When the walls, literally and figuratively, caved in on Zak’s punk shows, there were a couple clubs in town that…
Orchestra Baobab bring ’70s Senegal to modern America.
Two days, two plays? Are they nuts?
Thirty-six years ago, Paul Williams started a revolution—music journalism hasn’t been the same since.
A 1950s Seafair classic gets a Green Lake revival.
An adventure travel guide for giving and getting classical music
War’s tumult, in all its dizzying confusion.
Send listings two weeks in advance to visualarts@seattleweekly.com. Lectures and Events Artist Lecture: James Luna The visual and performance artist…
Sarah Michelson It isn’t every choreographer who gets her broken foot and financial troubles discussed in The New York Times,…
Latin hot spot becomes Latin lunch spot.
Cheap, high design meets old-world economy.
I’ve dealt with depression most of my life. By “dealing with it” I mean that I don’t shower for weeks…
The (International) Noise Conspiracy play to punks and politicos.
It has been nearly 30 years since poet Charles Wright began working on his proposed Dantean trilogy of trilogies. The…
A sit-down with the director and star of A Mighty Wind.
Pet Lady, I was sad to read that no one sent you a pet photo last week. May the enclosed…
Father Mike liked teenage boys, but it didn’t make him creepy.
Send listings two weeks in advance to visualarts@seattleweekly.com. Lectures and Events Artist Tool Kit Lecture: Greg Kucera One of Seattle’s…
Remembering Elliott Smith.
Getting sweet with Seattle indie-pop comers Math and Physics Club.
