worth a visit to.

These great places are serving coffee from a local roaster Herkimer Coffee:

Herkimer Coffee Shop and Roaster 7320 Greenwood Ave N – Seattle, WA 98103

Analog Coffee 235 Summit Avenue East – Seattle, WA 98102

Porchlight Coffee and Records 1318 E Pike Street Seattle, WA 98122

Coffee made from beans roasted by another great local roaster Fonté Coffee can be found here:

Fonté Cafe and Wine Bar 1321 First Ave Seattle, WA 98101

Joe Bar Cafe 810 E Roy St  Seattle, WA 98102

Another local classic Victrola Coffee Roaster has three cafe locations:

310 E Pike Street Seattle, WA

411 15th Avenue E Seattle, WA

3215 Beacon Ave. S. Seattle, WA


Georgetown Liquor Company

ADDRESS: 5501-B Airport Way S. 

WEB SITE:  http://georgetownliquorco.com
HOURS: 11 a.m.-2 a.m. Monday-Friday, 2 p.m.-2 a.m. Saturday and Sunday



Don’t let the name fool you; Georgetown Liquor Company offers up what Georgetown does best: PBR and microbrews, well-tattooed workers, and a bevy of unique patrons. Housed in a turn of the century building, the venue offers 100% vegetarian fare with most items able to be served vegan, making it a distinct addition to the bars lining Airport Way South.


With a creative menu and high-quality ingredients, the cuisine you’ll find here is not cheap bar food, though it remains on par price-wise with the other offerings along Airport Way.. An appetizer will set you back about $7, a full entrée (of which there are only two) costs about $10, and a sandwich (served with soup, salad, or chips and salsa) is the best value at $8.


If you’re feeling decadent, the goat cheese wontons ($7) are little pockets of hot goaty fun, complimented well by a ginger dipping sauce. I also recommend the polenta appetizer; filled with parmesan and asparagus and topped with a minty peach-ginger puree, it is cornbread gone gourmet.


The sandwich menu is where the most fun is, with a wide selection of hot, cheesy, meaty stacks to quell any appetite.  Of course, the meat is fake – sandwiches are made with a few hearty slices of Fieldroast, a meat substitute made locally in Georgetown – and one can always opt for vegan cheese.  The names of each sandwich follow the sci-fi theme of a somewhat unnerving mural on one wall.  My favourite is the Picard ($8); lentil-sage fieldroast, roasted red onions, fresh mozzarella and cream cheese on toasted ciabatta served with vegan au jus for dipping. Delicious!  Other notables include the Darth Rueben (one of the best vegetarian ruebens I’ve had, served with Emmentaler Swiss on marble rye bread for $8) and the Luna (grilled cheese and tomato made with aged gouda, primrose brie and fresh mozzarella for $7). At only slightly higher than the price of most appetizers, the Luna is a good deal. Served with soup, it makes for excellent comfort food.


Speaking of comfort food, absent from the menu is any kind of fried potato, which I often consider a serious breach of bar food etiquette.  While the chips and salsa alternative doesn’t do it for me, a $5 bowl of the vegan corn and potato chowder will give you that potato fix, and is pretty tasty even if it’s not fried.


The menu features three salad entrées. The vegan ranch salad with fake bacon bits is great; also available are an Arugula salad and Portobello Mushroom salad, all priced at $9. These are big salads, best to be shared between two people.


While entertainment doesn’t appear to be high on the bar’s list of priorities, you will find a DJ spinning reggae every other Monday.  In keeping with the sci-fi theme, they show cult classic movies on Sunday nights, and for the retro video game connoisseur, the bar features an array of Atari 2600 and Super Nintendo games, a welcome respite from the more common bowling, deer-hunting, and zombie-head-exploding games.


Expect to spend $15-$20 per person, because you’ll want a beer with your meal and microbrews are $4. There is a very tempting cocktail menu, and though they don’t make their own liquor (as the name suggests) they make a mean mixed drink. Happy hour (from 4-7 Monday through Friday) features $1 off all appetizers and microbrews as well as good deals on other drinks.


So if you find yourself bar hopping on South Airport Way with a rumble in your stomach, don’t overlook this new establishment, tucked away from the bustle of other bars, yet still firmly situated under Boeing’s flight path. Vegetarians and meat eaters alike will be surprised at the compelling menu and reasonable prices. Good for a late breakfast or lunch date as well, this is the best vegetarian food you’ll find in Georgetown.

By J.D.Roy





Kirkland Performance Center

A World of Arts. . .Near You!


Kirkland Performance Center is a 501(C)3 non-profit organization located in downtown Kirkland on the eastern shore of Lake Washington. KPC hosts more than 250 performances and community events each year in its state-of-the-art, 402-seat theatre. KPC serves more than 70,000 people each season, including 25,000 students who participate in a wide range of educational programs. The facility also provides rental opportunities for individuals, businesses and community organizations.


Kirkland Performance Center’s 2007-2008 Season keeps delivering on our promise to bring the Eastside bigger names – the sensational Bobby McFerrin, the world renowned Vienna Boys Choir, the unforgettable Moscow Circus, guitar master Gene Bertoncini, Last Comic Standing winner Josh Blue among others – and more of them – 43 Presented Artists in all!


Since opening in 1998, KPC has hosted more than 2,500 events seen by more than 650,000 patrons.  Known throughout the region for offering the broadest possible range of artists and artistic genres, the 10th Anniversary Season backs up that reputation by presenting classical, world, jazz and popular music, stand up comedy, musical revues, world, tap and contemporary dance, theatre in several forms and a whole host of other performances.



Administration: 425-828-0422 • Box Office: 425-893-9900

350 Kirkland Ave.
Kirkland, WA 98033
Box Office: 425.893.9900
Administration: 425.828.0422pcenter.org

HYPERLINK “mailto:kpc@kpcenter.org” kpc@kpcenter.org

Committee for Children

Committee for Children is the leading developer of social and emotional learning programs for children from preschool through middle school. Founded in the 1970s, this small nonprofit organization, headquartered in Pioneer Square, now reaches 7 million children annually in 21 countries around the world with its award-winning programs, including:

Second Step: A Violence Prevention Curriculum
Pre/K–Middle School
Teaches children and families social and emotional skills to help them succeed in school and in life.

Talking About Touching: A Personal Safety Curriculum
Pre/K–Grade 3
Teaches children, families, schools, and agencies how to address and prevent dangerous situations and sexual abuse of children.

Steps to Respect: A Bullying Prevention Program  
Elementary School
Guides staff, teachers, families, and students in reducing bullying and creating a safe and respectful environment.

Woven Word: Early Literacy for Life
Preschool and Kindergarten
Combines interactive reading with social and emotional learning to promote academic success.

We at Committee for Children believe that all children deserve the chance to reach their full potential, live without violence, and thrive in a peaceful world. We believe our programs can transform individuals, classrooms, schools, and communities.

Committee for Children
568 First Avenue South, Suite 600
Seattle, WA 98104-2804


HYPERLINK “http://www.cfchildren.org” t “_blank” www.cfchildren.org

Artist Trust

Artist Trust supports art at its source — the creative individual.

Artist Trust is a not-for-profit organization whose sole mission is to support and encourage individual artists working in all disciplines in order to enrich community life throughout Washington State. To accomplish its mission, Artist Trust raises funds from an array of sources in order to:

Give financial grants, through a peer review process, to individual artists working in the visual, performing, media, literary, and interdisciplinary arts;

Serve as a professional information resource for artists and encourage artists to support each other; and,

Provide recognition and support for the contributions artists make to the lives of people of Washington State and for the merit and integrity of artists’ work.

Artist Trust  is the only organization in Washington State, and one of few nationally, that is exclusively devoted to individual artists working in all disciplines. To date, Artist Trust has awarded over $2.9 million to 1,391 artists statewide and has equipped thousands of artists with the information and resources necessary to become self-sufficient art makers. In 2006, more than 250,000 Washington citizens benefited from Artist Trust’s programming. Programs include:

Grants: Three types of financial grants are awarded annually: Fellowships ($6,500); Grants for Artist Projects (GAP) ($1,500); Twining Humber Award for Lifetime Artistic Achievement ($10,000).

Information Services: Vital information for artists of all disciplines, covering professional opportunities, grant and funding programs, healthcare and legal resources for artists, distributed to thousands of artists annually through our print publications, website, email, toll-free phone line, community workshops and the EDGE Professional Development Program.

Artist Trust’s website, at  HYPERLINK “http://www.artisttrust.org” t “_blank” www.artisttrust.org, includes a wealth of information services for artists working in all disciplines, including listings for studio space, jobs, and other necessary resources, along with informative articles on topics important to artists and their careers. The website also features an Events Calendar, Artist Registry, information on Artist Trust’s grants programs, and much more.


Lila Hurwitz
Communications Manager
Artist Trust
1835 12th Avenue
Seattle, WA  98122
HYPERLINK “mailto:lila@artisttrust.org” t “_blank” lila@artisttrust.org
206/467.8734 x13
HYPERLINK “http://www.artisttrust.org” t “_blank” www.artisttrust.org

Subscribe to Artist Trust’s bi-weekly e-newsletter, (re)Source. It’s free and full of news, events, deadlines and updates to our website. Find out more at < HYPERLINK “http://www.artisttrust.org/services/enews” t “_blank” http://www.artisttrust.org/services/enews>.


Business Profile: Mithūn Architecture

By Tara Spicer


While some Seattleites may not be familiar with the name “Mithūn,” odds are they have walked, wined, dined, shopped and convened in a number of Mithūn’s architectural spaces. As one of the leading local names in sustainable design and urban planning, Mithūn has left its footprint…er, blueprint…just about everywhere.

Along my daily trek through Downtown, I pass by one of their signature buildings on Yale Avenue. Those of you who prefer mountain tops to cubicle farms will know what I’m talking about. Named as one of the Top Ten Green Buildings in the United States in 1999 by the American Institute of Architects, REI’s flagship store here in Seattle–a leading retailer in outdoor supplies—features several perks that (almost) make me reconsider my weekends in front of the television. Along with its energy efficient design and use of salvaged materials, the space also showcases hiking and biking trails, a climbing pinnacle (visible to anyone passing) outdoor seating areas and a waterfall.  Natural lighting and wooden framework interiors reflect Mithūn’s ultimate goal of creating a store that is both functional and aesthetic in its purpose.

On a larger scale, the 150 + architects, designers and planners at Mithūn are currently raking in national, international, and regional awards for High Point Community, the newest model in mixed-income housing. In collaboration with Seattle Housing Authority, Mithūn re-vamped a West Seattle public housing project, making it the first and only Built Green neighborhood in the city. (For those like myself who may not be well versed in eco-tecture, this building standard included energy-efficient materials, a natural drainage system that filters and cleans rainwater en route to Longfellow Creek, the first porous pavement street in Washington, and eco-friendly appliances). The 120 acre site (roughly the size of Downtown Seattle) calls itself a “friendly porch-front community” and in a little over a year since its launch, more than 200 buyers have chosen High Point as their home with sellout expected this month. Simply put, Mithūn has secured its name in urban planning history.


And now…a look to Mithūn’s visionary future with a little creative exercise for you, the reader.


Picture this. A towering skyscraper with windows overlooking a busy street corner. People passing through the front doors and grabbing a quick bite at the building’s ground level restaurant that boasts only the freshest farm-harvested ingredients. Employees exchanging conversation amidst the building’s resident chickens.

(Huh?) Am I talking about a janitorial problem here or some Orwellian office space? Not quite. In one of Mithūn’s latest visions, life on the farm is taken to a higher level, quite literally. Winning the award for “Best of Show” in the Cascadia Region Green Building Council’s Living Building Challenge, Mithūn’s latest revolutionary design is a self-sufficient skyscraper complete with chicken coops, greenhouses, and rooftop gardens. Supplying its own water through rainwater accumulation and purification, this might indeed be “the coolest building not yet built.” And while the masterminds at Mithūn may never get around to building it, don’t expect much less from them in the future. Then again…you needn’t take my word for it. If seeing is believing, take a visit down to Pier 56 where the raw beauty and understated elegance of Mithūn’s office speaks for itself.


Pier 56
1201 Alaskan Way, Suite 200













Huntington Beach Native Matt Costa

 By: Joel Peterson 

For Matt Costa, it was skateboarding or guitar. High school never really entered into the equation. After a leg-shattering wreck, guitar chose him. The 25-year-old Huntington Beach native, Jack Johnson understudy and folkie on the rise used his lengthy recovery time to hone his jingle-jangle licks while, presumably, the trucks of his skateboard rusted slowly in some dark corner. After befriending No Doubt guitarist Tom Dumont through the burgeoning So-Cal arts scene, Costa was encouraged to start recording the compositions he’d made while injured. Dumont went on to produce Costa’s first full-length album, Songs We Sing. After a stint of summer music festivals and a tour with label-mate Jack Johnson, Costa now finds himself headlining (and selling-out) a tour in support of his new album, Unfamiliar Faces.

Costa plays El Corazon 2/8, Dads Wait Nervously Outside

Friday, February 8th, Costa played to a sold out, all-ages audience at Seattle’s El Corazon. Fathers’ daughters were dropped off by the SUV-full to see the brown-eyed crooner perform his dreamy tunes. To an objective first timer like myself, Costa’s shy-guy delivery and aw-shucks stage presence flirted with phlegmatic, but the belief that he seemed uninspired was the minority opinion. My informal exit polls pegged him as “cute,” and even “amazing.”

Most songs were strict interpretations of the album versions, without the benefit of Dumont’s polish, frustratingly so. The ragtime, toe-tapping “Mr. Pitiful” begged for an extended version. I envisioned Costa pounding away at the infectious piano hook while the band towed the line before rounding it up for a final chorus—or two, or three.  Friday’s presentation felt like Costa surreptitiously snuck it into the middle of the set only to saltate forward to sing-along classics (if you’re 16) like “Sunshine” and “Behind the Moon.” Perhaps Costa is not yet comfortable with the pianist role he’s assumed on Unfamiliar Faces’ first single.

Shortly thereafter, Costa remarked, “I’m going to play something softer.” With things felling flaccid already, I braced myself. Along came “Vienna,” a new song about missing an American girl while in Germany. But just as the energy of Costa’s pop songs was stifled, the emotive longing of “Vienna” was conversely, uh, softened.

Returning to stage for an encore, Costa finally showed a glimmer of personality (hopefully) lying under the surface. An intimate, solo-acoustic performance of “Astair” from Songs We Sing gave him a chance to show off what 18 months of lying around with a guitar propped gingerly over a broken femur can do for a person’s finger-picking prowess. If Costa wishes to eschew the pages of Bop, there’s hope for him in moments like these. Otherwise, keep the sing-alongs coming—Dad’s warming up the Yukon.





By Marti Jonjak


To denote a character’s socially awkward persona, a Hollywood protocol dictates that this character is to be perpetually clad in an array of unflattering brown sweaters. In Lars and the Real Girl, the stereotypes don’t stop there. Lars (Ryan Gosling) twitches, writhes, and hyperventilates regularly, and with gusto. He is an earnest, yet freakishly shy, office worker who lives in his brother’s garage. When other characters conduct conversations with Lars, his speech is painfully lumbering, and when he is touched by another, he feels a searing hot pain.

To conquer his debilitating loneliness, Lars purchases a life-sized sex doll through the internet. Bianca is made of silicon.  Her eyes stare blankly ahead, and her mouth is obscenely agape. Her enormous breasts embellish her petite torso, and when she sits upright, her knees bow outward suggestively. Remaining accurate to the real-life sex-doll phenomenon, we learn that she is also anatomically correct.

But we don’t learn this bit of information via Lars’s prurient rumblings. While he believes that she is real, Lars will never become intimate with Bianca. Conveniently, the writers of Lars and the Real Girl chose to cast Lars as a die-hard religious fanatic. And since religious people never have premarital sex with one another, nor do they even consider it, the base controversy to this creepy courtship is crisply tossed aside. Bianca bides her time in bulky sweaters and a hand-knitted afghan (presumably made by someone’s grandmother) is strewn across her lifeless lap.  As her role as a community philanthropist becomes established, she is smilingly wheeled from one church-going octogenarian to another.

Because that’s the great thing about small towns in Northern Wisconsin, where this movie takes place. When a thoughtful and earnest young man like Lars sinks into the murky depths of mental illness, an accepting and tolerant Midwestern community will happily display its firm and unrelenting support. And maybe with enough love and acceptance, Lars will even be able to break from that pesky psychosis that shrouds his brain. And who would’ve thought it—but this plastic Bianca sex has taught us more about real love and the value of giving than any living person every could. And so on, and so on. From there, the movie dissolves into its sugary end.



Sticky-sweet stereotypes and a formulaic predictability: not what one would expect from a movie that touts a life-sized sex doll as its main character. For those looking to be equally repulsed and intrigued, Rock Schroeter’s 2002 documentary Guys and Dolls showcases real-life sex doll relationships in their unbearable glory. For those looking to be embraced by a Midwestern community: stay far away from small towns in Northern Wisconsin. There, skinless deer carcasses hang from leafless trees, and grizzled lumberjacks roam the deep wilderness. And for those looking to be entertained: skip Lars and the Real Girl. It’s just another schlocky piece of plastic.

La Carta de Oaxaca

by Deborah Ashin 

Is it really worth waiting an hour to eat at a restaurant where portions are small and the entire meal takes less than 30 minutes? La Carta de Oaxaca, an unpretentious storefront Mexican restaurant in Ballard, answers this with a resounding “yes.” It usually has a crowd of hungry patrons spilling into the sidewalk plus a dozen or more sipping outrageously good (strong) margaritas in the tiny, standing room only bar at the back of the bright, noisy restaurant.

Dining dilemma:

You’re desperately craving great Mexican food in Seattle but have yet to find a restaurant that makes you shout olé!
 HYPERLINK “http://Seattle.net” t “_blank” Seattle.net solution:

La Carta de Oaxaca

Quick and Easy

Why go: Great authentic Mexican food

Highlights: Chicken mole, enchiladas, margaritas

Reservations: no (except for groups of 10+)

Forewarning: Expect to wait; small portions (but small prices)

While your tolerance for waiting up to an hour may depend on how many margaritas you imbibe, my advice is to visit La Carta de Oaxaca—just don’t go on a Friday or Saturday night. Yes, part of the experience at La Carta de Oaxaca is the convivial, hip fiesta ambiance, but the stellar food is the reason you’ll come back.

Instead of Mexican kitsch, La Carta de Oaxaca is starkly decorated with stunning black and white photographs of people and places in Oaxaca. Buzzing with energy and high-spirits (the restaurant has two dozen types of tequila) dining at La Carta de Oaxaca feels like a neighborhood party. There are a few individual tables and several seats at a small counter that look into the open kitchen and offer a great view of the frenetic staff. Most people, however, prefer the boisterous community tables.

A food served at La Carta de Oaxaca is incredibly fresh, surprisingly sophisticated and relatively inexpensive. The prices are a bit deceptive because portions are very small so you’ll want to order at least two dishes per person. Oaxaca, which is located in south central Mexico, has a distinctive cuisine that is totally different from what most Americans expect. Forget about plates loaded with beans and rice or huge portions of cheese-heavy Tex-Mex. The cuisine at La Carta de Oaxaca is light and sophisticated; even traditional Mexican dishes, such as tacos, have an Oaxacan-spin, so be prepared for a culinary adventure.

Start with a basket of warm, homemade tortilla chips and a bowl of spicy guacamole (you can order this at the bar while you wait). Lighter than air meatballs grace the fragrant albondigas soup while Oaxaqueno cheese, guacamole, beans and salsa are folded into the best quesadilla you’ll eat in Seattle.

Pork tacos, with an overpowering, vinegar flavored sauce and tiny bits of meat were disappointing. Instead, go for the carne asada tacos topped with cilantro, onions and hot sauce. The homemade tortillas are remarkable. Delicate enchiladas are napped with a red chili sauce, lightly sprinkled with cheese and served with a fried egg. For something different, order the entomatadas, thin slices of grilled beef served with a choice of red or green sauce and glazed with think ribbons of crema Mexicana. Oaxaca is famous for its mole sauces and you can sample La Carta’s signature black mole two ways: in a tamale steamed in a banana leaf (chicken or pork) or the house specialty of pork or chicken served with fluffy rice. The rich, silky mole sauce is spicy with deep hints of chocolate; alas, the skimpy portion of chicken equaled about four bites. Skip the flavorless flan, topped with aerosol whipped cream.

Despite the long waits, small portions, impossible parking situation and rushed service (servers don’t have time to offer more than fast food friendliness), eating at La Carta de Oaxaca is a culinary adventure.


Chips and guacamole: $3.00

Entrees: $5:00-$9.00

Tacos: $6.00

Margueritas: $7.00-$9.00

Open:  Monday-Saturday (lunch and dinner); open until midnight on Friday and Saturday. Closed Sunday.

La Carta de Oaxaca  (Ballard)

5431 Ballard Avenue NW (at Market)

Seattle, WA 98107


Visit website:  HYPERLINK “http://www.lacartadeoaxaca.com/” t “_blank” www.lacartadeoaxaca.com


Introspective Review

The Soul Project—the 13-track debut collaboration from Introspective, a Seattle emcee (and Garfield High grad) and Portland-based producer Lawz Spoken—employs a familiar Pacific Northwest sound:  laconic, somnolent beats bounding behind Intro’s soulful bass. At first, the duo’s style may appear to follow the popular form pioneered by Blue Scholars and Common Market, but a closer listen reveals an achievement the bigger names have yet to accomplish:  a hip-hop album of the darkly, even painfully, personal.

Born and bred on the peak of Beacon Hill / Breathe the rarified air, speaking what I feel, Introspective introduces himself on “Emerald Star.” These streets conceal a lot of jagged little pills. The song, a familiar urban chronicle of cops stop[ping] to seize small drug money off a minority, and a homeless man tak[ing] a piss behind a dumpster, culminates with an unexpected admission of voyeuristic non-participation: and I watch it unfold through my window. In a genre that puts an emphasis on boasting and “street creed,” this is a startlingly honest moment. There is little swagger or heroism (or even anti-heroism) in Introspective’s lyrics. As he raps on “Death of a Superman,” I’m only Clark Kent when I’m on the microphone…the perfect fusion of comic books and TV/ Yeah, I don’t believe me either / But everybody wants a superman to light the night up.

Nowhere on the Soul Project is the falsified braggadocio that afflicts much of the mainstream. Thankfully, the clichéd consciousness that so often hinders the underground doesn’t really make an appearance here either.

Instead, the album reveals a near epical battle between the creative individual and his demons. Sing your song, do your dance, he sings on the triumphal “Beautiful Music,” whatever you need to do…before the demons come back ready to devour, and The essence of creation is definitely God-given / and for me, man, it’s the purpose of life.

Even on tracks where Introspective broadens the scope, such as “Elevator Music,” he manages to bring it back to the personal: There’s disease, famine, strife and world hunger / Pain, racism, death in large numbers…There’s rapists, thieves, serial killers / Politicians, false prophets, adolescent drug dealers / When your life’s a nightmare you learn to cherish your sleep / Everybody’s got demons, some just got more teeth. Where other artists may have hovered in more general, less effective climes, Introspective uses these personal recognitions as a poetic springboard into the universal. I could make the song cry, but I would cry with it, he raps on the same track, reprising Jay-Z. I put myself into the music, not afraid to die with it.

Ultimately the portrait that emerges from this album is a man of unerring faith. The Bible’s influence appears in “Shades of Blue,” an oddly apocalyptic tale laid over a gorgeous, simmering melody. And the sky fell into the earth and everybody ran / Nightmares confirmed with a wave of a hand / Those that disbelieved tried to make a stand / Unable to see this was the end of their plan. But the disbelievers aren’t the only ones who suffer the immensity of God’s wrath; the righteous praying beneath looked up and were crushed by the falling debris.

The most affecting of the religious-themed tracks is “Sartor Resartus,” a reference to the nineteenth-century philosophical tract by Thomas Carlyle about awakening through suffering. The song deals with the loss of a woman, an “angel,” and the ensuing suffering that tests his faith: I’m weak and not really sure if I believe / The hatred for myself seems to be all I see / I’m infected with a skeptic’s disorder of thought / Thinking death has better rest than the alternative’s got. Ultimately the speaker comes to the realization that God’s brain is bigger than mine, and that although this life gets harder everyday / truth be told I wouldn’t have it any other way.

The Soul Project’s themes are somber ones:  unrequited love, depression, self-loathing. But beneath the pessimism simmers the sweeter, ultimately redemptive quality of faith—in God, love and, most of all, music. In this, a surprisingly assured debut album, Introspective portrays himself as an artist of shaken yet resilient faith; both an ineluctable citizen of humanity and an artist morosely aloof.

The album also features two verses by Portland-based emcee  HYPERLINK “http://MR.MR” t “_blank” MR.MR, Introspective’s partner from the duo Gray Matters. The majority of the tracks were produced by Lawz Spoken, however Skwirm of Soul Mechanix produced “Emerald Star” and Piotrek Migula produced “Daybreak” and “Good Question.” Migula also served as main sound engineer and is given much credit by the group for resurrecting the project from near-fatal post-production problems two years ago.

HYPERLINK “http://cdbaby.com/cd/lsi” t “_blank” http://cdbaby.com/cd/lsi (CD Baby link)

HYPERLINK “http://www.myspace.com/shintarokatsu” t “_blank” http://www.myspace.com/shintarokatsu (My Space home page for Gray Matters and Introspective)

HYPERLINK “http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?playListId=261994611″ t “_blank” http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?playListId=261994611 (I Tunes store link)


It would seem most appropriate to review Grand Archives’ debut LP without any comparison between it and front man Mat Brooks’ former outfit, Band of Horses.  It seems only fair to critique this first Sub Pop release based solely upon its own musical merits.  Yes, a somewhat unclean break between Brooks and BOH front man Ben Bridewell was the catalyst for Grand Archives, but, nonetheless, they should only be viewed as an entirely separate entity …

… Which is why it’s so frustrating to hear the opening vocal strains of “Torn Blue Foam Couch” and be so utterly reminded of Everything All The Time.  The weightlessly ethereal croon Brooks begins the album with is painfully similar to many of the stand-out tracks from the impressive first disc of his former band.  Yet, perhaps, Brooks’ intention in firing an opening salvo so reminiscent is to allow the true sound of Grand Archives to fully be realized—regardless of what came before.

If this was Brooks’ goal, he achieved it admirably. Over the course of the debut, Grand Archives beautifully formulates a distinct sound; a multi-layered vocal tapestry interwoven with equal parts melancholy and cheer.  Brooks composes sparse yet complex melodies; rife with ghostly harmonization that at times (such as the deceptively cheerful “Miniature Birds”) brings The Beach Boys to mind.

Grand Archives finds a depth in its compositions based on the altogether feel of the album, as if every member was entirely involved in every step of the process.  The gentle country-twang that finds its way into the harmonica-laced, front-porch lullaby of “George Kaminski,” and the way the popular “Sleepdriving” echoes solemnly behind a meaty piano’s chord progression show the work of a band tightly knitted at all stages—something Brooks’ musical alma mater is hard-fought to attest to.

In the end, Grand Archives has crafted an intriguing first album, one that clearly distinguishes themselves not only from what came before, but as a musical force all their own.




Gottman Institute

Dr. John Gottman’s name is recognized in college class rooms and marriage counseling sessions around America ever since his memorable work in 2000 with the “Love-lab,” where researchers determined the probability of divorce in a couple based on a series of questions following sociologist Studs Terkel’s method.  Gottman and his colleagues’ achievement of 87 percent accuracy in determining whether a couple would stay together or not, was monumental because through scientific proof couples could see exactly what and what not to do to keep their marriages alive.


Dr. Gottman is recognized and highly decorated for his work in mental health and family psychology research.  He has also written five books including New York Times Bestseller, The Seven Principles for Making Marriage Work.  He has been a guest on many television programs including “Today” and “Oprah.”  This is because of his effective and clinically tested expertise on how people need to interact with one another in order to create lasting bonds.


Co-founder and Dr. Gottman’s wife, Dr. Julie Schwartz Gottman is the leader of the Institute’s Relationship Clinic.  Her speciality in working with distressed and trauma clients have earned her a place as one of the most unique and desired opinions on key issues including same-sex marriage and the affects of poverty on children.


The Gottman Institute, founded by both Dr. Gottman and Dr. Schwartz Gottman, continues the work of the 2000 study, taking its findings one step further and teaching couples how to have a healthy marriage before problems start.  The institute sponsors workshops covering topics concerning marriage, how to incorporate children in a couple’s life and how to raise an emotionally healthy child.  There are also opportunities to have private therapy sessions or participation in a research study.


In Seattle, what does one do with a vacant store front of a downtown building that is going to be demolished?  Install a temporary art gallery.  That is exactly what curator Paul Pauper did when he created Form/Space Atelier, a gallery dedicated to “art, space and urban form.”


When architecture conglomerate Intracorp decided to buy the building on 1915 2nd Ave to make stylish new condominium residences, the alternative to leaving the space empty during the purgatory between blueprints and actual construction was to create a place dedicated to form and space and exploring how these two things interact in the world of art.


The new gallery has a unique opportunity to show how art imitates life, how in one instance a work of art or a structure is created and in another how they are demolished, maybe not as fast.  There is a great range of artists who have already displayed their works on the large white walls of the open space.  Some of them include: Cult of Youth, Julia Gfrorer, Jeff Jacobson and Jonelle R Lind.  This month Form/Space Atelier will exhibit work from Wanda Pelayo, Amjad Faur and Signe Drake and have an opening during the First Thursday walk on March 1st.


Those involved with Form/Space Atelier have a sense of thrilling urgency and desire to explore the potential that art has within a pressing time frame.  There is a hunger for conversation about the construction of form, what it means to make space for new projects and how this fits in the time line of our fast pace society.  There could not be a better setting for such a talk.


- Seattle Figure Drawing Group meets at the gallery the 15th of each month.

Agros International

Sustainability may not be the first word that comes to our minds to describe the way we live.  However, when we wake up, eat breakfast, go to work, come home, pay the bills and go to sleep, that is exactly what we are doing;  we take specific actions throughout our lives maintain our lifestyles.  When looking at statistics of the number of people around the world who are currently living at a sustainable level, sustainability may be on the minds of more people than you think.


Quick facts from Globalissues.org:

- Nearly three billion people — half the world — live on less than two dollars a day.

- The GDP (Gross Domestic Product) of the poorest 48 nations (i.e. a quarter of the world’s countries) is less than the wealth of the world’s three richest people combined.

- Nearly a billion people entered the 21st century unable to read a book or sign their names.

- The bottom fifth of the world’s poorest nations have barely more than 1% of the expanding export trade and foreign direct investment.

- According to Corporations.org, Boeing Corporation’s economic status is above the countries Peru, New Zealand, Hungary and Algeria.


In Seattle, we not only have the ability to support ourselves, we can help others around the world in their pursuit of economic and social sustainability.  This is the basis of Agros International.


“Give a man a fish and you’ll feed him for a day.  Teach a man how to fish, you’ll feed him for a life time.”  Agros International has taken this old proverb literally.  Based in Seattle, Agros International is a non-profit whose work in Mexico and Central America focuses on agriculture and partnership, enabling communities to become thriving, self-sufficient contributors to society.  Focusing on long range (meaning 7 to 10 years) solutions, Agros identifies the needs and resources of a community, incorporates local participation through land ownership and advanced agronomy techniques and integrates surrounding communities into the thriving system.


The United Nation, World Bank and the Inter-American Foundation have all recognized Agros for providing lasting solutions to poverty in Central america.  The “lasting solutions” part is key.The success of over 24 communities in Mexico, El Salvador, Nicaragua, Honduras and Guatemala are proof that the only way to create true sustainability is by investing time, energy and hope in the well-being of people.


Visit http://www.agros.org/index.cfm for more information on Agros’ development process, how to donate and get involved.


by Deborah Ashin 


Crow isn’t the closest restaurant to Seattle Center, but it’s definitely worth the extra walk if you’re looking for a high quality, reasonably priced, pre-theatre dinner. This vibrant urban bistro offers an intimate setting for a meal of simple yet seriously prepared contemporary comfort food.
Dining dilemma:

You scored tickets to the ballet (or the opera or the theatre) at Seattle Center but can’t think of an interesting place to take your date for dinner.

 HYPERLINK “http://Seattle.net” t “_blank” Seattle.net solution:

Crow Restaurant and Bar
Quick and Easy

Why go: Great food, sexy setting

Highlights: Pan roasted chicken, steamed mussels, any dessert

Service: Polished and friendly (can be slow, so tell your server if you’re attending a performance).

Forewarning: Street parking is nearly impossible. Allow time to walk.


Crow’s seductive ambiance is a cross between a stark industrial warehouse and an artist’s romantic loft. Low lighting and gauzy curtains create a visual counterpoint to the restaurant’s minimal décor and cement walls, which are painted in a palette of rich colors. Despite its noisy buzz, Crow is an inviting neighborhood hangout (kid noodles are on the menu) yet intimate enough for a special occasion. For a bird’s eye view of the kitchen, sit at the back counter and chat with the chefs. You can also dine away from the bar under an unexpected crystal chandelier.

The small but enticing menu boasts eclectic Americana fare with Italian, French and Asian influences. You have the option to share a few items or order a complete meal. Dishes are extremely well prepared but totally unaffected. Enjoy one of Crow’s unique cocktails while sharing a mountain of plump, steamed mussels served in a luscious curry sauce. A bountiful salad of bibb lettuce, tossed with hazelnuts, Stilton cheese and crisp slices of pear, is lightly dressed with a nicely balanced port vinaigrette. Entrees are seriously good, especially Crow’s signature pan roasted chicken wrapped in proscuitto. Served in a light sauce with fresh green beans, this crispy moist chicken is perfect. It’s equally easy to fall in love with Crow’s luscious house lasagna made with spicy Italian sausage. A classic preparation of trout with roasted almonds was similarly superb.

Make sure to allow enough time for dessert, or come back after the opera for the sinfully delicious coconut tart or a slice of bittersweet chocolate pâté served with orange caramel. Dessert selections rotate but if it’s available, do not miss the ethereal Meyer lemon chiffon cake, topped with sugared strips of lemon. Perhaps the biggest problem with dining at Crow before a performance is the need to quickly fly away from such a splendid dining experience.


Starters: $7.00-$12.00

Entrees: $15.00-$20.00

Dessert: $8.00

Open: Daily for dinner
Crow (Lower Queen Ann)

823 Fifth Ave N  (at Roy)

Seattle, WA


Visit website  HYPERLINK “http://www.eatatcrow.com/” t “_blank” http://www.eatatcrow.com





Julie Cockburn, a London-based artist, alters everyday items to create unique forms.  Her past subjects have included outdated maps, hand-scribbled shopping lists, and envelopes which once contained knitting pattern kits.  These are methodically cut, sewn, and rearranged. The result, according to Cockburn’s website,  HYPERLINK “http://www.juliecockburn.com” http://juliecockburn.com, is “a curious mix of optical illusions and the simple transformation of… objects.”


Currently on display at Winston Wächter Fine Arts are Cockburn’s vintage Playboy series.  In “Entertainment for Men” and “Pretty Maids,” a pair of decades-old magazines (three are from ’68, one is dated ’71), rest in sets. Layers of shrinking concentric circles creates rings of indiscernible text and photography.


The “Nip-n-tuck 2” image features a centerfold model whose figure has been carefully removed. In her place rests a three-inch deep void of a multi-level landscape, filled with unrecognizable photo details that were culled from other centerfolds (the centerfolds’ faint white trisecting lines remain more or less a constant throughout the layering of these different images).


By altering the “Nip-n-tuck 2” centerfold image, Pryle Behrman of retitle.com insists that Cockburn is “freeing it from its setting and also inserting [Cockburn’s] own voice into what is archetypically an exclusively male domain.” She continues:


“By doing this, Cockburn is mirroring the fact that, although the wider culture undoubtedly has an effect on us all, we do not absorb it passively; instead it is always filtered and metamorphosed by the different viewpoints we bring.


There are thus many dialogues at play: …between subtraction (in this case removing the female figure) and addition (creating a new layer of history for the magazine by reinventing it in a new form).”


Cockburn’s pro-feminist message is uplifting to witness. But some longstanding impacts Playboy has on American life can not be as easily altered. (While Cockburn is a London-based artist, for clarity’s sake this essay we will focus on Playboy’s influence on American culture, and similarly, Cockburn’s artistic influence upon her Seattle-based public).  Launched in 1953, Hefner’s model aesthetic consistently pairs the face of Shirley Temple with the body of Jayne Mansfield (Acocella). This juxtaposing image “managed to draw, simultaneously, on two opposing trends that have since come to dominate American mass culture: on the one hand… our country’s idea of its… innocence; on the other, the enthusiastic lewdness of our advertising and entertainment.  We are now accustomed to seeing the two tendencies combined—witness Britney Spears—but when Hefner was a young man they still seemed like opposites.” (Joan Acocella, The Girls Next Door, The New Yorker, 3/20/06).


While the models have consistently held a simultaneous good girl/bad girl image, some specifics of their look have transformed throughout the years. In the creepily youth-centered sixties, playmates wore pigtails and bows. (Indeed, one of Cockburn’s models, or what remains visible of her, wears a ribbon in her hair.  Another model, whose legs are wrapped in girlish tights, flirts with the camera while riding a swing.)  In the seventies, heavy makeup became a prominent accessory. During the eighties and beyond, fake breasts coupled with sinewy bodies became the norm (Acocella). SHOULD I CUT THIS PARAGRAPH?


Cockburn’s alterations, which transform charged sexual imagery into simple scraps of paper, call upon an already-vacuous terrain: the later Playboy centerfolds, insist Acocella, are “bewildering” given their “utter texturelessness…”, while the models of the past decades look like “cold, shiny structures.” Perhaps, she concludes “the very remoteness of these women is their attraction.”


Beyond this, their obvious main draw is their nudity. There is no debating the wide-spread allure of pornography in America: it is estimated that sex sites encompass 40% of all internet traffic (Acocella).  And given the boundless expanse of the computer age, huge volumes of disturbingly explicit pornography, which in comparison renders Playboy’s material innocuous, are instantly accessible.

While Playboy is still the best-selling American men’s magazine, its readership has dropped 50% following the influence of the computer era. Presumably the surging of this extreme and hard-core internet content is to blame. Regarding Playboy’s outdated bachelor-fantasy ideals and soft-core playmate spreads, Acocella writes: “That, in the end, is the most striking thing about Playboy’s centerfolds: how old-fashioned they seem.”


By instilling her voice upon these charmingly outdated magazines, Julie Cockburn, who “makes new work from old” ( HYPERLINK “http://juliecockburn.com” http://juliecockburn.com) has modernized an antiquated classic. Amongst art-lovers, feminists, and Playboy-readers alike, there is no debating the power of Cockburn’s work. As I carried her art down the street, three men surrounded me. Their eyes twinkled with wonderment.  “Where did you get those?” one of them asked.  “They must be worth thousands of dollars.”




Julie Cockburn

Pretty Maids



Julie Cockburn

Nip-n-tuck 2








Balancing the Scales: Café Presse

By Joseph Schell

Our reflection flickered in the rain streaked café windows as my mother and I walked down the sidewalk. From outside I see an industrial sized clock hanging over the bar, the kind you would expect to see in a train station. As we walked to the door I look skyward, halfway up the storefront a small square yellow sign with a red quill emblem protrudes, reading “Presse”.

Now I’ve been to Café Presse several times. The one detail of this often noisy and crowded café that has always impressed me is it seamlessly maintains a high degree of sophistication. A complexity upheld through certain elegance; soft earth tone atmosphere and gracefully simple culinary expression.

A traditional French Café/Bar, Presse offers a very affordable menu along with a full bar and reasonable French wine list. In South Capital Hill just off of Madison on 12th, Presse is the second joint venture of Le Pichet owners Joanne Herron and Jim Drohman.  In this endeavor the duo created a bustling hot spot with the perfect balance of a neighborhood café and vogue French bistro. On one hand you have convenience and relaxed ambiance anchored by an espresso machine, world soccer matches on the weekend and huge stand of diverse magazines and newspapers (from 52 countries). On the other you have subtle refinement; an ample wine rack, walls of chic exposed concrete and rough checkered brick, complimented by steel girds, a lathe ceiling and a refreshing Parisian menu. A juxtaposition that in theory is hard to pull off, one Presse does effortlessly.

The layout of the restaurant is complete with a bar and small table dining in the front room. The café is separated by a hallway and the kitchen and in the back is an adjoining room with larger tables lining the aft wall. The backroom is graced with large windows facing west, a great spot to catch the afternoon sun.

We waited a few minutes to get a table for two; service was prompt and courteous. We started off with a cheese platter (4 different cheese and bread) and a couple glasses of a smooth French red wine. For my entrée I ordered the Huîtres à la Breton, a plate of six local oysters served on the half shell in a bed of rock salt and the Betterave, noix et bleu (highly recommended, excellent), a small beet salad with pecans and bleu cheese. My mother ordered the Omelette au choix, a two egg with choice of herbs, mushrooms or Comté cheese.

Everything was prepared well and we ended our dinner over another glass of wine and left without feeling rushed out the door even though there was a crowd of people waiting.

With dinner for two and drinks for under fifty bucks, this cafe should be one every ones to-do list, if not just to get out of the autumn rain. With coffee, wine and free WiFi this is one place you’ll never have to leave.


1117 12th Ave.
Seattle, WA 98122
Phone: 206-709-7674
HYPERLINK “http://www.cafepresseseattle.com” Web site
HYPERLINK “http://www.nwsource.com/mapping/scr/map.cfm?s=nws&address=1117%2012th%20Ave%2E&city=Seattle&state=WA&zip=98122&name=Cafe%20Presse” Maps & directions

Hours: 7 a.m.-2 a.m. daily;
limited breakfast menu 7-9 a.m.;
full menu available 9 a.m.-1:30 a.m.


After 10 p.m.


A Chance to Give Back

By Joseph Schell 

Seattle Centers Sharing Gift Box


Looking for some way to give to the needy during the holidays? Here is one very easy way you can do just that. Sharing Gift Box is the Seattle Center’s way of connecting the needy with the community.

This is how it works 10-15 organizations that represent homelessness, seniors, teens, or family issues are chosen and contacted. Members of the assisted homes, shelters, daycares and variety of other outlets are given a chance to tell what they need in their life and what they want. A card is then filled out and posted on the internet on the Seattle Center Website.

You as a community member get on there site and choose a recipient whose wishes you can fulfill over the holidays. You hit the stores, buy the gift or gifts and bring them to Seattle Center wrapped. The Seattle Center will then distribute them to the organizations.

If The Seattle Center wasn’t doing enough already, Sharing Gift Box promises that every wish that it has committed to will be fulfilled. This is one of the more unusual aspects about the program; most places if the funds are there then they go and get it. Sharing Gift Box makes it happen, if they don’t have the funds aboard they step and do something, which usually means one of the staff members is taking care of it.

The Seattle Center Director Robert Nellams explains how they take it a step even further and the important role their efforts have,

“We have an executive team member who puts together all the gifted bicycles. He and his family come down and assemble all the bicycles. My own daughter is organizing the neighborhood kids to come down and do all the wrapping.

It becomes another tradition, a really important tradition. It’s important that people understand that they’re giving back to the community. Sharing Gift Box gives us an opportunity to give back to the community.”

To put it in some sort of magnitude, the last couple years Sharing Gift Box fulfilled around 1,500 wishes. This year with the staff shrinking they’ve committed to doing 800 with the hope of fulfilling 1,200 wishes.


For a chance to fulfill a wish and learn more about this visit


Other giving opportunities-


Pike Place Market Foundation’s Giving Tree
Beginning Friday, November 23rd, two Giving Trees located in the Market’s DownUnder (between Hands of the World & The Magic Shop and in the Economy Building Atrium) will be decorated with holiday wishes from low-income Market residents and members, clients and students of the Pike Market Senior Center, Medical Clinic, Food Bank, Child Care & Preschool and Heritage House at the Market.
For just $40 you can help brighten their holiday season by selecting a wish from the Giving Tree and returning your wrapped gift or gift card by Tuesday, December 18th.
If you have any questions or would like more information please contact the Market Foundation directly via email rainelle@pikeplacemarket.org or by telephone at 206.774.5262. For a map of Pike Place Market visit www.pikeplacemarket.org

Habitat for Humanity 

Holiday Giving

You can honor a loved one with a holiday gift that lasts a lifetime. Your gift will go toward building simple decent affordable housing for low-income families. We will mail a card acknowledging your thoughtful gift. For cards to be mailed by December 21, requests must be received by December 17th.



2007 Mariners Season Preview

2007-2008 Seattle Mariners Season Preview

Sunday April 1, 2007 the Major League Baseball 2007-2008 season got underway in St. Louis, Missouri. But Monday, the long off- and pre- season is over for the Mariners and it is time to look back at how they changed. The Mariners will have both their season and home opener against the Oakland Athletics Monday afternoon.


The Mariners started it all back in December of last year, signing outfielder Jose Guillen to a one-year contract. Guillen, who played for the Washington Nationals last season, brings a .216 AVG, 9 HR’s, and 40 RBI’s. Guillen also brings one of the most solid arms in outfield to Safeco Field. Even though known for been a little rowdy at times, his defense and leadership puts him among the best outfielders in the game. Seattle will look for those attributes to come out this season as he will be starting out in right field.


Soon after this acquisition, the Mariners got RHP Sean White from the Pittsburgh Pirates and traded RHP Rafael Soriano for LHP Horacio Ramirez from the Atlanta Braves. Both White and Ramirez will come in handy after the team let go Joel Pineiro. Pineiro, who had been with the Mariners since 2000, moves on to Boston leaving behind some big shoes to fill. Seattle Mariners think they have filled in those shoes by signing RHP Jeff Weaver. Weaver played for the Division-rivals, Los Angeles Angels, and the 2007 World Champions, St. Louis Cardinals. Weaver had a 3-2 record and a 2.43 ERA in the playoffs for the Cardinals. This experience can only help strengthen the Mariners’ rotation.


The Mariners also added some hitting, bringing Jose Vidro from the Washington Nationals. He is most likely to be the designated hitter, but the team management likes the fact that he has experience playing with, former National, Jose Guillen. Last season he averaged a .289 batting average, with 7 HR’s and 47 RBI’s.


The corners stayed the same with 3B Adrian Beltre and 1B Richie Sexson. This combination is key for any ball team, and the Mariners are glad to retain it.


Among the other changes, is the acquicition of outfielder Jeff Fraizer from Detroit, and resigning RHP J.J. Putz to a 3-year contract.


Looking ahead might not be easy but the future is bright for this Mariners’ team. The team is expecting another big performance from Ishiro Suzuki, the leadership of Jose Guillen, along with Adrian Beltre and Richie Sexson’s batting power. If the team manages to keep the bullpen hot and off injuries the Division-rivals should watch out for a strong overall season by the Mariners. It’s not hard to predict a Playoff season, but the team’s faith is not in our hands, but those who step on that field with the Mariners Jersey.

Featured Sustainablility Organization: Agros International

Sustainability may not be the first word that comes to our minds to describe the way we live.  However, when we wake up, eat breakfast, go to work, come home, pay the bills and go to sleep, that is exactly what we are doing;  we take specific actions throughout our lives maintain our lifestyles.  When looking at statistics of the number of people around the world who are currently living at a sustainable level, sustainability may be on the minds of more people than you think.


Quick facts from Globalissues.org:

- Nearly three billion people — half the world — live on less than two dollars a day.

- The GDP (Gross Domestic Product) of the poorest 48 nations (i.e. a quarter of the world’s countries) is less than the wealth of the world’s three richest people combined.

- Nearly a billion people entered the 21st century unable to read a book or sign their names.

- The bottom fifth of the world’s poorest nations have barely more than 1% of the expanding export trade and foreign direct investment.

- According to Corporations.org, Boeing Corporation’s economic status is above the countries Peru, New Zealand, Hungary and Algeria.


In Seattle, we not only have the ability to support ourselves, we can help others around the world in their pursuit of economic and social sustainability.  This is the basis of Agros International.


“Give a man a fish and you’ll feed him for a day.  Teach a man how to fish, you’ll feed him for a life time.”  Agros International has taken this old proverb literally.  Based in Seattle, Agros International is a non-profit whose work in Mexico and Central America focuses on agriculture and partnership, enabling communities to become thriving, self-sufficient contributors to society.  Focusing on long range (meaning 7 to 10 years) solutions, Agros identifies the needs and resources of a community, incorporates local participation through land ownership and advanced agronomy techniques and integrates surrounding communities into the thriving system.


The United Nation, World Bank and the Inter-American Foundation have all recognized Agros for providing lasting solutions to poverty in Central america.  The “lasting solutions” part is key.The success of over 24 communities in Mexico, El Salvador, Nicaragua, Honduras and Guatemala are proof that the only way to create true sustainability is by investing time, energy and hope in the well-being of people.


Visit http://www.agros.org/ for more information on Agros’ development process, how to donate and get involved.

A directory of some great places in Seattle