Seattle Weekly, November 26, 2014 by Sound Publishing

NOVEMBER 26-DECEMBER 2, 2014 I VOLUME 39 I NUMBER 48

SEATTLEWEEKLY.COM I FREE

BEATING THE BLERCH » PAGE 16 DAVE GROHL'S SONIC SEATTLE » PAGE 26

GOD

“ONLY KNOWS WHO GOT MORE The election that changed Washington, 10 years later.

BY MATT DRISCOLL » PAGE 9

VOTES

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inside» Nov. 26–Dec. 2, 2014 VOLUME 39 | NUMBER 48

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Directed by John Langs »PULLOUT 5

GROW BIZ

BY NINA SHAPIRO | A new “global

brand” for pot makes a splash.

10 MR. ROSSI REGRETS BY MATT DRISCOLL | A look back at

the U.S.’s closest gubernatorial race ever.

food&drink

14 CASINO CUISINE

BY JACOB UITTI | Chinese comfort food. 14 | THE WEEKLY DISH 15 | THE BAR CODE

arts&culture

16 BEATING THE BLERCH BY KELTON SEARS | A cartoonist helps

me prepare for a marathon. 16 19 19 21

| | | |

THE PICK LIST STAGE REVIEW | Dems prevail! PERFORMANCE VISUAL ARTS/THE FUSSY EYE

22 FILM

OPENING THIS WEEK | Penguins, pelicans, and a feminist Western. 24 | FILM CALENDAR BY PAUL AUSTIN | A rock journalist

releases an album, Dave Grohl comes home via HBO, and more. 30 | THE WEEK AHEAD

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»cover credits

ILLUSTRATION BY DOUG CHAYKA DINO ROSSI ADAPTED FROM SW FILE PHOTO CHRISTINE GREGOIRE ADAPTED FROM U.S. ARMY PHOTO (VIA WIKIMEDIA.ORG) CORRECTION: Our November 19 article, “How

Clean Should Seattle’s Only River Be?”suffered from a number of errors: The EPA’s proposed cleanup plan would cost $305 million, not $400 million; the amount of money the Lower Duwamish Waterway Group has so-far spent on studies and early cleanups is $190 million, not $40 million; Bob Perciasepe’s title is deputy administrator of the EPA, not assistant administrator; Norm Dicks served as the ranking member of the House Appropriations Committee, not the chairman. Also, due to an error in translation, the story quoted John Ryan as saying that the dredging plan championed by the Cleanup Coalition would triple the truck traffic. Ryan actually said that it would more than double. The story has been corrected online. We regret these errors.

EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Jeanny Rhee, Abby Searight Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Roger Downey, Alyssa Dyksterhouse, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Megan Hill, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Jessie McKenna, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Samantha Wagner Graphic Designers Nate Bullis, Brennan Moring Photo Intern Kyu Han ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Senior Multimedia Consultant Krickette Wozniak

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26 MUSIC

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news&comment The Marley Pot Love Fest A new “global brand” is met with few tough questions, showing what a difference a year makes.

Three Ways to Move Seattle Forward After Ferguson

BY MARK BAUMGARTEN

ast week, NBC’s Today Show giddily announced an exclusive: Privateer Holdings, the Seattle marijuana company long acclaimed locally for its straight, corporate image and Ivy-Leagueeducated bosses, was launching “the first global pot brand” based on the legacy of Bob Marley. “If you believe the hype, we’re going to look back and say this is where it all started—where pot got an image makeover,” NBC correspondent Kate Snow enthused. She went on to pay the accustomed tribute to “the suits behind the deal”—in particular Privateer CEO Brendan Kennedy, who holds an MBA from Yale. Dressed in a suit and tie for the camera, the clean-cut Kennedy described his journey from a venture-capital bank to what he called “the biggest opportunity in my life.” According to Privateer’s figures, quoted at the end of the segment by Snow, the worldwide marijuana market is worth as much as $150 billion. Her fellow correspondents giggled. “Crazy!” one marveled. An onslaught of national press coverage followed—all of it taking a respectful tone. In one way, that’s not a surprise. Marley Natural, as the brand is called, unrolled with the family of Bob Marley fully on board. The announcement arrived with a slick promotional video, featuring misty mountains and the late reggae singer’s music, as well as a lion-centered logo designed by branding company Heckler Associates, also responsible for the Starbucks mermaid. Oh, and Privateer has raised $50 million through equity offerings. Yet those who remember a certain infamous press conference held last year at Seattle’s Columbia Tower—led by another ambitious potrepreneur by the name of Jamen Shively— might have a moment’s pause. Shively too was touting a would-be international pot brand. As a former Microsoft manager, he had business bona fides. And he also had a star on hand, former Mexico president Vicente Fox. In crucial respects, the Shively and Privateer announcements were “the exact same,” observes Alison Holcomb, the ACLU attorney who led the campaign for marijuana legalization Initiative 502. Shively, however, faced tough questions from the journalists present and downright mockery from veteran pot activists. Was he really openly announcing an interstate conspiracy in violation of federal law? Wasn’t he baiting the feds and risking a backlash that would hurt the industry? If not, how was his brand going to work? And what did he know about pot anyway? Shively had only discovered the stuff a year or two prior, in his early 40s. A few reasons might account for the enormous change in tone that now greets Privateer.

eattle was up late Monday night following the announcement that a grand jury in Missouri elected not to indict the white police officer who killed an unarmed black teenager in the streets of Ferguson. Protestors who saw a grave injustice in the decision marched from Westlake Park—where they staged a die-in—to Seattle Central Community College, and then later to I-5, where they stalled traffic for a time. But what comes after all the shouting? There have been indications that this could be the beginning of a positive change. But what do we do now to help enact that change? We asked some leaders for concrete suggestions.

The Marleys are on board.

changing climate, another is the evolution of Privateer itself. When the company burst onto the scene in 2011, it kept telling reporters that it would be involved only in “ancillary” marijuana products. Its MBA founders made clear they were not interested in legal risk. The company’s first acquisition, in 2012, was Leafly—easily defendable as a First Amendment operation. Last year, however, Privateer went in a dramatically different direction and started planning a full-on medical-marijuana grow operation on Vancouver Island, to be run by another subsidiary called Tilray. Canada’s federal government, unlike ours, has legalized medical marijuana, and just switched from a system that relied on home grows to one based on licensed facilities. Privateer poured $20 million into Tilray, hired 110 employees, and opened in April as the biggest such operation in Canada, according to company vice-president Philippe Lucas. Meanwhile, in the U.S., Privateer established Arbormain, which will rent space to I-502 license holders. Hutson says the company is building a facility in the Olympia area. And now there’s Marley Natural. In its announcement, Privateer did not get into the nitty-gritty of how its international operation will work in the face of pot prohibitions. In an interview with SW, however, Hutson, previously a spokesperson for Starbucks, offers a few details. He talks by phone from Marley Natural’s new

» CONTINUED ON PAGE 7

lone dissent » Sawant Says “No” to City Budget ANNA ERICKSON

As expected, the Seattle City Council passed a $4.8 billion city budget earlier this week. Unexpected, though, was that councilmember Kshama Sawant was the lone dissenting vote, despite having helped vote the budget out of committee earlier this month. Our readers responded. “Why vote yes one week and no the next?” —Concernedmom “Even as she makes political gains, she refuses to lose sight of systemic injustice that is reflected in all areas of our government including the budget.” —Eric W. “Sawant is an idiot and was voted in by others who also had no clue.” —2 Fed Up “I am not a fan of Sawant, but I give her props for her genius in orchestrating media attention.” —GriffinDW

•

TEAM BY LUKE ANTHONY AND HANDSHAKE BY LAUREN MANNINEN FROM THENOUNPROJECT.COM

If legalization laws are one way of marking the

Acknowledge This is a critical

moment that cannot be squandered, says Rachael DeCruz, communications chair of the King County NAACP. The first step toward curtailing events like the one in Ferguson is to recognize what is at its heart. “We need to acknowledge that this is an issue about race,” she says. “We need to come to terms with the fact that our criminaljustice system was built on and continues to operate on a legacy of racism, targeting communities of color and, in particular, young black men.”

Legislate There is a major role

Respect There will likely be

for elected officials to address this institutional racism, says newly elected state Senator Pramila Jayapal, who represents the socially and economically diverse 37th District. “Part of it is turning these big institutions of the city and the state to focus on people who are falling through the cracks,” she says, acknowledging that the problem is multilayered. Also of concern, she says, is law enforcement. “I’m interested to know if there is a role for state government to play around de-escalation training and mandating a certain set of steps someone has to go through before they can use a gun,” she says. “I’m starting the process of looking at that.” more shootings and more grand juries in at least our near future. When those decisions are handed down, says Gregory Davis, it’s important that they be handled with more consideration than what was on display in Missouri. “In terms of the announcement at night, the positioning of force—all of that is traumainducing,” says Davis, who sits on the steering committee for Rainier Beach Moving Forward. “I wouldn’t have had it in the courtroom, wouldn’t have had the prosecuting attorney up there solo. There could have been AfricanAmerican community elders there. And they could have not had the folks out in the cold waiting for the decision.” E

mbaumgarten@seattleweekly.com

SEATTLE WEEKLY • NOVE MBER 26 — DECEM BER 2, 2014

“Classist isn’t the exact right term,” muses Holcomb, but she notes that Privateer’s Ivy League pedigree probably earns it a benefit of the doubt that Shively didn’t get, even with his Microsoft background. Or maybe because of his Microsoft background, combined with something a little goofy about his persona. “He looked like somebody who in his dreams was Bill Gates,” reflects Mark Kleiman, the UCLA public-policy professor who served for a time as the state’s top consultant on I-502 implementation. “If you look at our track record, you can see we’re serious,” says Privateer public-relations director Zack Hutson. Indeed, Privateer hasn’t just jumped into the pot business. Over the past two years, it has built a portfolio of subsidiaries, including the Yelp of marijuana dispensaries, Leafly, and a 60,000-square-foot, federally licensed grow operation in Canada. But there’s likely a bigger reason for the different reception: Marijuana legalization has made dramatic strides. The Marley Natural announcement came just weeks after Oregon, Alaska, and Washington, D.C. voted to legalize recreational marijuana. A national, maybe even international, pot brand no longer seems so crazy. “Timing is everything,” says Hilary Bricken, one of Seattle’s go-to lawyers representing marijuana entrepreneurs. Shively once told Seattle Weekly that brand domination came from getting in early and being “first to mind.” Ironically, as Bricken observes, “he may have just been, frankly, too early.”

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n&c» The Marley Pot Love Fest » FROM PAGE 5 4,000-square-foot office space in the Bowery section of New York City, where he says Privateer has chosen to locate this subsidiary because of the talent pool in such areas as lifestyle branding.

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The company, he says, is likely to start selling pot overseas. “We’re in discussions with a distributor in Israel” —a country with a federally legal medical-marijuana system. Hutson also cites Uruguay and the Netherlands as potential early markets. The Netherlands famously has a gray pot market, Hutson notes. And Uruguay recently legalized marijuana, which makes it possible that Marley Natural might grow its pot there and export to other countries, Hutson says. Alternatively, Marley Natural might not grow pot itself but license its brand to local growers, according to Hutson. It could possibly do the same in states where legalization laws have passed in the U.S., Hutson says, although might initially limit itself to selling pot-infused products, like lotions and creams, and accessories such as vaporizers in the those states. That strategy is not risk-free, though. Israel has a very limited medical-marijuana system. In Uruguay, a leading candidate in the upcoming presidential election has promised to repeal legalization. The Netherlands may have a gray market, but “the coffee shops that sell dope are breaking the law and people do get arrested,” Kleiman says. What’s more, Kleiman adds, the American government could take unwanted interest in Privateer. And how does it get the profits back from its overseas operations “without raising red flags?” Bricken wants to know. Hutson isn’t saying. Nor will he discuss any legal questions, beyond insisting that whatever Privateer does will be consistent with local and federal laws. His vagueness extends to the brand itself. If Marley Natural will be, in many places, merely licensing the brand to growers, what exactly will buyers be getting? Kleiman asks. “They will be getting a quality product that meets our quality and safety standards,” Hutson says. What’s not vague about Marley Natural is the money behind it. Shively was derided last year for gleefully conceding that his outfit was “Big Marijuana.” He has since dropped out of view. Privateer, for better or worse, has taken that mantle. Says Bricken: “They’re closer to Big Marijuana than any institution or entity I have seen this far.” E

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ELAINE THOMPSON/AP PHOTO

King County Councilmember Dwight Pelz examines a ballot alongside King County Elections Director Dean Logan (front center) and prosecutor’s office chief of staff Dan Satterberg (front right) as Republican Diane Tebelius (left), Democrat Will Rava (center), and Libertarian Brad Henry observe.

How the closest gubernatorial election in the nation’s history changed our state, and those who lived through it.

BY MATT DRISCOLL

en years ago, as night fell on the Meydenbauer Center in Bellevue, Dino Rossi addressed a roomful of hopeful Republican supporters. “We are trending in the right direction,” Rossi, a fiscal conservative from Sammamish who chaired the state Senate Ways and Means Committee and had made a small fortune in the commercial real-estate business, told his fellow party members. For the first time since 1984, Republicans in Washington were poised to take control of the Governor’s mansion. Rossi, standing before TV cameras carrying images across the state and country, was the man who’d taken them to the doorstep. “We’ve waited 20 years, I guess we can probably wait another week,” the candidate would joke from the podium. “This isn’t over yet. There are a lot of ballots to count. Stay tuned.” The remarks would prove prophetic. The gubernatorial race of 2004 was one of pro-

longed uncertainty, pitting the state’s wellknown Attorney General, Democrat Christine Gregoire, against Rossi, a presumed underdog, and Ruth Bennett, a Libertarian running primarily on a marriage-equality platform. Given the candidates’ differing profiles and the widely held assumption that Gregoire would cruise to victory, no one could have predicted what would transpire over the following month. To this day, Washington’s 2004 governor’s race remains the closest in the nation’s history. Nationally, Election Day 2004, Nov. 2, was highlighted by John Kerry’s challenge of George W. Bush, only four years after the electoral debacle in Florida helped Bush take office. And while you can’t get much further from Palm Beach than King County, many of the same questions, accusations, and uncertainties that marred the 2000 presidential election would be ominously raised again here during what turned into the Gregoire/Rossi saga. Ballots were lost and found.

sought—along the way it would bring to light a slew of troubling voting irregularities. All of them—from the widespread mishandling of provisional ballots to the failure to reconcile the number of people credited with voting with the number of ballots cast—are cited in Superior Court Judge John Bridge’s Chelan County ruling. The Gregoire stronghold of King County, which she would carry by over 150,000 votes, would come out looking particularly inept. To this day, who “won” the governor’s race of 2004 depends on whom you ask. “I get it every day. People stop me on the street and say, ‘You got robbed! I’m still mad about that! That election was stolen!’ It’s daily . . . It’s daily,” a resigned Rossi now offers. “I think I won. And, certainly, if we had a revote, I think we would have won.” “Yes,” Gregoire says succinctly when you ask her if she believes she was the rightful victor. “Because I served as Governor. . . . When the votes are counted through the legitimate legal process, that’s the winner. . . . To me, you live by the process, and in the end what the process says is the result.” Christine Gregoire doesn’t talk about the election of 2004—at least that’s what you’re told when you try to track down the two-term governor. It remains, understandably, a sore spot for a politician who defies the typical mold. Gregoire, whose former associates often describe her as more private than most, would rather forget the whole ordeal. At least until recently, she says. “I look back on it as one of the worst times

SEATTLE WEEKLY • NOVE MBER 26 — DECEM BER 2, 2014

SEEING RED ...T HEN BLUE

Conspiracies were construed. Tempers flared. Litigation flew. A recall effort was launched against Secretary of State Sam Reed—twice. And for months, the future of Washington’s political landscape hung in the balance. Just after Thanksgiving, on Nov. 30, 2004, after two counts of the ballots, Reed certified Washington’s race for governor in Rossi’s favor. Thirteen days earlier Rossi had won the initial ballot count by 261 votes, a razor-thin margin that triggered an automatic recount. The second time around it only got tighter: Rossi won by 42 votes out of 2.8 million cast. Dino Rossi, after winning 31 of Washington’s 39 counties, was set to be the state’s next governor. But it never happened. A decade later, the one thing most observers agree on is that it’s still impossible to say definitively who won. As we know, a third hand recount of the ballots—paid for by the State Democratic Party, which footed the $730,000 price tag (i.e., 25 cents a ballot)—would find Gregoire the winner by a mere 129 votes. Gregoire got the good news two days before Christmas, while on a ski vacation at Mount Bachelor, and was sworn in Jan. 12, 2005, with the specter of a lawsuit challenging the validity of the election looming. During her inaugural address, the former governor remembers, a handful of Republican legislators refused to face her as she took the oath of office. While the court case, held in Wenatchee over nine days in May and early June, would eventually uphold the victory for the Democrat—raising Gregoire’s margin of victory to 133 votes and denying the Republicans the revote they

» CONTINUED ON PAGE 11 9

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Seeing Red...Then Blue » FROM PAGE 9 I’ve ever had in my professional life. I wouldn’t wish it on my worst opponent,” Gregoire tells me by phone from the Harvard University Institute of Politics in Boston, where she’s serving as a fellow this fall. For the first time in a long time, she says, she’s thinking about the election of 2004. “As a candidate, you have it in your head that it will be over on election night,” Gregoire says of 2004. “You don’t think about the possibility that it won’t be.” Election Night 2004 was just the start of it for Gregoire, her party, and her family. “We were at the Westin Hotel, and, I will never forget, there was a swarm of press. This was a heavily covered event,” remembers Paul Berendt, who chaired the state Democratic Party at the time. “There was a tremendous amount of excitement. We wanted her to come down and address the crowd, because there were television cameras there, and we were sensitive to giving them something to cover. “Eleven o’clock was approaching and there was no word where [Gregoire] was, so I went up to her room. It was a big suite, and there was kind of a back room, and she was in there with some of her key advisers and family members, and it was very quiet, and they obviously thought they were in tough shape. . . . [Gregoire] looked very stressed and not confident, let me just say that. Frankly, I saw a little bit of anger in that room. I think she thought she was going to lose at that point.” Though Berendt says he believed Gregoire would win, and told her so that night at the Westin—even as the disappointing preliminary results were being projected on her hotelroom wall—he remembers that it was another Democratic voice who was able to convince the candidate to make her way to the podium and speak to supporters. “About that time Senator Cantwell came in the room, and I said to her, ‘You know, Senator, they’re very down,’ ” Berendt recalls. “And Cantwell looked at the numbers and said, ‘What is Snohomish County doing?’ And we looked at the wall and Gregoire was ahead in Snohomish County at the moment. And Cantwell said, ‘Well, if you take Snohomish County, you’re going to win the election.’ “So she got up and went down and gave her speech. . . . I don’t know. I’ll just never forget that moment.” Gregoire would tell the crowd at the Westin that night that “I’m coming back down here as the next governor of the great state of Washington.” Whether she believed that or not is anyone’s guess. Ironically, she would end up losing Snohomish County by just more than 6,000 votes.

and later by beating King County Executive Ron Sims in the gubernatorial primary. But that knock-down, drag-out primary fight left Gregoire reeling following revelations that an attorney under her supervision had missed the deadline to appeal a civil-case ruling, which left the state on the hook for an $18 million settlement, and from accusations that her office had asserted influence over what was supposed to have been an independent investigation into the matter. Later, voters learned that Kappa Delta, the University of Washington sorority that in 1966 Gregoire pledged and later became president of, admitted only whites at the time. Gregoire claimed that she had tried to persuade Kappa Delta to change the racist policy. And though she won the Democratic primary with a comfortable 65.6 percent of the vote, she emerged bloodied and with a depleted bank account. Rossi, meanwhile, coasted to victory in the Republican primary virtually unscathed—setting the stage for a remarkable contest between two very different candidates. Even after Gregoire’s primary fight, most considered the Attorney General to have a sizable advantage over Rossi. For instance, an Elway poll from September 2004 indicated that Gregoire held an 11-point lead. But as the campaign went on, the tides began to turn. Observers said the Gregoire campaign lacked focus and message. “It was not necessarily a smooth-running campaign machine,” Berendt now admits. “The Gregoire campaign had some stumbles at the very end. . . . I think the campaign didn’t have confidence in their management team, and this resulted in some confusion in how the end game should be implemented.” Rossi, on the other hand, was a fresh face, a moderate from the suburbs who seemed to have a connection with Washingtonians outside of Seattle. He was charming; he’d balanced the state’s 2003 budget; and his campaign was “firing on all cylinders,” as Berendt puts it. As a result, by Election Day, as the votes would later confirm, the two would-be governors were locked in a dead heat. “She ran a terrible campaign. There were times when we were like, ‘Seriously?’ ” remembers Mary Lane Strow, Rossi’s campaign spokesperson at the time. “We were kind of expecting more.” “You always look back and ask what could you have done?” Gregoire says today. “We clearly could have done a better job all around. We didn’t have the ground effort that is necessary, or get out the vote like we should have. I have to accept responsibility for that.” Ask about the legacy of the 2004 gubernatorial election, however, and it’s not campaign regrets that Gregoire focuses on. She remembers the pain, uncertainty, and stress that the prolonged ordeal put on her family. But most of all she remembers the larger lessons. “I don’t think about [the election] a lot, but since I’ve come here, I have,” says Gregoire, admitting that her Harvard fellowship has helped her re-examine 2004. “The most impor-

“I LOOK BACK ON IT AS ONE OF THE WORST TIMES IN MY PROFESSIONAL LIFE.”

» CONTINUED ON PAGE 12

SEATTLE WEEKLY • NOVE MBER 26 — DECEM BER 2, 2014

Coming into the 2004 election, nearly everyone considered the state Attorney General a shoo-in. She had already been tested by two tough opponents on her way to the ballot—first when she led the negotiations that resulted in the historic $300 billion settlement against Big Tobacco,

SEPTEMBER 14, 2004

In the state’s first pick-a-party primary, Dino Rossi wins the Republican nomination with 85 percent of the party’s votes, while Christine Gregoire wins the Democratic Primary with 65 percent of the party’s votes, beating King County Executive Ron Sims.

NOVEMBER 2—ELECTION NIGHT

Gregoire takes an early lead of approximately 4,000 votes of 1.8 million counted. However, as counting continues through the night, the tide turns for Rossi, who emerges with a 681-vote advantage.

NOVEMBER 5

Gregoire’s lead is down to 4,001 with 362,246 ballots left to count.

NOVEMBER 10

Rossi expands his lead to 3,500 votes. He announces his transition team.

NOVEMBER 15

Rossi’s lead is whittled to 158 votes.

NOVEMBER 20

The machine recount begins. The Republican Party files a lawsuit in U.S. District Court seeking to stop King County from hand-reviewing ballots that are rejected by the machines. The Republicans are specifically concerned with King County’s attempts to determine voter intent on questionable ballots, arguing that the ballot “enhancement” process “irreparably” harms the recount process.

Seeing Red...Then Blue » FROM PAGE 11

SEPTEMBER 29

Thurston County Superior Court Judge Richard Strophy rules that Libertarian candidate Ruth Bennett is entitled to a spot on the general-election ballot.

tant lesson learned is: Any apathy about whether one should vote or not is clearly decided in that race, where every single vote counted. “I’m trying to express to these young students how important their votes are,” she continues. “It’s a perfect case-study example.”

NOVEMBER 3

Gregoire pulls ahead by 14,323 votes, largely thanks to the counting of 96,000 King County absentee ballots.

Ten years after having what would have been the

NOVEMBER 9

Rossi turns the tables and takes a 2,000-vote lead.

NOVEMBER 12

Rossi’s lead is reduced to 1,920 votes. Following a request from Democrats, a judge rules that King County is required to turn over the names and addresses of county voters who cast provisional ballots deemed invalid. Gregoire’s party works feverishly to turn up as many votes in King County as possible.

NOVEMBER 17

On the statutory deadline for all counties to certify returns, Rossi finishes with a 261-vote lead, triggering a mandatory machine recount.

RACE FOR THE PRIZE A Tense Timeline

NOVEMBER 21 NOVEMBER 24

Results of the machine recount determine Rossi has won by 42 votes.

The Democrats pay for a hand recount of all ballots statewide, as is their right under state law. It costs them $730,000, with John Kerry pitching in at least $200,000.

DECEMBER 17

Approximately another 150 uncounted ballots surface in King County, further infuriating Republicans.

JANUARY 7, 2005

Rossi and the Republicans file a lawsuit in Chelan County Superior Court challenging Gregoire’s election.

NOVEMBER 30

Secretary of State Sam Reed certifies the election, declaring Rossi the winner.

DECEMBER 13

King County discovers 561 valid ballots not previously counted.

DECEMBER 23

The hand recount finds Gregoire the winner by 129 votes out of nearly 2.8 million cast. Libertarian Ruth Bennett finishes with 63,465 votes.

JANUARY 12 JUNE 6, 2005

After a two-week trial, Chelan County Superior Court Judge John Bridges rejects the Republicans’ lawsuit seeking to invalidate Gregoire’s election, agreeing that while there were many errors, none were intentional, and no fraud had occurred. Five votes are added to Gregoire’s total, raising her margin of victory to 133. Later that day, Rossi announces he will not appeal the decision. “We thought the state Supreme Court was nothing but Democrats and would rule in whatever way necessary to make Christine Gregoire governor,” explains Chris Vance.

Gregoire is sworn in as Governor.

BALLOTS BY DOUG CHAYKA

SEATTLE WEEKLY • NOVEM BER 26 — DECEM BER 2, 2014

DECEMBER 3

U.S. District Court Judge Marsha Pechman denies the Republicans’ attempt to stop the ballot-enhancement process in King County.

biggest accomplishment of his career taken from him, Dino Rossi doesn’t have to make time for me. But he does, picking an early Friday morning at a Sammamish Starbucks as a meeting spot. Before our get-together, however, the former politician, who has since returned to real estate, e-mails me a PowerPoint presentation—the one used 10 years ago by the lawyers representing the state Republican Party during the Chelan County court case that ultimately decided the election. “It’s good to start our conversation with the facts,” Rossi writes of the e-mail attachment, now a historical artifact of sorts. The fourth slide is particularly telling. Under the header “What Happened?” is a litany of electoral missteps: “Illegal Votes,” “Lost & Found Ballots,” “Election Worker Errors,” “Fraud,” and “Litigation.” “I thought we could win. I really did,” Rossi tells me. “We won the first one. . . . Then we won again. I was certified governor-elect twice. And they ended up flipping it with felons, dead people, and unregistered voters. I didn’t know I was supposed to be campaigning in graveyards,” he says, laughing. Rossi, who Berendt remembers as “a really good candidate,” points out time and time again during our conversation that he’s not bitter—“I’m a glass half-full guy,” he says. “Worse things have happened. You’ve got to put things in perspective.” But it’s clear that all these years later he still believes Washington’s system got it wrong. “It wasn’t a conspiracy,” Rossi says of the way things played out in 2004. “It’s just a system so loose that individual acts of fraud can be committed. It’s hard for people go to jail for that, because it’s not an organized effort.” And, of course, within the Republican Party, he’s not alone in his views. “It’s the worst thing that ever happened in my professional life. The most frustrating,” remembers Chris Vance, who chaired the state Republican Party from 2001 to 2006, and spent nearly every morning for two months as a guest on the conservative talk-radio station KVI, walking listeners through the party’s growing list of election grudges. “I mean it’s terrible. I can’t laugh about it. It was a tragedy. A disaster,” Vance says. “I’ve had worse things happen in my personal life. I’ve lost both my parents and my mom’s mom passed away and that sort of thing, but in a professional sense it was the most awful thing. The whole thing was just wrong. “I will never forget, and I almost say never forgive, but there’s no one to punish,” Vance continues, when asked what angers him most about the 2004 election. “It wasn’t one of these things where you lose and you go, ‘Oh well. We fought a good fight and we lost fair and square.’ Bitter is far too weak a term.” Many Republicans do blame someone—or some county (namely, King)—for what happened in 2004. As Lane Strow explains, the whole experience felt like “going up against the machine.” And the list of significant election accusations made in court by the Republicans is lengthy. David Postman, who now serves as executive director of

communications for Governor Jay Inslee, reported in The Seattle Times in early January 2005 that Republicans claimed to have identified “300 illegal votes and more than 400 that can’t be verified” in the 2004 governor’s election, including “240 felons who voted illegally. . . . 44 votes cast under the name of dead people, 10 voters who voted twice in the state, and six who voted here and in another state.” By the time the court case concluded in early June, both parties had tried their hand at turning up questionable votes, with Republicans seeking illegal votes in pro-Gregoire counties and Dems countering by searching for illegal votes in proRossi counties. Combined, both parties claimed to have identified over 2,800 illegal votes. In the end, Judge Bridges found that a total of 1,401 convicted felons and 19 dead people had cast a ballot—but ruled that both parties had largely failed to prove which candidate the votes benefited. More important, Bridges declared that Republicans hadn’t established that the votes in question changed the election’s outcome, which is a requirement under state law to enable a court to invalidate a vote of the people. Bridges did rule that four of those votes had been cast specifically for Rossi (and one for Bennett), which raised Gregoire’s lead over him to 133 votes. In the wake of the Rossi/Gregoire ordeal, the much-maligned director of the King County Election Department, Dean Logan, resigned in 2006. And the county—which in his final ruling Judge Bridges took to task for a host of shortcomings, including a “lack of communication, lack of taking responsibility for actions, a lower level of accountability, and difficulty in documenting procedures”—has worked, most say successfully, to increase oversight and accountability. Statewide, as Trova Heffernan, who served as communications director for Secretary of State Sam Reed, wrote in her book An Election for the Ages, some 1,280 changes to the voting process were enacted as a result of the election. “Among the most significant were extensive changes to voter registration, and adopting an earlier date for the State Primary, allowing more turnaround time between the primary and general elections to better serve overseas and military voters,” Heffernan details. None of these, of course, can help fix what happened in 2004. “The election was conducted in such an incompetent, sloppy fashion, particularly by King County, that nobody knows [who won],” says Vance. “Only God knows who got more votes.” As a third-party candidate, Ruth Bennett knew she wasn’t going to be elected governor of Washington in 2004. But she thought she might be able to choose who was. And she almost got her wish. Now 62, Bennett resides in Arizona, where she’s the executive director of the Funeral Consumer Alliance of Southern Arizona and holds a spot on her local school board. But in 2004, Bennett was, in addition to being a semi-retired travel agent, a thorn in the side of the Washington political establishment. It took a lawsuit even to get her on the ballot—a challenge to the state’s 1-percent requirement, which Thurston County Superior Court Judge Richard Strophy ruled unconstitutional in light of Washington’s new “pick-a-party” primary system—and it escalated from there. As Bennett recalls, she was the Libertarian candidate who wasn’t perennial ballot laughingstock GoodSpaceGuy. “My issues were a little more down-to-earth,” she recalls.

in the next race [the 2008 rematch], and Mr. Rossi lost by almost 200,000 votes,” says Bennett. “I made Mr. Rossi look very good.” While Rossi is quick to point out that he

“never needed the job,” that certainly never stopped him from gunning for it. Four years after having the governorship swiped from underneath him, Rossi lost to Gregoire in a rematch, this time decisively; and in 2010 Democrat Patty Murray took down Rossi in a U.S. Senate race. Today the fiscal conservative has returned to Sammamish to do what he’s perhaps best at: making money in the real-estate market. “A lot of people don’t really understand that I’m actually a businessman,” Rossi says. “I had one political-science class in college. I hated it and I dropped it. And that was it—I’d never thought I’d run for office. . . . I’m very blessed in a lot of ways.” Still, those within the Republican Party can’t help but wonder what life in Washington might be like today had Rossi been awarded the governorship they say he rightfully won. “I think we would have a much more wellrun state government,” says Lane Strow. “With 30 years of Democrats running the show, there’s so much just doing the same things over and over again, and not really shaking things up. If Dino had been allowed to serve the term to which he was elected, he would have brought such a breath of fresh air to Olympia.” “The most important thing is, Dino Rossi did not become governor, and that would have changed the trajectory of Washington state politics,” adds Vance. “If you’re a Republican that’s a good thing, if you’re a Democrat it’s not, but it would have definitely changed the trajectory of Washington state politics. We would have been able to build the Republican Party from the top down. Having a governor, we would have been able to raise more money, recruit more candidates, and maybe win other offices. I think Dino would have been a popular governor. It would have changed the arc of Washington state politics for sure.” Ruth Bennett, meanwhile, is in some sense living her dream. The wild-card Libertarian moved to Arizona in 2010 with her partner of 16 years, but the couple returned to Washington a year ago to tie the knot after Washington legalized one of her main campaign issues—same-sex marriage. And despite how “odious” Bennett might believe Gregoire to be, it’s in accomplishments like that where Paul Berendt says the legacy of Gregoire’s term in office can be felt today. “Essentially, [Democrats] have not just had this long era of controlling the governor’s mansion, but the state of Washington has consistently been a state that has been on the cutting edge— with gay marriage, or marijuana reform, or the historic closing-of-the-gun-show-loophole initiative that we just passed,” he concludes. “And I believe that an atmosphere creates the ability to do that. And the people that you put into these offices create an opportunity for change. And while I wouldn’t ever characterize Chris [Gregoire] as a major reformer per se, I do believe she allowed ideas to flourish kind of organically, and I believe Dino Rossi was just conservative enough that he would have been resistant to some of these changes and created a different kind of atmosphere. “That election was very significant,” he says. Even 10 years later. E mdriscoll@seattleweekly.com

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In a race decided by 133 votes, the 63,465 that Bennett ended up with may have made all the difference. “Libertarians have the option of what we call running to the right or running to the left. In a race that’s potentially going to be close, the Libertarians should always be able to decide who the winner is,” Bennett says of her motivations in 2004. Despite building her campaign on what former Libertarian party chairman J Mills now describes as “legalizing dope and same-sex marriage,” Bennett says her big goal was to get Dino Rossi elected. That may seem strange from an openly gay candidate running as a Libertarian—a party better known for siphoning votes from Republicans— but it was all part of a larger strategy for the party, designed, according to Mills, to prove that Libertarian candidates don’t always hurt the right. Bennett says she picked her liberal campaign themes “very deliberately.” “I ran hoping I would attract more people from the left, and therefore cause Mr. Rossi to win. And I came within a whisker of doing that,” Bennett says. “It’s not that I agree with a whole lot of his positions. It’s just that I found Mr. Rossi somewhat less odious than Mrs. Gregoire. I think he was a man of greater integrity.” Like the outcome itself, Bennett’s impact on the outcome remains debatable. Ten years later, Chris Vance maintains that Libertarians take votes from both parties, and says Bennett’s candidacy hurt Rossi as much as it hurt Gregoire. Meanwhile, a December 2004 article by Neil Modie in the Seattle P-I quoted Gregoire spokesman Morton Brilliant as saying Bennett “set out to run a third-party candidacy from the left, stealing votes away from our left flank.” The article also indicates that, at the time at least, Brilliant believed that “Senator Rossi went out of his way whenever possible to mention Bennett’s candidacy, to mention her platform.” According to Mills, if Republicans had been smarter in 2004, Bennett could have helped put Rossi in the governor’s mansion. The former party chair, who in 2004 ran his own race for the U.S. Senate, says his party approached the Rossi campaign on several occasions, trying to talk them into trying what he calls “cooperative campaigning.” The idea was fairly simple: If Rossi made a concerted effort to acknowledge that he was against the issues Bennett was campaigning on—specifically drug legalization and same-sex marriage—it would both draw conservative voters, who liked what they were hearing, to his side and take more liberal voters from Gregoire’s side. Bennett says her campaign went so far as to ask Rossi and the Republicans to fund a mailer for her in King County. Rossi says he doesn’t remember such a proposal; Vance says it sounds “vaguely familiar”; Mills says it never went quite that far. Either way, Mills says, the Libertarians’ advances fell on deaf ears. “Our problem was always being kind of endlessly ignored,” says Mills. “We were trying to get [the Republicans] to sort of grasp the fact that they could treat the Libertarian as a real candidate. They could respond to things we were talking about. By simply accurately portraying the message, they could both help us and help themselves. . . . We were trying to get them to think about that and be smarter about it. It never kind of worked. I just don’t think that they were smart enough to understand.” To this day, Vance remains dismissive. “Ruth Bennett has always tried to make herself part of the story,” he says. “The Libertarian vote is not why Rossi lost. . . . She and the Libertarians were not a big deal then, and even less so now.” That too depends on whom you ask. “I wasn’t

food&drink Jackpot!

Local casinos serve the Chinese food of your childhood.

The Renegade Holiday Cake Longing for baumkuchen.

BY JACOB UITTI

BY TIFFANY RAN

’m sitting at a neon-blue bar 15 feet from a Spanish 21 table, and I just ordered veggie fried rice and veggie chow mein. Am I in Las Vegas? No—I’m at Goldie’s Casino (15030 Aurora Ave. N., Shoreline). The air is artificially cool, and at noon on a Wednesday there are a smattering of card players at the gaming tables and only a few people who have ordered food. The sound of plastic chips fills the air, and outside the dimly lit establishment it’s sunny, cloudless. The bartender (let’s call her Gemma) is chatting with me. When I ask how long Goldie’s has been here, she and her co-worker both shrug. “Longer than 10 years, I guess,” she says. I learn later from food and beverage manager Chao Victorino that prior to the ethnic cuisine, Goldie’s served traditional American bar food. Victorino doesn’t know how long exactly the Chinese restaurant has been there, but “It’s been a long time.” I ask why they chose Chinese food. “Because,” she says, “a lot of our guests are Chinese and we wanted to cater to them.” Fair enough! The current Goldie’s menu includes seafood tofu hot pot, charbroiled steak, wraps, pork chops, chow foon, and congee. They have build-yourown omelets and other breakfast items, too. It’s a menu meant, I gather, to make patrons feel comfortable, composed, and ready to place their bets. I ask Gemma what her favorite things on the menu are. “Well, the vermicelli bowls and Szechuan prawns are really good. I don’t eat meat, so I get the banh mi sandwiches with avocado. We have pea vines, which not every place has, and won ton noodle soup. Our Mexican food is really good too. We have Mexican cooks, Chinese cooks, Vietnamese cooks. And on Wednesday we have a special crab soup—that’s what I’m going to have for lunch today!” The tables in Goldie’s are dark faux wood, and on each rests containers of soy sauce and bottles of Sriracha. Mirrors are everywhere. Funk music plays on the overhead speakers and sports-talk shows shine brightly, but muted, on the overhanging televisions. You don’t see casinos in Seattle proper (gambling licenses are illegal in King County), but they are legally all over Aurora, Edmonds, and White Center. And, for whatever reason, many of them fuel their patrons with Chinese food. Is this a family-run establishment? I ask Gemma, who’s worked here “a couple years.” “No, it’s owned by a couple guys with a bunch of money. I think they have investors, too.” It turns out Goldie’s is owned by Evergreen Gaming Corporation, which acquired it in 2011. Just then, an announcement over the speakers invites one lucky customer, a fellow named Ben, to spin a wheel. Ben steps up, spins, and wins $25. People cheer; this occurs every two hours. At the end of the bar a bouncer/manager fellow is watching me type into my phone and take

n Seattle, we have our kouign-amanns, macarons, and danishes, but one legendary sweet is missing from our pastry arsenal, and its absence haunts me most during the holiday season. Picture a German Christmas: a quaint snowy village, holiday lights, a tree of white and gold ornaments, and a slice of baumkuchen with warm cider. If there is such a thing as a renegade cake, the baumkuchen would be it. No precious cupcakes or cake pops here; this cake is traditionally baked near an open fire, where burly bakers spoon sponge-cake batter over a mold on a revolving spit one layer at a time. An average baumkuchen comprises 15 to 20 thin layers and is, on average, three to four feet tall. This extraordinary cake towers over most layered cakes, and the effort required to make it far surpasses that of any fruitcake. Sliced, the fruit of this labor can be seen in the thin layers that resemble a tree trunk’s growth rings, giving the baumkuchen, or “tree cake,” its name. Baumkuchen are prevalent throughout Europe, and come in a few versions. This advanced confection made its way to Japan in the 1920s, where it was propelled to stardom by a baumkuchen bakery chain. There are now many versions with different glazes like chocolate, marmalade, and untraditional flavors like red bean, coffee, and matcha tea.

DREW BARDANA

pictures of the menu. He is bald, tan and big. I imagine he doesn’t like me. When I walked in, he gruffly said hello, noted it was a slow day, and asked to take my backpack to put behind a security table. Perhaps it makes sense; Goldie’s did survive its own violent robbery in 2009, and security is good for business. My eyes go to a big CASHIER sign in gold and purple hanging on the east wall like a beacon in this place of worn-out-carpet malaise. People walk by me using gambling vernacular and saying things like “The prostitutes just went outside for a smoke” without skipping a beat. When my fried rice arrives, I grin. It is packed with sterile, almost fake-looking veggies— bright-green broccoli, bright-orange carrots, baby corn. It’s light, not too greasy, and just what you’d expect. The chow mein is eerily similar to the rice, with the same bright veggies (except, for some reason, they’re all 25 percent bigger). The thin noodles are slippery and sloppy with a delightful thin beige gravy and little umbrellashaped mushrooms. After lunch, I sit at a table and I’m dealt two cards. A couple other guys each have small stacks of chips. When you first sit down, you can never tell if someone is winning or losing. I win a few hands, but eventually and expectedly lose my $20. Full-bellied, I leave Goldie’s for the bright outdoors. I want to get a taste for another of these odd places, so I drive down to Roxbury Lanes (2823

S.W. Roxbury St., White Center): a combination bowling alley, card room, bar, and Chinese-food oasis. The first thing I notice is the stale cigarette smell. Even though smoking’s forbidden, the odor, I think, lingers from decades prior. The

next thing I notice is the Cosmic Crane—one of those machines where you put in change and try to grab a stuffed toy, but the claw is so loose you never win. Young and old saunter about Roxbury, bowling and playing games. There is a sense that everyone here is blue-collar, a little rough about the edges. I make my way to the back toward the bar/restaurant. TVs are everywhere—it makes you wonder what places like this would do without the glow of ESPN. The casino is in an adjacent room. I can’t see it from where I sit, and I don’t bother to go in. I’m handed a menu and poured a Pepsi. This place, along with the Chinese fare, serves nachos, wings, pizza, burgers, turkey dips, pie. and eggs Benedict, among other dishes—the kind of stuff you’d want if you were 9 years old and ready for an afternoon birthday party. “What’s your favorite item on the menu?” I ask the blonde bartender. “Probably the Sizzling Mongolian Chicken,” she says. “Or the kung pao.” She tells me that Roxbury has been here since the ’50s, she thinks, but that the Chinese food came in later. Restaurant manager David Ngo tells me his father brought Chinese food to Roxbury in 2004 when he took over. I order the veggie yakisoba. It doesn’t look like the thinner yakisoba noodles I’ve come to know in Seattle, but more like the thicker lo mein I had as a kid in New Jersey. Eating it, though, I feel as if I’m wrapped in a warm blanket of soy sauce and MSG. It gives me a jolt—sugar and carbs—but again I resist the excitement of the card room. There are no cocktail waitresses handing out free drinks or meals being comped by pit bosses. But who needs a comped meal when the best things on the menu are just $7.99? E

food@seattleweekly.com

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SEATTLE WEEKLY • NOVEM BER 26 — DECEM BER 2, 2014

A slice of tree cake.

Meanwhile, my brief Internet search of Seattle and our friendly Germanic neighbor Leavenworth turned up not much more than gingerbread cookies and danishes. This yuletide dessert even enjoyed time in the limelight on NPR and in The New Yorker, but it’s been crickets here in Seattle. (Should I be wrong, I hope to stand corrected.) I was beginning to think I’m crazy, but baumkuchen bakeries now exist in Chicago, New York, San Francisco, Huntington Beach, Calif., and Denver, and one would hope one will eventually make its way to this corner of the Northwest. The possibilities for a baumkuchen-specific bakery may be slim, as it would require special ovens and a loyal following. But while there may not be an ample supply of cake-roasting spits around town, baumkuchen can be made in round cake pans, and if a local bakery chooses to come through, it will have an eager customer here. It’s time to spread the gospel. In the meantime, Amazon has a few baumkuchen you can order online. E

food@seattleweekly.com

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Gin ’n’ Juice

2 oz. gin ½ oz. cranberry juice ½ oz. orange juice 2 dashes cardamom bitters Shake and serve in a large rocks glass. This is a fun drink to get a party started. The cranberry and orange have a festive feel, and the cardamom bitters bring an exotic quality. Also, it can be made in batches as a punch-type offering. But be careful with the bitters in large quantities. One dash per drink should do it. European Holiday

2 oz. cognac or other quality brandy ½ oz. allspice dram ½ oz. sweet vermouth Stir with ice, then strain into a martini glass. Garnish with a clove. I love this as a Manhattan alternative. There’s still that toasty vanilla quality, and the allspice dram brings some of those classic holiday spices, but the brandy gives it a richer, softer feel than a classic bourbon Manhattan. Perk: Better with food, minus bourbon’s brash intensity.

50 Breweries pouring more than 150 beers of the season. Friday, December 5th

Ugly Sweater

Peppermint Russian

1½ oz. vodka ½ oz. peppermint schnapps ½ oz. Kahlua ½ oz. heavy cream Shake ingredients with ice, then strain into a small rocks glass. I know you all have a bottle of peppermint schnapps stuck way back in your liquor cabinet. Like me, you probably haven’t opened it in a few years, but assuming the lid isn’t stuck shut, this is a fun use for it. Most people just throw it into coffee, which is a perfectly fine, if boring, drink. I decided that finding a good match for chilled peppermint schnapps was a challenge I couldn’t pass up. E

thebarcode@seattleweekly.com

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1½ oz. spiced rum ½ oz. lime juice ½ oz. blackstrap molasses 4-6 oz. hot water Stir the hot water and molasses together until fully dissolved, then add the rum and lime juice. Garnish with a lime twist. I hate hot buttered rum. The cocktail in general just makes no sense to me, and I’ve yet to have one that didn’t make me want to gag. That said, I love the idea of rum during the holidays, because it feels festive. Like an ugly sweater, this drink isn’t much to look at, but it keeps you warm.

arts&culture

Beating the Blerch In which the city’s most successful cartoonist helps this writer prepare for the Seattle Marathon.

ThisWeek’s PickList

BY KELTON SEARS

FRIDAY, NOV. 28

McMeel, $16.99), his latest cartoon collection from theoatmeal.com, “You can see the wilderness, you can see the cityscape, maybe you’ll see a rainbow, maybe you’ll see a caribou taking a dump. Whatever you see, you are mitigating monotony.” Inman and I aren’t that dissimilar from the salmon. Just as these fish are programmed by biology to endure pain and suffering over incredibly long distances, we long-distance runners have to run. We’re compelled. It’s the only thing that makes us feel better—even though, paradoxically, it sometimes feels terrible. “Running for me is pain on tap,” says Inman as we pick up the pace again, breaking away from the salmon to start a quick climb up a dirt hill. “It’s a little spigot you can turn on to hurt yourself. And because of the way it works for me, it’s also bliss on tap. Any day that I want to, if there’s a million things weighing down on me—like, I need to do laundry! I need to answer 10,000 e-mails! I need to finish this comic ASAP!—I can just put that crap on hold, go hurt myself on a run, and suddenly I’m flooded with joy, even though all I did was sweat and grumble for 30 minutes.” In the midst of training for this Sunday’s Seattle Marathon, Inman’s book came to me like a shining beacon in the nippy early-morning fog. I can’t relate to most writing about running. I don’t really care about the training regimens, diets, or mile splits of the world’s elite runners. I run because it makes me feel as if I have some control over my messy life—a concept Inman lays out brilliantly in one of the book’s more genius panels.

MIRAMAX

Standing in the middle of his disgusting, disheveled kitchen (vodka, a stained sock, and an eviction notice strewn on the counter), a haggard-looking Inman sips from his water bottle. The thought bubble above his head reads “I went for a run today. I’m such an overachiever.” (Behind him, a raccoon sneaks a tortilla chip from the bag atop his sink of dirty dishes.) Running, Inman writes, “enables me to feel like my life is rocketing skyward, even if it’s going straight to hell.” He’s a runner/philosophizer for those, myself included, who’ve run more than one race with a hangover. Until somewhat recently, Inman’s legion of

online fans might not have known he was a runner. The Oatmeal is relatively new. Launched in 2009, the site now receives 30 million page views a month. But Inman, formerly a Web designer and developer by trade, is a veteran of the roads—he’s run some 40 half-marathons, five full marathons, and an ultramarathon. As he says of his other cartoons, “My work isn’t usually very personal. It’s about proper semicolon usage, marine biology, or bears with giant nards or something. The running comics were harder to write for that reason: It was a little more on the personal, spiritual side for me.” In that spiritual realm resides The Blerch, a blobby, fat cherub Inman draws with insect wings—a symbol of all the forces that would keep him sedentary. The Blerch is constantly hovering over Inman’s shoulder in the comic, sometimes sweetly, but often angrily—ordering him to sleep late, eat as much cake and chips as possible, and watch RoboCop and Gladiator on his iPad all day. The Blerch embodies a slothful past Inman wants to leave behind, he explains. “I run because it’s the only way I know how to quiet the monster,” Inman writes. “I run because deep down, I am the Blerch.”

Having scored a New York Times bestseller with his prior How to Tell If Your Cat Is Plotting to Kill You, Inman wasn’t sure if The Oatmeal’s fans would embrace such a personal strip about running. The Blerch lived only in his head for years before he finally drew it. He needn’t have worried. Instead of doing a conventional author tour to launch the book in September, he hosted fun-run book signings across the country and a “Beat the Blerch” 10k/half/full marathon race in Carnation. The race sold out in minutes. Inman had to add an extra day to accommodate the 4,000 runners who signed up. Now he’s planning more Blerch races around the U.S. next year. “It was kind of surreal for me, because it’s like, here’s this fat little cherub I drew in my basement,” Inman laughs as we crest a hill, “and suddenly people are cosplaying as him running in this real-life massive, sweaty marathon that came from my drawing.” Oh, shit—the marathon on Sunday! Due to a recent cycling accident that roughed up my quad, I tell Inman I had to stop training until the swelling went down. Our five-miler is the first run I’ve done in a week. “Jesus, that sounds terrible,” says Inman. “But I mean, you should be tapering now anyway, so that actually might work out for you.” During his September marathon in Carnation, I ask, was it sort of shamanistic to run as the Blerch? There Inman got to embody his personal demon, in costume form, and overcome it. “You know, the weirdest, most magic thing about the whole episode has been the stories other runners tell me,” he says. “I’ve met more people than I can count in the year and a half since that first Blerch comic came out online who started running because of it. I met one guy who had lost 80 pounds after starting to run because of that comic.” E

ksears@seattleweekly.com

Amélie made Tautou an international star.

The eponymous heroine of this sweetly whimsical 2001 comedy by Jean-Pierre Jeunet won’t take no for an answer. Discovering a cookie-tin treasure trove in her Paris apartment, Amélie (the Audrey Hepburn-like Audrey Tautou, in her careerdefining role) first sets out to reunite the precious boyhood tokens with their (now-) aged owner, then stumbles upon an entire secret city of hidden connections and amorous links. From there, impulsively deciding to act as an agent of destiny, she sets about solving mysteries, setting up lovers, and transforming Paris with spontaneous acts of kindness. If Amélie is about anything, it’s about the overlooked, invisible bonds among us distracted, harried urban dwellers. Amélie reminds us that we’re neighbors. (Through Tues.) Central

Cinema, 1411 21st Ave., 686-6684, centralcinema.com. $6–$8. 9:30 p.m. BRIAN MILLER

Nutcracker It’s your last chance to see the Sendak sets at PNB.

SEATTLE WEEKLY • NOVEM BER 26 — DECEM BER 2, 2014

and Wonderful Reasons Why I Run Long Distances (Andrews

Amélie

atthew Inman and I are halfway through our five-mile run in Carkeek Park when he suddenly stops. “Ooh! Salmon, look! Wait, are they dead?” There in a stream beside us, two tired fish are floating languidly against the current. “Oh, no, they aren’t dead, never mind,” he says, sweat dripping down his forehead as he excitedly leans over the wooden railing on the trail. “Anyhoo, the solid ones are the females and the striped ones are the males. They swim upstream and lay their eggs in the soil, and then, well . . . they die. It’s pretty cool.” This is one of Inman’s favorite things about running in Seattle—the poorman’s-safari element. As he writes in The Terrible

Pacific Northwest Ballet’s annual production of Nutcracker is almost as much of a festival in the lobby as in the auditorium. With the photo opportunities, strolling musicians, magicians, and other preshow entertainments, you could almost forget there’s a ballet at the center of the program. Which would be a mistake. Kent Stowell and Maurice Sendak crafted a unique approach to the holiday classic, combining physical virtuosity and theatrical traditions. This is the last year for their production; PNB will premiere a new version in 2015. Come see this classic one more time. (Through Dec. 28.) McCaw Hall, 321 Mercer St. (Seattle Center), 441-2424, pnb.org. $35–$136. 7:30 p.m. SANDRA KURTZ

» CONTINUED ON PAGE 17

arts&culture» » FROM PAGE 16 SATURDAY, NOV. 29

Indies First Day

Sub Pop USA

QUEENSRYCHE FRI | DEC 5 | 8PM

a founder of Beat Happening, will play a live set at tonight’s book launch, with Pavitt and several contributors to Sub Pop USA also on hand. See seattleweekly.com for our interview with Pavitt.)

THE BOB RIVERS

TWISTED CHRISTMAS SHOW

SPIKE & THE IMPALERS | JUDAH FRIEDLANDER

DEC 11 - 12 | 8PM

Fantagraphics Bookstore & Gallery, 1201 S. Vale St., 658-0110, fantagraphics.com. Free. 6–8 p.m. MARK BAUMGARTEN

TUESDAY, DEC. 2

Andrew Durkin

You have to dodge a few straw men, but Durkin’s Decomposition: A Music Manifesto (Pantheon, $28.95) is otherwise an impressive and absorbing examination of familiar assumptions about music. (“We are convinced that the quality of a musical work cannot derive, even if only partially, from its context”—oh, are we?) Basically a compendium of the ways thinking and talking about music are complicated, compromised, and problematized, Durkin’s book probes deeply into the idea of collaboration, revealing the hidden agents that influence composition and performance (especially social environment and audience reception); the impact of technology, from player pianos to CDs; the fetish for authenticity (“Did the music [of Milli Vanilli] suddenly sound different once the Grammy was revoked?”); the physiology of hearing and perception; the quandaries raised by recordings and musical notation; the commodification of music in the digital era; and the tangled web of copyright law in the age of Napster. All this is in the service of, as Durkin puts it in his afterword, “demythologizing music without demeaning it,” and it’s backed by a Wikipedian knowledge of the art, from Milton Babbitt to Gilbert O’Sullivan, Nicolas Listenius to Beth Fleenor. His own field is jazz, and this book-tour stop promises not only a discussion of his book, but a performance by the Quadraphonnes. Town Hall,

1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m. GAVIN BORCHERT E

GRAMMY NOMINATED

WILSON PHILLIPS SUN | DEC 14 | 8PM

GRAMMY AWARD WINNER

PATTI LABELLE SUN | DEC 21 | 8PM

TICKETS: SNOCASINO.COM OR THE SNOQUALMIE CASINO BOX OFFICE SEATTLE’S CLOSEST CASINO | I-90 E, EXIT 27

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SEATTLE WEEKLY • NOVE MBER 26 — DECEM BER 2, 2014

Long before Sub Pop was arguably the most massive—and influential—independent record label in America, it was just another music zine, photocopied and stapled by the hands of a young Bruce Pavitt, an Evergreen college student who by 1980 was also programming a weekly radio showcase of underground music. As the proprietor of his own micro-media empire, he collected 45s from weirdo bands and SASEs from fans who recognized his preternatural ability to hear greatness through the fuzz. Pavitt, with his sidekick Calvin Johnson, created a total of nine Sub Pop zines, three of which came with mixtapes that featured the New Wave and punk music that would later be supplanted by grunge. The next chapter of Pavitt’s career came after moving to Seattle, where he authored a monthly Sub Pop column for The Rocket, in which he annotated a local music scene that was coalescing into a national force. Those columns and zines are packaged, along with some insightful, lucid essays from the likes of Johnson, Larry Reid, Charles R. Cross, and Ann Powers, in Sub Pop USA: The Subterranean Music Anthology, 1980– 1988 (Bazillion Points, $34.95), a comprehensive anthology of our ’80s underground. It’s an amazing artifact filled with early illustrations by Lynda Barry, Charles Burns, and Jad Fair, and full of radical ideas that deserve a resurgence. ( Johnson,

Book Co., 1521 10th Ave., 624-6600, elliottbay book.com. Free. 10 a.m.–6:30 p.m. BRIAN MILLER

GRAMMY NOMINATED

BAZILLION POINTS

Yes, this is a naked appeal for shopping, a call for you to spend money, a bricks-and-mortar, Cap Hill alternative to Black Friday and Cyber Monday. (Will Google and Amazon in the future claim their own days of the week?) Indies First is a movement launched by the American Booksellers Association, endorsed by Sherman Alexie, and today hosted by Seattle’s favorite bookstore. It’s a marathon event with local authors plugging their books, possibly signing them, and also recommending other titles. That means history picks from Paula Becker (of HistoryLink.org), food tips from Langdon Cook (The Mushroom Hunters), favorite comic books from David Lasky (The Carter Family: Don’t Forget This Song), bird books from Lyanda Lynn Haupt (Crow Planet), and poetry volumes from Karen Finneyfrock. Then at 5:30, Alexie himself will arrive to unload an entire bookshelf full of sharp opinions—sports, politics, and more from the city’s pre-eminent man of letters. Come prepared to do some damage to your credit card, and remember that the in-house cafe makes swell sandwiches and coffee. You’ll be here all day. Elliott Bay

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arts&culture» Stage Stage

The Texas Twist

OPENINGS & EVENTS

Robert Schenkkan’s Tony winner reminds us how Democrats once knew how to fight, and win, their political battles.

APPALACHIAN CHRISTMAS HOMECOMING Tales of

three generations, with lots of live roots music, for the holidays. Taproot Theatre, 204 N. 85th St., 781-9707. $20–$40. Preview Nov. 26, opens Nov. 28. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat., plus some weekday matinees; see taproottheatre.org for exact schedule. Ends Dec. 27. BOB’S HOLIDAY OFFICE PARTY Comic havoc is wrought at an Iowa insurance agent’s bash. Burien Community Center Annex, 14501 Fourth Ave. S.W., Burien, 242-5180, burienactorstheatre.org. $7–$20. Opens Nov. 28. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Dec. 21. A CHRISTMAS CAROL He may be a miser onstage, but Scrooge’s been very generous to ACT over the years. ACT Theatre, 700 Union St., 292-7676. $27 and up. Previews Nov. 28–29, opens Nov. 30. Runs Tues.–Sun.; see act theatre.org for exact schedule. Ends Dec. 28. A CHRISTMAS STORY This year instead of catching it on TBS’ 24-hour broadcast, see the musical version onstage! 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue. org. $29 and up. Previews through Dec. 3, opens Thurs., Dec. 4. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Dec. 31. THE DINA MARTINA CHRISTMAS SHOW An all-new show from the must-be-seen-to-be-believed entertaineress, with Chris Jeffries on keyboard. Re-bar, 1114 Howell St., 800-838-3006. $22–$25. Opens Nov. 28. Runs weekends only at first (incl. selected Sunday “Mimosa Matinees”), then practically daily starting Dec. 17; see brownpaper tickets.com for exact schedule. Ends Dec. 31.

BY MARGARET FRIEDMAN

Above: LBJ (Willis) flanked by his political friends and enemies. Below: The president applies pressure to J. Edgar Hoover (Richard Elmore, right).

proudly racist George Wallace (stiff-wigged Jonathan Haugen). One of Schenkkan’s main motifs is the future reddening of the South and the Southerning of the Republican party, as Johnson predicted. The audience laughs knowingly when LBJ scolds Hubert Humphrey (Peter Frechette), “This ain’t about principles, it’s about votes. That’s the problem with you liberals—you don’t know how to fight.” Fifty years later, particularly after President Obama’s midterm losses, liberal Seattle theatergoers are eager to see a gloves-off fighter in action. Yet despite our nostalgia for a such a strong political leader, the reality is that Obama, were he as brash and aggressive as LBJ, would be excoriated as an angry black man. (Damned if you do . . . )

DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL Based on the TV special? Or the Jim

Carrey vulgarization? Guess we’ll find out. The Paramount, 911 Pine St., 877-STG-4TIX, stgpresents.org. $25 and up. 7:30 p.m. Tues., Dec. 2–Thurs., Dec. 4; 8 p.m. Fri., Dec. 5; 11 a.m., 2, 5, & 8 p.m. Sat., Dec. 6; 1 & 6:30 p.m. Sun., Dec. 7. A(N IMPROVISED) CHRISTMAS CAROL Dickens, rewritten by you. Unexpected Productions’ Market Theater, 1428 Post Alley, 587-2414, unexpected productions.org. $5–$15. Opens Nov. 28. 8:30 p.m. Thurs.– Sat., 7 p.m. Sun. Ends Dec. 28. KING LEAR Shakespeare’s tragedy in a touring production from the Globe Theatre. The Moore, 1932 Second Ave., 877-STG-4TIX, stgpresents.org. $37.50–$57.50. 2 & 7:30 p.m. Wed., Nov. 26. PRIDE AND PREJUDICE Jane Austen’s novel about courtship, decorum, and not making snap judgments. Center House Theatre, Seattle Center, 216-0833. $25–$60. Preview Nov. 26, opens Nov. 28. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends Dec. 28. UNCLE MIKE RUINS CHRISTMAS Relive your worst holiday traumas in this improv show. Jet City Improv Theater, 5510 University Way N.E., jetcityimprov.org. $12–$15. Opens Nov. 29. 10:30 p.m. Sat. Ends Dec. 20.

•

In contrast to the exhilarating political steeplechase toward civil rights, the looming tragedy of Vietnam enters All the Way late, like poison gas, with the Gulf of Tonkin incident. U.S. Naval ships were possibly attacked? His advisers aren’t sure, but to LBJ it’s one of those lines that must not be crossed—like Saddam’s supposed WMDs or Assad’s chemical-weapon attacks. This proud Texan is lured from one fight to another. Even if we all know the outcome of Schenkkan’s twinned plays, both triumph and tragedy, I am counting the days to The Great Society. E

stage@seattleweekly.com

SEATTLE REPERTORY THEATRE 155 Mercer St. (Seattle Center), 443-2222. $17–$150. Tues.–Sun. & weekend matinees. See seattlerep.org for schedule. Ends Jan. 4.

CURRENT RUNS

ALL THE WAY SEE REVIEW, THIS PAGE. • DICK WHITTINGTON AND HIS CAT An orphan finds

himself in the big city of London, where he meets a remarkable cat. Seattle Children’s Theatre, Seattle Center, 441-3322. $20 and up. Runs Thurs.–Sat., see sct.org for exact schedule. Ends Dec. 21. FANGS The premiere of Jim Moran’s dark comedy about an anti-abortion senator. Eclectic Theater, 1214 10th Ave., eclectictheatercompany.org. $20–$25. 8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Dec. 6. THE HABIT 14 This comedy troupe and its loyal fans have essentially struck a bargain: Fill every seat in the tiny theater, and the five performers will channel-surf through our collective, scrambled memory of childhood TV shows and movie clichés. Performers Ryan Dobosh, John Osebold, Mark Siano, David Swidler, and Luke Thayer write their more-or-less annual show with director Jeff Schell. In a brisk 70 minutes, with actors jumping in and out of their jumpsuits, some bits work better than others. When a detective sketch about a kidnapped vowel springs into “Who’s on First?”-style wordplay, it’s silly yet refreshingly non-topical, divorced from the headlines. BRIAN MILLER Bathhouse Theater on Greenlake, 7312 W. Green Lake Dr. N., 800-838-3006. $19. Runs Fri.–Sun.; see thehabitcomedy. com for exact schedule. Ends Nov. 30. MARY POPPINS After little Jane and Michael Banks turn and burn a string of governesses, an Edwardian version of Super Nanny appears to transform the naughty kids and their unhappy elders with alchemy and adventure. Yet this 2004 adaptation makes the children inordinately impish and their parents surprisingly melancholic. The script by Downton Abbey creator Julian Fellowes deepens the 1964 movie material with characters and scenes from her original books. Still, it’s a musical, meaning cheerful favorites like

•

SEATTLE WEEKLY • NOVE MBER 26 — DECEM BER 2, 2014

JENNY GRAHAM/OREGON SHAKESPEARE FESTIVAL

Schenkkan packs scads of information and backstory into chorus-like powwows among various factions. (All the Way is a big, busy play, like his The Kentucky Cycle.) Unless you remember the ’60s and these political battles, close listening is required to keep track of who’s who. Some characters’ names and alliances are usefully projected for us to follow, along with vote tallies and the countdown to the 1964 election. It’s dizzying, but it conveys the scramble that Johnson had to navigate for civil rights—all the while consolidating power for his passion project, the War on Poverty. (Again, to be continued in the next play.) At its most exciting moments, All the Way invites you into the psyche of this political animal, often in the form of LBJ’s soliloquies. (House of Cards does the same, and we recognize both how much and how little has changed in Washington, D.C.) “ ‘Politics is war by other means,’ ” says LBJ, quoting von Clausewitz. “Bullshit. Politics is war. Period.” And more, he calls politics “a knife fight in a dark room with a slippery floor.” I could eat that stuff all day, and the opening-night audience was just as receptive.

CHRIS BENNION

ne is hard-pressed to imagine a more productive presidency than Lyndon B. Johnson’s, yet how rarely does one imagine it today. Launched into office on November 22, 1963, with the brain stains still wet on Jackie Kennedy’s pink Chanel suit, LBJ would make landmark gains in civil rights, antipoverty programs, Medicare, immigration, and environmental protection. Yet because Johnson embroiled the nation in the Vietnam War, those accomplishments have often been eclipsed from posterity. Until now. Seattle playwright Robert Schenkkan’s broad, bustling Tony winner reframes our view of the fairness-championing Lone Star magician/politician. Historians will tell you that Johnson plied all angles and snatched unlikely votes out of cantankerous retrograde cronies. But how did he do it, what did it mean to work the aisle, and why isn’t that kind of thing happening now? These are questions a demoralized 2014 electorate hankers to chew on, and All the Way provides a compelling refresher course covering the scant year from LBJ’s assumption of office through his 1964 victory over Barry Goldwater. It’s a long, historically dense play that on December 10 will begin alternating with Schenkkan’s The Great Society—about Johnson’s tumultuous full term in office. Still, it’ll save you the nearly 2,000 pages of Robert Caro’s multivolume biography. (Or it just might inspire you to read it). With a cast of 17 playing up to six roles each, it’s a wonder these performers can master not only their lines but their identities and complex blocking during so many short scenes. Many of the fast-paced scenes overlap on Christopher Acebo’s single set, ringed by the seating of a legislative chamber. (News photos and videos, including the Zapruder film of JFK’s assassination, are projected to the rear.) Other scenes and soliloquies are separated by David Weiner’s spotlighting. Both of Schenkkan’s LBJ plays debuted at the Oregon Shakespeare Festival (co-sponsored by Seattle Rep) under the same briskly effective direction of OSF’s Bill Rauch. (He also helmed the Bryan Cranston-starring Broadway show last year.) Here we again have Rauch’s original LBJ, the excellent Jack Willis. Willis arranges his leonine jowls and creases to approximate LBJ’s physical imposingness, obstinacy, and vulnerability. He’s a lovable lout, spouting vulgarisms (“ ‘Nice’ is what you call a girl with no tits, no ass, and no personality”) and anxious that enemies and unpopularity will block his grand vision of the Civil Rights Act of 1964. As we see, he lies, cheats, and bullies to realize this vision. Meanwhile, African-Americans led by Martin Luther King Jr. (an enigmatic Kenajuan Bentley) reluctantly support Johnson in exchange for the future promise of voting-rights legislation (to be continued in the next play with the same cast), while white Southern Dixiecrats follow

» CONTINUED ON PAGE 20 19

GOOD BOOKSTORES A Reader’s Guide

SPOTLIGHT ON

Elliott Bay Books

Just Mercy:

A Story of Justice and Redemption (Staff Pick) by Bryan Stevenson

"This utterly compelling book makes an eloquent case against this country's drive to try, imprison, and execute a disproportionate number of people of certain races and classes. Bryan Stevenson has written a book about a man improperly convicted and sentenced to death, and he does so as a true wake-up call for us all."

Find the perfect book at your local bookseller and...

Let this be YOU!

The Good Lord Bird by James McBride A Boat, a Whale, a Walrus: Menus and Stories The Boys in the Boat by Daniel Brown Men Explain Things to Me by Rebecca Solnit Mary Randlet: Portraits by Frances McCue

SEATTLE WEEKLY • NOVEM BER 26 — DECEM BER 2, 2014

40 YEARS

OF INDEPENDENT BOOKSELLING

Shop from 250,000 titles and find a complete list of author events & sign up for our blog at:

www.elliottbaybook.com

The Age of Anxiety

by Andrea Tone

A fascinating look at how prescription tranquilizers have helped and hindered people with anxiety disorders. The difficulty in identifying and treating mental disorders took center stage in our discussion of the book. Our medical system has gone from authoritative and totalitarian asylums to neglectful and callous HMOs.

The Marshmallow Test by Walter Michael The Peripheral by William Gibson Code by Charles Petzold The Innovators by Walter Isaacson Zombies and Calculus by Colin Adams

by Renee Erickson with Jess Thomson

CELEBRATING OVER

Ada’s Technical Books

Staff Picks from Ada's Technical books

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THE ELLIOTT BAY BOOK COMPANY

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a&c» Stage » FROM PAGE 19 “Supercalifragilisticexpialidocious” by the Sherman brothers, plus new tunes (e.g., “Practically Perfect” and “Anything Can Happen”) by George Stiles and Anthony Drew. This ambitious musical commands a considerable cast, sizable sets, and genuine magical feats. Under the decent direction of Steve Tomkins and Kathryn Van Meter, a cast of 30 delivers undeniably determined performances. In the title role, Cayman Ilika finds a Julie Andrews-esque balance of cool and compassion. ALYSSA DYKSTERHOUSE Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $40–$72. Runs Tues.–Sun.; see villagetheatre.org for exact schedule. Ends Jan 4. (Runs at the Everett PAC Jan. 9–Feb. 8.)

SEATTLE INTERNATIONAL COMEDY COMPETITION

34 aspiring stand-ups go into a comedy club; one comes out. Various area venues through Nov. 30; see seattle comedycompetition.org for full info. TEATRO ZINZANNI: HACIENDA HOLIDAY In TZZ’s new show, Vivian Beaumount and Clifton Caswell (Christine Deaver and Kevin Kent) return to a swanky hotel to renew their vows, making for a romantic finale as spicy as the Southwest-inspired menu. GAVIN BORCHERT Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/ seattle for exact schedule. Ends Jan. 31. THE TWILIGHT ZONE: LIVE! Three episodes from the cult TV series adapted for the stage. Theater Schmeater, 2125 Third Ave., 324-5801, schmeater.org. 8 p.m. Thurs.–Sat. $18–$25. Ends Dec. 20. WONDERLAND The Can Can’s fantastical winter cabaret. The Can Can, 94 Pike St. $40–$100. Runs Wed.–Sun.; see thecancan.com for exact schedule. Ends Dec. 28.

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Seville, with Seattle Opera favorite Lawrence Brownlee. See fathomevents.com for participating theaters. 6:30 p.m. Wed., Nov. 26. SEATTLE MEN’S CHORUS For many, it wouldn’t be Christmas without their holiday show. Linda Eder is the guest the first weekend. Benaroya Hall, Third Ave. & Union St., 388-1400, flyinghouse.org. $28–$78. 2 p.m. Sat., Nov. 29–Sun., Nov. 30, plus Dec. 12, 14, 21, & 22. BYRD ENSEMBLE From this choir, German baroque music with brass. St. Mark’s Cathedral, 1245 10th Ave. E., 3973627, byrdensemble.com. $10–$20. 7:30 p.m. Sat., Nov. 29. TRIO CAPRICCIOSO Chamber music by Haydn, Mozart, and Beethoven. Queen Anne Christian Church, 1316 Third Ave. W., 726-6088, galleryconcerts.org. $15–$30. 7:30 p.m. Sat., Nov. 29, 3 p.m. Sun., Nov. 30. UW JAZZ Standards and originals from the Studio Jazz Ensemble and the Modern Band. Meany Studio Theater, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Mon., Dec. 1. UW GOSPEL CHOIR 100 voices strong. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Mon., Dec. 1. UW PERCUSSION ENSEMBLE Meany Studio Theater, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Tues., Dec. 2. UW CHOIRS The University Chorale and Chamber Singers perform. Meany Hall, UW campus, 543-4880, music. washington.edu. $10–$15. 7:30 p.m. Tues., Dec. 2. RICARDO GUITY Music of Honduras from this visiting artist in the UW ethnomusicology department. Brechemin Auditorium, UW campus, 685-8384, music.washington.edu. $5. 7:30 p.m. Tues., Dec. 2. PETER TAKACS Beethoven, Chopin, and Ravel from this Oberlin pianist. Brechemin Auditorium, UW campus, 6858384, music.washington.edu. $15. 7:30 p.m. Wed., Dec. 3. UW CAROLFEST Seasonal music from six choirs. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Wed., Dec. 3. YUJA WANG From this pianist, Schubert and Scriabin— two composers not often paired—plus Balakirev’s notoirious finger-buster Islamey. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $37 and up. 7:30 p.m. Wed., Dec. 3. B Y G AV I N B O R C H E R T

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contemporary settings; in one shot I love, he sits in a hotel suite, like a tired business traveler awaiting a conference call on Skype. Sculptor Debanjan Roby even dares to appropriate the revered figure of Gandhi, rendering him in bright red fiberglass and listening to a white iPod. Apple never made such an ad, of course, but this impudent figure tweaks both India’s postcolonial history and the relentless consumerism that now links us all, from Seattle to Srinagar. B.R.M. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $12–$19. Weds.-Sun. Ends Feb. 15. JOHN ECONOMAKI Quality Is Contagious contains a small selection of the woodwork of Portland’s Economaki. Examples from the ’70s and ’80s are quite impressive—pure joinery (meaning no nails or screws), dovetails and elegant corners, interesting selections of grain, and completely one-off, handmade creations. Then comes the cruel turn: Economaki the woodworker somehow became allergic to wood dust, effectively ending his career behind the saw. In response—and this is the show’s main focus—Economaki started a new business called Bridge City Tool Works, which sells high-end planes, mallets, hand drills, jigs, chisels, and the like. So if you (or your dad) enjoy expensive tool porn, this is like a tour through a trade-show booth. B.R.M. Bellevue Arts Museum. Ends Feb 1. FAMILY: IT’S COMPLICATED A group show exploring the difficulties and joys of coming together as a family. Gay City Health Project, 517 E. Pike St., 8606969, gaycity.org. 3-8 p.m. Mon.-Sat. Ends Dec. 7. FROM THE TOY BOX Forty artists present work based on their favorite childhood toys. Ltd. Art Gallery, 501 E. Pine St., 457-2970, ltdartgallery.com. 11 a.m.-7 p.m. Tues.-Sat. Ends Dec. 7. YUMIKO GLOVER This artist left Japan as young college graduate and never went back. After working in business and as a simultaneous translator, she settled in Hawaii, trained as a painter, married an American, and began her second career. Moe: Elements of the Floating World is her first solo show, one that will nicely overlap with SAAM’s Japanese Neo-Pop show by the artist known as Mr. (opening Nov. 22). Glover, by virtue of her sex, wouldn’t receive such acceptance in the Japanese academy; like other educated, independent women, she’s found more freedom outside her homeland. Her bright acrylic paintings look back uneasily on a native culture saturated with anime imagery, sex, video games, schoolgirl fetishes, naive folklore, and the whole kawaii industry. (Moe is a slang shorthand for idealized youth and femininity, where the creepy meets the innocent— usually from a male perspective.) There are gestures toward the languorous old “Floating World” of the Edo

Ongoing • AHTSIK’NUK (GOOD WITH THE HANDS) A col-

lection of “rare and unusual” carvings from the Nuucha-nulth Nations of BC and Washington. Steinbrueck Native Gallery, 2030 Western Ave., 441-3821, steinbruecknativegallery.com. 11 a.m.-5 p.m. Mon.-Sun. Through December. ZACK BENT Lean-out, Lean-to is an installation inspired by a chance encounter with a truck canopy in Spokane. Bent takes that structural form and adopts it into a “monolithic chamber of secrets.” Jack Straw New Media Gallery, 4261 Roosevelt Way N.E., 634-0919, jackstraw.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Feb. 6. BAM BIENNIAL: KNOCK ON WOOD Again, there’s a very materials-focused emphasis to this biannual group show. Clay and fiber art were featured in 2012 and 2010, respectively; now it’s the chisel-and-mallet set’s turn to display their creations. Some of the three dozen artists featured you know or have seen before at BAM (or local galleries), like Rick Araluce, Whiting Tennis, and W. Scott Trimble. The juried selection offers every variety of woodworking from the Northwest, ranging from indigenous Native American carvings to smartly modern furniture that might fit into your SLU condo. In addition to a juried award, which bestows a future solo show and a $5,000 prize (the winner to be announced this week), there’s a popular balloting system whereby visitors can select their own favorite pieces. Unlike the Frye’s current crowdsourced #SocialMedium show, here you cast your voting on regular old scraps of paper—appropriate, of course, since they were originally made of the same material the artists are using. BRIAN MILLER Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5-$10. 11 a.m.-6 p.m. Tues.-Sun. Ends March 29. CITY DWELLERS A dozen contemporary Indian artists are represented in this show organized by SAM and originating entirely from the private local collection of Sanjay Parthasarathy (a Microsoft millionaire) and wife Malini Balakrishnan. Scenes and icons from Mumbai to New Delhi are represented via photography and sculpture, from an all-native perspective. As tourists know, India is ridiculously photogenic, from its colorful idols and deities to the slums and beggars. It all depends on what you want to see. Photographer Dhruv Malhotra, for instance, takes large color images of people sleeping in public places—some because they’re poor, others because they simply feel like taking a nap. Nandini Valli Muthiah opts for more stage-managed scenes, posing a costumed actor as the blue-skinned Hindu god Krishna in

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Part of what I like about Cameron Martin’s new series of paintings is that they really can’t be photographed or reproduced, especially on the newsprint you’re reading. Our printer couldn’t possibly duplicate BY BRIAN MILLER their delicate grayscale gradations and low-contrast tones. Raised in Seattle and based in Brooklyn, Martin is dealing with familiar notions of landscape here—snowy peaks that could be the Cascades, a forest glade that could be the Issaquah Alps, a gnarled stump possibly from the Olympic Peninsula, and what looks to be a Columbia River vista. Or not. Martin bases these paintings on photos taken in any number of locales, with some source elements digitally collaged together. His large images have the visual aspect of a silkscreen print, Wall Street Journal hedcut illustration, or halftone reproduction. There’s a faded, photorealistic quality to these scenes, some of which are reframed or sectioned within the picture frame—almost like a misregistered film strip. First by removing the colors, then by reducing the source images to ghostly remnants, Martin creates subtle approximations of the natural world: not quite abstract,

not quite credibly real. The effect is like staring at a film negative in the darkroom or an overexposed print—too much or too little light makes the familiar strange to us; all the recognizable textures are gone. By overlaying faint grids and stripes on some scenes, Martin further distances them from nature. They’re gently eroded by artifice. James Harris Gallery, 604 Second Ave., 903-6220, jamesharrisgallery.com. 11 a.m.–5 p.m. Wed.–Sat. Ends Dec. 17.

Halftone Habitats

period, but they’re mostly overlaid with tokens of the present: cellphone bangles, Sega video-game creatures, jet liners, and nighttime cityscapes. The orb-eyed cuties and too-short plaid skirts are all familiar from manga, only they feel wrenched out of context. Glover’s frames are crowded, not settled, with some areas of the canvas even degrading into pixels—as if the source code has been corrupted. B.R.M. Bryan Ohno Gallery, 521 S. Main St., 459-6857, bryanohno.com. 11 a.m.-5 p.m. Tues.Sat. Ends December TBD. JURIED EXHIBITION Local art trio SuttonBeresCuller waded through 1,902 submissions to pick out the top of the crop for this show. Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Noon-5 p.m. Thurs.-Sat. Ends Dec. 20. DAKOTA GEARHEART The artist turns her love for creating immersive environments and mixed media into a meditation on the “psychology of a cage” in When We Get There. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), galleries.4culture.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Dec. 6. ANN HAMILTON The famed artist has created new commissioned art for the Henry that she invites viewers to interact with through touch—elements of the show can be ripped off the wall and kept for later. Henry Art Gallery (UW campus), 543-2280, henryart.org. $6-$10. 11 a.m.-4 p.m. Weds., Sat. & Sun. 11 a.m.-4 p.m. Thurs. & Sat. Ends April 26. IDLENESS At last, a celebration of sloth! Man Ray and Duchamp are among the inspirations for this group show, also featuring work by Gretchen Bennett, Matt Browning, Tacita Dean, Claire Fontaine, Ripple Fang, Anne Fenton, Tom Marioni, Bertrand Russell, Edwin Shoemaker, Nicholas Bower Simpson, Mladen Stilinovic, and Andy Warhol (no slacker he). Jacob Lawrence Gallery (UW Campus), art.washington. edu. 10 a.m.-5 p.m Tues.-Fri. Noon-4 p.m. Sat. Ends Jan. 17. MISFITS & MUTANTS Krissy Downing, Claudio Duran, Eli Wolff, Rhodora Jacob, and Kate Tesch show their paintings of freaky creatures in alien worlds. True Love Art Gallery, 1525 Summit Ave., 227-3572, trueloveart. com. 1-8 p.m. Tues.-Sun. Ends Dec. 7. NICK MOUNT There are about three dozen glass creations in the traveling show The Fabric of Work. The Australian Mount has been practicing his art for more than 40 years and even trained at Pilchuck, but this is a more recent selection. Certainly he has his craft wellhoned. The control of color and shape is formidable in his bulbs, orbs, vases, and pendants. Some have delicate flowering stamens; others are intricate bottles with ornate stoppers. It’s all strictly decorative work, completely uninteresting to me, but suited to posh waiting rooms at dentists’ offices or on the mantels of gas fireplaces in new Bellevue highrises. B.R.M. Bellevue Arts Museum, Ends Feb 1. NEVER FINISHED This new sculptural installation by local artists Etta Lilienthal and Ben Zamora presents a tangle of old-school fluorescent bulbs—not those fancy, efficient, newfangled LEDs—suspended from the ceiling like a mobile. (It doesn’t move, however.) Never Finished is always plugged in, always on, though many of the tubes (of about three dozen) appear to have been painted black. The cluster is hung like an airborne game of pick-up sticks, the tubes pointing this way and that, gradually rising in the atrium like a glowing, fractal cloud. There’s seemingly no order or direction to the piece, which has an almost haphazard construction—until you look at all those precisely aligned black power cords. The curse of good lighting design is the cabling and wiring, what to do with all those blocky plugs and transformers. Part of what I like about Never Finished is its somewhat naked, unfinished dressing of the power bricks, which lie in a snake pit on the floor. But the cords above have been painstakingly aligned. They fall on a precise vertical axis, like rain or drapery, contrasting with the unruly tubes. They make you appreciate how light, apart from lasers, is omnidirectional—radiating outward and unconstrained, unaffected by gravity. (Apart from black holes, of course.) The light’s intensity falls off with distance, too, as you walk around the installation to view it from different angles. There’s no correct perspective on the piece, no final sense of proper lighting design (think of James Turrell’s fastidious, numinous Skyspace at the Henry). The only possible order or finality will come when all the bulbs burn out; then darkness will impose its aesthetic. B.R.M. Suyama Space, 256-0809, 2324 Second Ave., suyamaspace. org. 9 a.m.-5 p.m. Mon.-Fri. Ends Dec. 19.

arts&culture» Film

ANTHONY POWELL/MUSIC BOX FILMS

Opening ThisWeek Antarctica: A Year on Ice

First-time filmmaker Anthony Powell takes what might be called the anti-Werner Herzog approach to penguins in this fond documentary tribute to our southernmost continent. As viewers generally prefer, penguins are allowed to be cute and uncomplicated, unlike in Herzog’s Encounters at the End of the World, where they were disdainfully treated as symbols of man’s tendency to romanticize nature. Herzog, it must be said, was a mere tourist in Antarctica— unlike Powell, who’s worked there on and off for 15 years (filming all the while; he’s a self-taught photographer and director). Powell has even spent nine long, sunless winters in Antarctica, where he also met and married his wife. So he brings a practical insider’s expertise to both the climate (cold, austere, and often beautiful) and human society (close, confined, and often claustrophobic) of the place. While Powell is a New Zealander who lives and works on a much smaller base than the American McMurdo Station, the same seasonal cycles drive both man and penguin. Summer brings some 5,000 scientists and workers to the continent on massive cargo planes, while a maintenance population of only 700 remains in winter. Powell is a satellite and communications repair guy, and he focuses his interviews not on noble scientists but on the background staff, almost like Walmart workers on the ice. We hear from a store clerk, a fireman, a helicopter pilot, and so forth. As with Powell’s own narration, their remarks aren’t philosophical or Herzogian. One winter-over veteran says the arriving summer throngs appear “orange” to her—so pale are the year-rounders by comparison. Another speaks of craving fresh fruit, even just the smell of it. (“I’ve been thinking about avocadoes lately.”) Powell embraces the Antarctic scenery, but also the quotidian life of his fellow workers. Their community vibe suggests small-town Alaska, particularly during the annual Christmas festival (this during summer, when the sun never sets). Whatever takes place later at night in the bars; stories of less-lasting relationships than his own; the cabin fever—these he declines to show in this pleasant, rather anodyne doc. And having made a specialty of time-lapse photography (some series last for days),

PThe Homesman OPENS WED., NOV. 26 AT SUNDANCE & FRI. AT PACIFIC PLACE. RATED R. 122 MINUTES.

Jones and Swank as unlikely companions.

Tommy Lee Jones, as actor and director, clearly cares a lot about the Western. Is there an audience that cares with him? The once-dominant genre has declined so steeply since the 1970s that each new one is an event, and Jones has become one of the few people still riding herd on the form. (Though ailing at the movies, the myth of the West is alive and well in American politics, currently full of guntotin’, hog-castratin’ candidates.) The Homesman is so good it makes you wish Jones could somehow make a Western a year, just to keep exploring the pockets of American frontier experience that still need filling in. This one offers a series of new wrinkles, beginning with its route: The story goes from west to east, the opposite of most Westerns. A Nebraska “spinster” by the name of Mary Bee Cuddy (Hilary Swank, a fine and precise perfor-

Horrible Bosses 2 OPENS WED., NOV. 26 AT SUNDANCE, PACIFIC PLACE, AND OTHERS. RATED R. 108 MINUTES.

Maybe the bar wasn’t set especially high, but let’s not dampen the rare, humble pleasure of declaring that a sequel is better than the original. Horrible Bosses 2 is looser and funnier than its 2011 predecessor; and if its R-rated comedy misses as often as it hits, at least the timing is there. The first film’s trio of losers—played by Jason Bateman, Jason Sudeikis, and Charlie Day—is now trying to go the self-employment route by creating a new bathing gadget. But their idiotic invention, the “Shower Buddy,” brings them into partnership with a corporate shark (Christoph Waltz) and his conniving son

(a manic Chris Pine, from Star Trek). When the boys get screwed over, their response is to kidnap the son and hold him for ransom. One way the sequel improves the formula is that we can sort of buy these three simpletons preparing an abduction; in the first film, there was no credible threat of our heroes really carrying out a murder, even within the exaggerated outline of a screwball plot. So the sequel doesn’t have to try so hard to convince us, and its mood is less forced. Wall-to-wall jokes ensue, and the non sequiturs are freely distributed: Why does underworld advisor Jamie Foxx (returning for duty from the first film) have a cat tree in the back of his 1975 Ford Ranchero? Because he has a kitten, as he calmly explains in the middle of a car chase. And even the car chase has quirks, including an extended wordless pause while waiting for a train to pass.

Bateman deploys his excellent deadpan.

Also returning to the cast are Jennifer Aniston—not quite naughty enough to pull off her sex-addicted dentist, but give her points for trying—and Kevin Spacey. But the movie’s good bits come from the way director Sean Anders lets the main threesome play off central ideas that allow for improvisation. Bateman’s deadpan is first-rate as usual, while Day and Sudeikis bounce around like puppies. Even a half-baked gag about a formal handshake turns into an extended bit that keeps getting funnier as it goes along. In short, this lowbrow series has hit its stride, which is more than you could say for its key inspiration, the Hangover pictures. Part 3 is all but guaranteed. ROBERT HORTON DAWN JONES/ROADSIDE ATTRACTIONS

SEATTLE WEEKLY • NOVEM BER 26 — DECEM BER 2, 2014

OPENS FRI., NOV. 28 AT VARSITY. RATED PG. 91 MINUTES.

Powell does not shy away from the beauty shots, which will please armchair adventurers. He shows us aerial vistas of the oddly snow-free Dry Valleys region (its climate close to that of Mars, we’re told), captures the eerie green aurora borealis (like a Hollywood special effect, but not), and documents the damage winter storms can do (considerable). And again, there are penguins frolicking on the snowy shores, in case you missed that particular selling point. BRIAN MILLER

mance) volunteers to lead some strange cargo back to Iowa during the 1850s. Three women in her community have been driven mad by the prairie and their men, or at least they have become no longer socially acceptable. They must be taken to an institution, a trip of five weeks. Claim-jumper and full-time scalawag George Briggs ( Jones) will accompany Mary on her grim job. Because it’s a journey movie, the structure is episodic, and we meet a variety of types along the way, played by distinctive actors such as Tim Blake Nelson, James Spader, Hailee Steinfeld, Barry Corbin, and no less than Meryl Streep. The setup suggests the potential for showing the West from the female characters’ perspective, which isn’t entirely the case, although the story does depict the unfairness of frontier life for women. ( Jones helped adapt the 1988 novel by Glendon Swarthout, author of The Shootist, another anomalous late Western.) The real subject is the West itself—the brutality of it and the price paid for settling it. Jones has made a curious film of all this. There are strange shifts in tone, and the three madwomen (Miranda Otto, Sonja Richter, and Grace Gummer—Streep’s daughter) remain unknowable. But The Homesman is haunting. Mary Bee Cuddy and George Briggs—we know all along it’s not his real name—are complicated people. The final sequence is especially mysterious, as Briggs recedes into the dark, heading back to the West because he might as well keep moving. His drifter might seem like a familiar character from the myth of the West, a minor figure in a dime novel or a folk ballad, but he’s seen too much to buy into all that. So, it seems, has Tommy Lee Jones. ROBERT HORTON

JOHN P. JOHNSON/WARNER BROS.

There will be penguins.

Pelican Dreams OPENS FRI., NOV. 28 AT SUNDANCE CINEMAS. RATED G. 80 MINUTES.

Bay Area director Judy Irving scored a surprise long-running hit with her endearing 2003 documentary The Wild Parrots of Telegraph Hill, which was equally about feral birds and their human defenders (both endangered, really, in pre-recession San Francisco). This is more of a personal film with a smaller flock. Irving describes her childhood identification with the gawky pelican, so clumsy on shore but so graceful in flight. Yet, she confesses, she knew almost nothing about the California brown pelican until seeing a sick, starving fledgling “arrested” for blocking traffic on the Golden Gate Bridge. (A kindly maintenance guy actually collected it in a blanket; cops took it to a bird-rescue facility.) Irving follows that bird, which she dubs Gigi, and a few other stories of pelicans-onthe-mend. It’s no surprise that she finds a small community of avid pelican-philes (one even tattooed with the bird); as with Wild Parrots, she’s intent on the bond between a charismatic species and us earthbound admirers. Not an ornithologist, Irving does tend toward

MARIO MARTÍN/MAGNOLIA PICTURES

The scientist (Salmeron) meets his doppelgänger.

V/H/S: Viral

airy sentiment and anthropomorphism (“What does it feel like to fly?”). Still, she clearly loves the birds and their devoted protectors, who patiently explain that pelicans can’t be tamed or treated as pets. Yet like crows and pigeons, they’re becoming accustomed both to us and our urban environment. In addition to plunging gracefully into the sea for abalone, they’re not above dumpster-diving for scraps (just like eagles in Alaska, and just as risky). By way of context, the doc does touch upon the disastrous Deepwater Horizon spill and the DDT crisis of the late ’60s that made the California brown pelican an endangered species for decades. (The resurgent birds are now confronted with climate change, depleted fisheries, and fishhooks.) Serious bird-watchers won’t learn anything new here, though newbies may perhaps be stirred to visit East Sand Island on the Columbia River—a regular migration stop between Baja and Vancouver Island.

RUNS FRI., NOV. 28–THURS., DEC. 4 AT GRAND ILLUSION. NOT RATED. 97 MINUTES.

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The best footage here is taken in super-slomo HD at the water’s surface and just below, as we see these feathered missiles strike and envelop their prey with their famously wattled jowls. (Why do I always think of vacuumcleaner bags and accordions?) The most harrowing is filmed in a breeding colony on the Channel Islands off Santa Barbara, where sibling rivalry becomes murder. (Again, these animals aren’t pets.) On a more cheerful note, Wild Parrots hero Mark Bittner even shows up here. Irving apparently married the guy—a happy ending to this film that, while unspoken, dovetails with her last. BRIAN MILLER

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You damn pelicans get off my lawn furniture!

The third installment of the V/H/S horror-anthology series has just one decent segment in it. And by “decent,” I mean unhealthy and outrageous and fantastically bizarre. Like its predecessors, V/H/S: Viral rolls out spooky stories that appear to be found footage. Therefore, as with most examples of this form, we see many laborious reasons for scenes to be captured on security cameras and the like. Anyway. The movie overall is strictly for cultists, but the one good segment suggests a filmmaker ready to burst. First we have to get through a feeble framing story that possibly has something to do with a virus that travels from one electronic device to another, a comment on our wired-together world. Then there’s “Dante the Great,” a mock-documentary about a magician whose cloak allows him to perform real supernatural magic—as long as he feeds it with human victims. That idea is old-fashioned horror, but “Bonestorm” is up-to-date: skater dudes with GoPro cameras visit a Tijuana skate park, only to inadvertently summon up demons when they spill blood at the sacred site. There’s some humor in the idea that these idiots who want to strike it rich with their own skateboarding video end up connecting with ancient evil, but the gag repeats itself once the concept kicks into gear. If those segments are mind-numbing, Nacho Vigalondo’s “Parallel Monsters” restores our brains to proper insanity. A scientist (Gustavo Salmeron) builds a device in his basement that opens onto a parallel universe, where his exact double has been building the same portal in his basement. But when the doppelgängers venture into each other’s worlds for a few minutes, our scientist finds things warped in ways that stagger the imagination. I like the way Vigalondo goes from quiet oddness (uh, what is that bloodied object hanging in the living room of the parallel house?) to over-the-top craziness within a few minutes. The fact that none of the wildness is explained—hey, there isn’t time— makes the story stronger and creepier. Spaniard Vigalondo directed Timecrimes (2007), an ingenious little time-travel picture, and he’s obviously got ideas galore. “Parallel Monsters” feels as inventive and compact as a Twilight Zone episode, and fully deserves to go viral. ROBERT HORTON E

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HAPPY HOUR

• CASABLANCA We all know the story: a classic love

triangle set against the tensions of war. True to its stage origins, the 1942 perennial sets up neat oppositions between selfishness and sacrifice, patriotism and exile, love and duty. Humphrey Bogart gained iconic status as Rick, who balances his lingering attachment to Ingrid Bergman’s Ilsa against his longsuppressed sense of idealism. Directed by Michael Curtiz, Casablanca is about a lot of things, but one strong theme is forgiveness: Two former lovers must somehow reconcile themselves with the past, mutually absolving each other to clear the way for the future. Their relationship has its parallel as Bogie and Claude Rains also forgive and forget, then famously stride forward together to battle. (G) BRIAN MILLER Central Cinema, 1411 21st Ave., 686-6684, central-cinema. com. $6-$8. 7 p.m. Fri.-Tues. & 3 p.m. Sat.-Sun. THE LAST ONE Directed by Nadine C. Licostie, presented by The Bill and Melinda Gates Foundation, this recent doc traces the history of the AIDS Memorial Quilt, a textile work that’s still sadly growing. (NR) SIFF Film Center (Seattle Center), 3249996. Free, but RSVP via siff.net. 7 p.m. Mon.

Ongoing

EVENT S

• BIRDMAN A movie star in a career skid since he

stopped playing a masked superhero named Birdman back in the ’90s, Riggan Thomson (Michael Keaton) is preparing his big comeback in a Broadway adaptation of Raymond Carver stories, funded and directed by himself. Obstacles abound: Riggan’s co-star (Andrea Riseborough) announces she’s pregnant with his child; his grown daughter (Emma Stone) is his assistant, and not his biggest fan; a critic plans to destroy the play. And, in the movie’s funniest headache, Riggan must endure a popular but insufferable stage actor (Edward Norton, doing a wonderful self-parody) who’s involved with the play’s other actress (Naomi Watts). This is all going on while Riggan maintains a tenuous hold on his own sanity—he hears Birdman’s voice in his head, for one thing. To create Riggan’s world, director Alejandro González Iñárritu and Gravity cinematographer Emmanuel Lubezki present the film as a continuous unbroken shot (disguised with artful digital seams). Birdman serves so many heady moments it qualifies as a bona fide happening. It has a few stumbles, but the result is truly fun to watch. And Keaton—the former Batman, of course—is a splendidly weathered, human presence. Ironically or not, he keeps the film grounded. (R) ROBERT HORTON Guild 45th, Pacific Place, Lincoln Square, Kirkland, Bainbridge, Cinebarre, others CITIZENFOUR Fugitive leaker Edward Snowden has invited documentary filmmaker Laura Poitras (The Oath) and The Guardian journalist Glenn Greenwald into his Hong Kong hotel room. In this absorbing character study, they debate how and when to spill the information he took from his job at the National Security Agency. Clicking the SEND button carries as much weight as Bob Woodward meeting Deep Throat in All the President’s Men. This straightforward documentary may be smaller-scaled than a political thriller, but it has similar suspense: Everybody in the room realizes the stakes—and the dangers—of exposing a whistleblower to public scrutiny. One man’s whistleblower is another man’s traitor, a debate that Poitras doesn’t pause to consider, so confident is she of Snowden’s cause. Having this access to Snowden in the exact hours he went from being a nonentity with top-secret clearance to a hero/pariah is a rare chance to see a now-historical character in the moment of truth. By the end of the film, we get a scene that suggests that Snowden is not alone in his whistleblowing status—a tantalizing hint (scribbled by Greenwald on pieces of paper) of another story to come. (NR) R.H. SIFF Cinema Uptown FORCE MAJEURE On a ski vacation in the French Alps, Tomas, Ebba, and their two young kids are a sleek, modern Swedish family seemingly stepped out of an iPhone 6 ad. At lunch on a sunny balcony, the family and fellow diners are suddenly hit by a seeming avalanche. The frame goes white as we hear sounds of chaos and confusion; then everyone realizes that only a light dusting of snow has fallen on their fettuccine alfredo. After those few seconds of panic, there’s laughter all around. Thank God we’ve survived; now let’s not talk about it. Ruben Östlund’s sly, unsettling study of marital dissolution is what happens when people talk about it. Ebba (Lisa Loven Kongsli) can’t let go of the fact that Tomas (Johannes Kuhnke) grabbed his phone and abandoned the family in the face of possible doom. Copping to his cowardice only makes him seem more pathetic to Ebba, who begins re-evaluating

SEATTLE WEEKLY • NOVEM BER 26 — DECEM BER 2, 2014

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the whole basis of their marriage. If not for the sake of their kids (played by actual siblings), what’s the point in staying together? This isn’t a fraught drama of the old Bergmanesque variety; it’s more a dark comedy of shame. Men reveal themselves to be posturing fools here, while women sensibly wonder if they’re the only ones keeping our species alive. (R) B.R.M. Seven Gables, SIFF Cinema Uptown FURY In David Ayer’s proudly old-fashioned WWII drama, Sgt. Don Collier (Pitt) gives no indication of his life before the war. Nor is there any depth to his typical crew—Shia LaBeouf the pious Bible-thumper, Michael Peña the steadfast Mexican-American, Jon Bernthal the volatile hick—and their regional accents. Because every WWII movie demands one, the greenhorn here is Ellison (Logan Lerman), a typist recruited to man the machine gun where his predecessor perished in a bloody puddle. Fury covers 24 hours in April 1945, as Allied forces roll through Germany in the war’s endgame. Collier’s most lethal enemies are the few remaining Tiger tanks, much better armored than our flimsy Shermans. Though victory is, to us, preordained, the mood here is all mud and exhaustion. Collier and crew have been fighting for years, from North Africa to Europe, to the point where he says of his tank, “This is my home.” (German troops say the same thing during the finale—not that it saves them; Nazis die by the score.) Ayer creates a strange, overlong interlude at Fury’s midpoint, as two German women host Collier and Ellison, though this is hardly a date movie. In an otherwise predictable, patriotic flick, here Collier seems to yearn for a calm, cultured oasis amid the chaos of war. (R) B.R.M. Pacific Place, others GONE GIRL What’s exceptional about Gillian Flynn’s adaptation of her 2012 novel, directed with acid fidelity by David Fincher, is that Gone Girl doesn’t like most of its characters. Nick Dunne (Ben Affleck) soon falls under suspicion of murdering his missing wife Amy (Rosamund Pike). The small-town Missouri police investigation (led by Kim Dickens) goes entirely against Nick for the first hour. He behaves like an oaf and does most everything to make himself the prime suspect, despite wise counsel from his sister (Carrie Coon) and lawyer (a surprisingly effective, enjoyable Tyler Perry). Second hour, still no body, but flashbacks turn us against the absent Amy. As we slowly investigate the Dunnes’ very flawed marriage, funny little kernels of bile begin to explode underfoot. How the hell did these two end up together? Flynn’s foundational joke answers that question with a satire of marriage. The movie poster and tabloid-TV plot suggest a standard I-didn’t-kill-my-wife tale, but matrimony is what’s being murdered here. Amid the media circus, Nick becomes the scorned sap because of his untruths; but what really damns him in the movie’s intricate plot is his credulity—he believed in Amy too much. (R) B.R.M. Sundance, Cinebarre, Alderwood 16, others INTERSTELLAR Reaching about 90 years forward from its start in a near-future dystopia, Christopher Nolan’s solemn space epic commits itself both to a father/daughter reunion and the salvation of mankind. Matthew McConaughey’s Cooper is sent on a mission to plunge into a wormhole near Saturn because Michael Caine tells him to. And no one in a Chris Nolan movie can say no to Michael Caine, here playing a professor named Brand who also sends along his scientist daughter Amelia (Anne Hathaway) with Cooper and two others. Before leaving, Cooper tells his daughter—played by three actresses at different ages—that maybe they’ll be the same age when he returns home, because of Einstein and other stuff we slept through in AP physics. The two ceremoniously synchronize their watches, sure to figure later—two hours for us, rather more for them—in the story. Cooper and company must investigate possible planets for colonization (scouted in advance by other astronauts). There’s some action, but what Nolan really wants Cooper’s team to do is discuss relativity, gravity, the fifth dimension, and quantum data (the latter requiring a visit to a black hole). With the frequent recitations of Dylan Thomas poetry and the grown Murph (Jessica Chastain) stabbing chalky equations on a blackboard, the movie feels like an undergraduate seminar in space—one that’s three hours long. (PG-13) B.R.M. Pacific Science Center IMAX, SIFF Cinema Uptown, SIFF Cinema Egyptian, Thornton Place, Majestic Bay, Bainbridge, Kirkland, Admiral, Cinebarre, others NIGHTCRAWLER Titled and released as if it were a Halloween horror flick, Dan Gilroy’s dark media fable has more in common with Network than Nosferatu. Lou (the politely creepy Jake Gyllenhaal) is identified as an earnest, calculating criminal in the opening minutes; he’s never less than transparent about his motives, most of which appear to have been gleaned from self-help books and inspirational Internet sites. He’s an amoral American hustler, a type descended from

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FOCUS FEATURES PRESENTS A WORKING TITLE PRODUCTION EDDIE REDMAYNE FELICITMUSICY JONES, “THE,THEORY OF EVERYTHI NG” CHARLIE COX CASTING COSTUME EMILY WATSON SIMON MCBURNEY WITH DAVIDPRODUCTION THEWLIS BY NINA GOLDDIRECTORBY JOOF HANN JOHANNSSON DESIGNERCO-STEVEN NOBLE HAIR, MAKE-UP AND PROSTHETIC DESIGNER JAN SEWELL EDITOR JINX GODFREY DESIGNER JOHN PAUL KELLY PHOTOGRAPHY BENOIT DELHOMME AFC PRODUCER RICHARD HEWITT BASED ON EXECUTIVE PRODUCERS AMELIA GRANGER LIZA CHASIN DAVID KOSSE THE BOOK “TRAVELLING TO INFINITY: MY LIFE WITH STEPHEN” BY JANE HAWKING DIRECTED SCREENPLAY PRODUCED BY JAMES MARSH BY ANTHONY MCCARTEN BY TIM BEVAN ERIC FELLNER LISA BRUCE ANTHONY MCCARTEN TheTheoryOfEverythingMovie.com

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SEATTLE WEEKLY • NOVE MBER 26 — DECEM BER 2, 2014

Dale Carnegie and Sammy Glick. A career in stolen scrap metal soon gives way to freelance videography at L.A. car wrecks and crime scenes, and Lou’s basest impulses are naturally encouraged by a ratingsstarved TV station. (Rene Russo is amusingly aroused as the station’s “vampire shift” manager—a venal Mrs. Robinson who mentors eager Lou.) Nightcrawler is more a parable of unfettered capitalism—there’s your horror—than realistic media satire. No one here has—or needs—much depth. Nightcrawler never quite settles on a satisfactory tone between squeamish laughter and a smarter, Chayefskian disgust, but Lou you remember—a creature for these craven times, prospering from our need to see the worst. (R) B.R.M. Sundance, Pacific Place, Cinebarre, others ROSEWATER Making his debut behind the camera, Jon Stewart’s life-inspired movie is about the IranianCanadian journalist Maziar Bahari (Mexican star Gael García Bernal). In 2009 Bahari was arrested by Iranian authorities while covering the disputed elections in Tehran; included in the “evidence” against him was a Daily Show segment. We see Bahari’s home life in Toronto and his journalistic work for Newsweek in Tehran, where his mother (Shohreh Aghdashloo) still lives. Once in prison, his main tormentor (Kim Bodnia) obsesses over whether Bahari’s arthouse DVDs are actually pornography and the question of just how many Jews are running the world. Stewart relishes these absurdities, as you would expect. Rosewater too frequently has a dutiful quality, careful always to balance the negatives of the Iranian authorities with the positives of Iranian culture. The movie doesn’t announce the arrival of a born filmmaker, but it’s much better than a dilettante project—Stewart keeps a difficult storytelling subject moving right along. And there are sequences, like García Bernal’s exhilarating solo dance at a crucial point in his imprisonment, that convey a real appreciation for the human element that survives amid political horror. (R) R.H. Sundance, Meridian, Lincoln Square, others ST. VINCENT Bill Murray is pretty much the sole draw for the movie, and given his unique screen presence, it’s something. St. Vincent is all about the Murray persona: a deeply sarcastic man struggling to find his way to sincerity. That struggle is why Murray looks so melancholy in so much of his work. But it’s not a good movie. Murray’s slovenly Brooklyn misanthrope is Vincent, who reluctantly agrees to babysit the 12-year-old son (Jaeden Lieberher) of his new nextdoor neighbor (Melissa McCarthy). This will take time away from drinking, gambling at the racetrack, or visiting his Russian prostitute (Naomi Watts). We are also cued to the reasons Vincent is curmudgeonly, none of which will come as much of a surprise. Writer/director Theodore Melfi tries hard to convince us that Vincent is capable of great nastiness, but even these efforts seem rigged to ultimately show the soft, gooey center of both character and movie. As much pleasure as I took from watching Murray stretch out, I didn’t believe a minute of it. But do stick around for the end credits, when Murray sings along to Bob Dylan’s “Shelter From the Storm.” It’s the movie’s one great sequence. (PG13) R.H. Guild 45th, Meridian, Alderwood 16, others THE THEORY OF EVERYTHING The Stephen Hawking biopic opens with our hero (Les Miz star Eddie Redmayne) as a young nerd at university, where his geeky manner doesn’t entirely derail his ability to woo future wife Jane Wilde (Felicity Jones). Hawking is diagnosed with motor neuron disease at age 21 and given a two-year prognosis for survival—one of the film’s sharpest ideas is to allow time to pass, and pass, without pointing out that Hawking is demolishing the expectations for someone with his condition. James Marsh’s movie is officially adapted from (now ex-wife) Jane Hawking’s memoir, so the love story has its share of ups and downs. This is where Theory manages to distinguish itself from the usual Oscar bait. Whether dealing with Jane’s closeness to a widowed choirmaster) who becomes part of the Hawking family, or Stephen’s chemistry with his speech therapist, the film catches a frank, worldly view of the way things happen sometimes. No special villains here—you might say it’s just the way the universe unfolds. Redmayne’s performance is a fine piece of physical acting, and does suggest some of the playfulness in Hawking’s personality. From now until Oscar night, you will not be able to get away from it. (PG-13) R.H. Harvard Exit, Sundance, Thornton Place, Lincoln Square, Lynwood (Bainbridge), Alderwood 16, others

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arts&culture» Music

Sylvie Simmons’ Second Act

With Sylvie, a rock journalist discovers a new voice—her own.

LIGHT IN THE ATTIC RECORDS

BY PAUL AUSTIN

Tuesday’s

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SEATTLE WEEKLY • NOVEM BER 26 — DECEM BER 2, 2014

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TAJ MAHAL TRIO

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One of the most influential American blues and roots artists of the past half-century!

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all ages | free parking | full schedule at jazzalley.com

ylvie Simmons has written for MOJO magazine since its beginning and penned books on such iconic figures as Neil Young, Serge Gainsbourg, and Leonard Cohen. She was the last to interview Johnny Cash before his death, and wrote the liner notes to his final album. Contemporaries laud her, a new generation of writers emulates her, and she’s even the subject of the BBC documentary The Rock Chick. But now, something altogether new has happened for the writer: her debut album—consisting largely of only Simmons’ voice and ukulele performing her own songs—drops this week via Light in the Attic Records. Its unassuming title, Sylvie, perfectly matches its sparse late-night laments and homespun intimacy. “It was an accident of circumstance, really,” the San Francisco-based Simmons says with a warmth that’s served her well in decades of interviewing. “Making my own music has always sort of hovered in the background. Before I became a rock writer, one of my grand teenage plans was to be a performing musician. But when I did go onstage, with my big jumbo guitar and a band, I just froze. Even in front of a tiny audience—just deer in the headlights. So that was that. Being a rock journalist just seemed a more natural thing to do.” After three years spent writing I’m Your Man, the Cohen biography, Simmons hit the road. “I just wanted to get away from my four walls!” she says, laughing. “The publisher had no interest in setting up a book tour, so I set up my own, sleeping on friends’ couches. It became a very disorganized, very wonderful time. I’d read bits from the book, and mix it up by playing some of Leonard’s songs on my ukulele. Somewhere along the way, very naturally, that fear of public performance just disappeared.” Enter Giant Sand’s Howe Gelb, a longtime friend of Simmons’ and one of the few she’d been privately sending songs to. “Howe had been encouraging me to share my own music for years,” she says. “When I finished the book tour, I called him. He said, ‘I’ve booked the studio, and we’re making an album.’ ” It was Simmons’ journalism that first caught Gelb’s attention, of course, but he wasn’t surprised when he heard—and loved—the songs. “Writing is writing,” says Gelb from his home in

Tucson, where the bulk of Sylvie was put to tape at Wavelab Studios in just two days. “It’s all there in the particles, all there in every turn of phrase, all there in every decision of what ‘good’ is.” Here’s more from our chat with Simmons about her unique transition from behind the page to in front of the mike.

SW: Without the Cohen biography and book tour, it’s very likely this album wouldn’t be happening now.

Simmons: Very likely. I’d still be writing songs, of course; there were many that didn’t make the album. We didn’t ever really choose which songs to record; we just started the tape and recorded until we reached a certain number! It was almost all first takes, and the little things Howe contributed were all spontaneous, just improvised. He was running from the piano to the guitar while the tape is rolling.

It wasn’t until you happened onto the ukulele that you found your songwriting voice.

It just seemed to be my instrument. It’s such a modest, sweet sound, with no real resonance or sustain; blink and you’ll miss a note. My voice, which is very quiet and soft, seems to fit well with it. And the honesty of these songs feels well served by the intimacy of such a little instrument. Light in the Attic seems such a good match.

I expected I would self-release the album, and I’m still pinching myself on a daily basis. I know how that sounds, but it’s true! When the vinyl arrived, I admit I got a little teary. It was like a dream, to have my own album, on a label whose work I love. The care they put into their releases is amazing. But it was all very natural. A friend sent a few of my songs to Matt at LITA; one evening he and his wife were driving around with their newborn baby, trying to get the baby to sleep. When they put on my album, it finally happened. Shortly after, they called and offered to put the album out. Now that’s some savvy A&R.

Absolutely. I’ve got the baby market!

I understand there was a long wait for Sylvie. The demand for vinyl is so great that the release date was delayed to allow the vinyl to come out alongside the CD?

I know. [Smiles.] Really, isn’t that just the most wonderful thing? E

music@seattleweekly.com

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tony furtado band w/ casey neill MON/DECEMBER 1 • 7PM

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roderick’s holiday rendezvous with special guests next • 12/6 fremont abbey winter round • 12/7 gypsy soul • 12/8 charlie hunter and scott amendola • 12/9 a winged victory for the sullen • 12/11 - 12/27 land of the sweets: the burlesque nutcracker • 12/28 & 29 the bobs after christmas show! • 12/30 aurelio • 12/31 leroy bell & his only friends • 1/3 cahalen and eli • 1/7 midge ure • 1/8 david lindley • 1/9 anna coogan w/ carrie akre • 1/10 elvis alive with vince mira • 1/11 korby lenker • 1/14 sean watkins • 1/15 tom paxton w/ kate power and steve einhorn • 1/16 curtis salgado

happy hour every day • 11/26 pj5 (papa josh & friends) • 11/27 closed for the holiday • 11/28 ranger and the re-arrangers / sam marshall trio • 11/29 ari joshua band • 11/30 hwy 99 blues presents • 12/1 crossrhythm sessions • 12/2 spencer glenn w/ minami and the cyclophonics • 12/3 sunshine subconscious TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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t 25, Noah Gundersen has already logged more miles on the road than many musicians 10 years his senior. His songs are like that, too—impossibly conjured from wisdom he couldn’t possibly possess in his mid-20s. This combination propelled the Seattle musician to a successful 2014, which saw the release of his debut solo album, Ledges, in February and a new EP, Twenty-Something. Between a nationwide tour and mixing a full-length for release next year, Seattle Weekly probed Gundersen about the past year and his homecoming. SW: Did Ledges propel you to another level, or do you feel like your growth has been steady?

Gundersen: A lot of it has been slow growth, which I have been frustrated with at times in my life, but at this point I’m really grateful for it. The slow growth has helped me maintain headspace and realize that a healthy career in music is more of a marathon than a sprint.

IRATION

GENESIS EXTENDED 2014 WORLD TOUR

12/10

A local indie folkie concludes a six-week tour at the Moore.

BY DAVE LAKE

PHILLIP HARDER

with SUBJECT TO DOWNFALL + THE HOME TEAM + IANA

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Noah Gundersen Comes Home

8PM

Where does that philosophy come from? I know you’ve also expressed apprehension about major labels.

It comes from a desire for sustainability. For example, I did a show with Emmylou Harris a year or two ago, and seeing her in her 60s still touring and still working, I saw that and said, “That’s what I want to do.” Obviously I don’t have any illusions of being as successful as Emmylou Harris, but just the idea that I want to be doing this 20, 30, 40 years from now. I don’t see myself as being a buzz band. I make sad, slow music. Do you think you’ll ever make loud records?

I just finished recording a new record, and it’s louder than the last one.

Your new EP includes a cover of “Smells Like Teen Spirit,” a song released when you were 2. What was the inspiration?

I wanted to showcase the lyrics of the song, because it’s hugely important to a generation that I wasn’t necessarily a part of, but still has relevance now to a generation that feels entitled

yet disconnected, that’s overstimulated but unsatisfied. I like the idea of trying to do something that was a big part of a place that I am from, and then trying to put my own spin on it. Early on, you and your siblings performed as The Courage, which evolved into you becoming a solo act while keeping them in your band. Was this a difficult transition?

It’s something we’ve had to work through. It took a lot of communication. We realized that just from a branding and marketing sense, my name had the most time being pushed out to the market, and that’s what people recognized. We didn’t want to have a mouthful of a band name, like Noah and Abby Gundersen and all the other Gundersens. It seemed like an unnecessary hassle, but it was also something that we had to talk about. Do you have anything special planned for the Moore show? I’m sure it will be nice to end your tour at home.

Yeah, that was intentional. The last tour we started in Seattle at the Neptune, which was an amazing time, but by the end of that six-week tour we were super tight, and I just thought it would be fun to end the tour in Seattle with that level of cohesiveness between the band members. We also have a quartet from the Seattle Symphony playing with us that night, which I’m very excited about. It’s nice to be working with such professional people. Will you play any new songs?

I’m trying to hold off on playing new material, because the last record took so long to make that most of the songs were already up on YouTube by the time the record came out. As a writer, I love to play whatever’s fresh, but then you get a shitty version of it up on YouTube and that’s people’s introduction to it. E

music@seattleweekly.com

NOAH GUNDERSEN With Rocky Votolato. The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org/moore. $20 adv./$22.50 DOS. 8 p.m. Fri., Nov. 28.

Sonic Seattle

Dave Grohl’s documentary series brings him home. BY DAVE LAKE

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

Foos frontman, Dave Grohl, in the booth.

KEVIN MAZUR

in This Bring T And ge n o p Cou er iz T e p p one A 2 oFF! For 1/

Grohl got the idea for Sonic Highways after

making the previous Foo Fighters record in his garage. He wanted to challenge the band by moving outside of their comfort zone, the studio where they’d been working for the past decade. He hoped the change in process would affect the output. “It worked,” he says. “When I listen to the last record now, it sounds claustrophobic and like a garage to me.” The other inspiration for the series came after Grohl released his 2013 documentary Sound City, about the famed Los Angeles recording studio. Though he has no formal filmmaking training, the process came naturally. “I couldn’t tell you the dynamics or arcs or logistics of writing a story, because I’m a fucking high-school dropout,” he says, laughing, “But it seems pretty clear to me when you have some focused idea you want to achieve, you just put it together.” Grohl did the interviews for Highways in conjunction with recording. He’d spend the morning in the studio, then head out to do interviews in the afternoon, usually without prepared questions in hand or a formal agenda. “I didn’t really consider them interviews, they were just conversations,” he says. “And then they became lessons. I’d sit with someone and they’d tell me something I didn’t know, and I’d imagine myself as the viewer. That’s the intention of this series—to inform people and entertain them and give them stories that hopefully they’ll connect to and be inspired by.” Though Grohl’s previous documentary projects have placed himself at the center, he’s looking forward to tackling topics he doesn’t have as close a connection to—if he can find the time away from his day job. “I’ve always enjoyed doing things that I don’t know how to do,” he says. “I didn’t take lessons to play the drums. I didn’t take lessons to play guitar. I don’t know how to make a documentary. But it’s exciting to try something that you’re not sure you can actually pull off.” He pauses for a moment, then adds, “That’s the Foo Fighters, by the way.” E music@seattleweekly.com

Author’s note: The Foos recently announced a summer 2015 date at the Gorge; however, there’s a chance you’ll be able to see them in Seattle much sooner. Tied to previous Sonic Highways episodes, the band has played a surprise show in a tiny venue in each featured city. Nothing has been announced for Seattle yet, but keep your eyes peeled.

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SEATTLE WEEKLY • NOVE MBER 26 — DECEM BER 2, 2014

n his final tour with Scream in 1990, just months before its implosion, Dave Grohl made it to Seattle. His Virginia-based hardcore band had made many cross-country trips before, but had always managed to miss the Emerald City, playing Tacoma, Olympia, or Portland instead. When he finally arrived that afternoon, he got such a strong vibe from the city that he even called his mother, a public-school teacher of 35 years who was looking for a place to retire and asked her son to do some scouting. “I called her the day I arrived and said, ‘Mom, Seattle is the fucking greatest.’ ” That Seattle stop was significant for a more obvious reason. Kurt Cobain and Krist Novoselic, from a band called Nirvana, happened to be at Grohl’s gig that night, and when they needed a drummer a few months later, Buzz Osborne of the Melvins urged Grohl to call them. He did, and the rest is forever a part of rock & roll legend. Grohl’s local history is explored in the latest episode of the HBO series he created, Sonic Highways. “I wouldn’t be here if it weren’t for Seattle,” he says via voiceover early in the episode, which airs this Friday at 11 p.m. “Seattle’s like my phantom limb. I still feel it.” The series documents the making of the latest Foo Fighters LP, which was recorded in eight cities, including Seattle, and presents a musical history of each stop, which informs the tracks recorded in each. Friday’s Seattle episode features a number of people integral to our musical evolution, including Chris Cornell, Nancy Wilson, Ben Gibbard, and Macklemore, as well as several longtime Sub Pop insiders like founder Bruce Pavitt and grunge producer Jack Endino. Robert Lang Studios, the last place Nirvana recorded and the first place to record the debut Foo Fighters album, also figures prominently in the episode. One thing Grohl found magical about Seattle when he arrived was the rich underground music scene that was bubbling up. “When I was young, I liked the punk-rock bands from the Seattle area,” he tells Seattle Weekly. “Towards the late ’80s I discovered Tad and Mudhoney, and I’d already been listening to Soundgarden. I just gravitated towards the Sub Pop catalog, I think because I grew up listening to Slayer and Neil Young. After brief stints with Novoselic in Tacoma and Cobain in Olympia, Grohl moved to West Seattle with pal Barrett Martin of Screaming Trees before eventually settling in the Richmond Beach area north of the city, just down the street from Robert Lang Studios. “When I moved there, I think I was 21 years old,” he says. “That’s a very formative time in your life, and for all of that to happen in that short period of time, it made such a huge impression on me. I lived there for maybe seven years, and every time I come back, I feel at home. Everybody there is so welcoming. If I walk down the street, I think people think I still live there, because they greet me like they’re my neighbor.” Grohl was particularly overwhelmed by the response to the unannounced Nirvana reunion at Paul McCartney’s Safeco Field performance last summer—the first hometown appearance by Nirvana’s surviving members in 15 years. “When we walked onstage, it was a beautiful feeling.”

El Corazon

arts&culture» Music

109 Eastlake Ave East • Seattle, WA 98109 Booking and Info: 206.262.0482

Wednesday, Nov. 26

www.elcorazonseattle.com

WEDNESDAY, NOVEMBER 26TH

SUNDAY, NOVEMBER 30TH Live Music From:

“WALK OF SHAME COMEDY TOUR”

REDNECK GIRLFRIEND

featuring: Dana Moon, Becky Robinson, Jessica Michelle Singleton, Lisa Curry Lounge Show. Doors at 8:00PM / Show at 9:00 21+. $10

Mary’s Kitchen Sunday Buffet! with: Hopeless Jack And The Handsome Devil Lounge Show Doors at 6:00PM / Show at 8:00. 21+. $5 Bands Only / $20 All You Can Eat Dinner

FRIDAY, NOVEMBER 28TH

TUESDAY, DECEMBER 2ND

PASCAL

THREE SIX OHH

with The Accountants, Within Rust, Argonian, Plus Guests Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

with Jesus Chris & C-LeGz, Poison Jams, The Cinematks, Open mic cypher Lounge Show. Doors at 7:30PM / Show at 8:00 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SATURDAY, NOVEMBER 29TH

WEDNESDAY, DECEMBER 3RD

MIKE THRASHER & EL CORAZON PRESENT:

TAKE WARNING PRESENTS:

with Matt Bacnis Band (EP Release), American Island, Amanda Markley, Kierah Taylor Doors at 6:00PM / Show at 6:30 ALL AGES/BAR W/ID. $10 ADV / $13 DOS

with Teenage Kicks, FloodLove (ex-The Dangerous Summer), Encourager, Poke Da Squid Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID. $13 ADV / $15 DOS / $43 VIP

RACHEL TAYLOR

THE ATARIS

SATURDAY, NOVEMBER 29TH

THURSDAY, DECEMBER 4TH

G WRECK PRESENTS:

KURT TRAVIS

VESSELS

with Hotel Books, Tommy Boys, Mixtape Minus, Talles/Of/Mountains Lounge Show. Doors at 7:00PM / Show at 730 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

with Rat Path, Motion, Unjust, Groundfeeder, Cornerstone Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

JUST ANNOUNCED 1/2 - I DECLARE WAR 1/3 - DR. KNOW FEAT. KYLE TOUCHER 1/24 - POWERMAN 5000 / HED(PE) 1/26 - JAKE E. LEE’S RED DRAGON CARTEL 1/26 LOUNGE - CALABRESE 2/6 - THE DICKIES UP & COMING 12/5 - THE ICARUS LINE 12/5 LOUNGE - PAGEANTRY 12/6 - LEMURIA / INTO IT. OVER IT. 12/6 LOUNGE - DEVILWOOD 12/7 LOUNGE - COURAGE MY LOVE 12/9 LOUNGE - DANI FOUTS 12/12 LOUNGE - THE DREAD CREW OF ODDWOOD 12/13 - AURELIO VOLTAIRE 12/13 LOUNGE - SMOKE SEASON 12/14 DAY - MOURNING MARKET 12/14 - STICK TO YOUR GUNS 12/14 LOUNGE - WHERE MY BONES REST EASY 12/16 LOUNGE - BUTTONS 12/17 LOUNGE - CAPTAIN ALGEBRA 12/18 - NICK THOMAS (OF THE SPILL CANVAS) 12/19 & 12/20 - X / THE BLASTERS 12/21 - MOONSHINE BANDITS 12/22 LOUNGE - DANI FOUTS Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

The EL CORAZON VIP PROGRAM: see details at www.elcorazon.com/vip.html and for an application email us at info@elcorazonseattle.com

N I G H TC LU B U P C O M I N G

E V E N T S

SEATTLE WEEKLY • NOVEM BER 26 — DECEM BER 2, 2014

W E D N E S D A Y, D E C E M B E R 3 R D

SATURD AYS

TH URSD AYS

CL AUDE VONSTROKE L ANE 8 CA JMERE

12/04/14 12/11/14 12/18/14

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TICKETS AVAIL ABLE AT W W W.QNIGHTCLUB.COM 1426 Broadway - Seattle, WA

11/29/14 12/06/14 12/20/14

12/03/14 01/14/14

TheWeekAhead R&B superstar, dancer, actor, The Voice judge, Cheerios spokesman: Throughout his 20-year career, USHER has worn many hats, some that make more sense than others. But no matter what he does, it’s done with a finesse all his own. His voice is always as smooth as his dance moves, even when he’s sharing the spotlight with an animated honeybee. Though his eighth full-length, UR, is still in the works, the singer already has two decades’ worth of hits—including “You Make Me Wanna . . . ” “U Don’t Have to Call,” “OMG,” and, most recently, “She Came to Give It to You”—to entertain audiences with during this “UR Experience” show. With August Alsina, DJ Cassidy. KeyArena, 305 Harrison St., 684-7200, keyarena.com. 7:30 p.m. $35 and up. All ages. Singer/songwriter GABRIEL MINTZ’s latest, Future Wars, is the perfect blend of psychedelic riffs and a more modern rock sound. It has an aged feel, but a mix of folk grooves (“So Close,” “In Us You Trust,” “Killing Me”), instrumental features (“An Ode to Hans Zimmer,” “Demeter”), heavier elements (“Late This Morning,” “Science”), and Mintz’s downright pretty voice keep it feeling fresh. Those vocals exude both a warmth and an ache and can take on an impressive Beck-like quality, especially on album opener “Castles Fall”; and the songwriter’s mix of light and dark folk makes for a contrasting yet engaging listen. With Zachary Lucky. Lo-Fi Performance Gallery, 429 Eastlake Ave. E., 254-2824, thelofi.net. 8 p.m. $6. 21 and over. For 10 years, Nectar Lounge has welcomed artists from every genre under the sun. Hip-hop and reggae, Americana and bluegrass, dance and electronic: You name it, Nectar has hosted it. The venue will follow suit for NECTAR’S 10TH ANNIVERSARY PARTY, a two-night extravaganza packed with an eclectic lineup of local artists. The first night will feature Picoso, Project Lionheart, Trolls Cottage, and Clinton Fearon, and will be hosted by Davin Stedman of Staxx Brothers. Crack Sabbath, BShorty (aka Blake Lewis), the Cumbierios, and others will keep the celebration going on night two on Friday. Nectar Lounge, 412 N. 36th St., 632-2020, nectar lounge.com. 8 p.m. Free. 21 and over.

Friday, Nov. 28

Unfinished Business, the latest EP from electro-soul duo FLY MOON ROYALTY—aka singer Adriene “Adra Boo” Green and producer/DJ Mike “Action Jackson” Sylvester—is just that: a collection of songs the pair felt they needed to put out before releasing a fulllength. And it would appear that the duo still has some business to take care of with the release of Unfinished Business—Deluxe Edition. The revamped package includes the original tracks, instrumental versions of the songs, remixes, a new song called “Rx,” a lyric booklet, and the music video for the vocoder-heavy “DNA.” Oh—did I mention that the duo is giving the whole thing away for free? With Dave B., Otieno Terry. The Crocodile, 2200 Second Ave., 441-4618, the crocodile.com. 8 p.m. $13 adv. All ages. Rapper NACHO PICASSO, aka Jesse Robinson, is one of those artists you either love or hate. For instance, on “Nacho Man,” the opening track from his latest release, Trances With Wolves—The Prixtape, Picasso laughs while saying “Gave my ex a back rub with a Mack truck/Did her like a speed bump/And then I backed up.” He can be crass (the recently released “Big Ass Titties” is a prime example), but Picasso’s dark imagery sets him far apart from other rappers, local or otherwise. If you can get past his lyrics—or even if you can’t—Picasso takes listeners on a trip into rap’s seedy underbelly. With Ugly Frank, Sneak Guapo, DJ Beeba. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $12 adv. All ages.

Saturday, Nov. 29

If “Broken Heart Tattoos” is any indication, RYAN BINGHAM’s upcoming fifth album, Fear and Saturday Night, is going to be an open and honest look at where the gravel-voiced Americana singer is in his personal life. The song, a message to his future children, opens with “You are unborn and yet to be scarred with tattoos/The blood in your arm/Hell, it’s good and it’s warm/It’s still free to choose” before Bingham advises his kids to walk a straight line but not to be afraid to cut loose. The biographical lyrics give listeners some insight into Bingham’s rough past and hopes for the future. Columbia City Theater, 4916 Rainier Ave. S., 723-0088, columbiacitytheater. com. 8 p.m. SOLD OUT. 21 and over.

It’s been just over a year since alt-electronic trio THE FLAVR BLUE released its latest EP, Bright Vices, and the wait for more music is almost over, as the group plans to release a new project early next year. But before that, the trio (Lace Cadence, Parker Joe, and Hollis Wong-Wear) has released a video for “Hearts Racing” off the five-track EP. Sultry vocals from Cadence and Wong-Wear and a dynamic beat from Joe complement the clip, which features flashbacks to a couple’s happier moments interspersed with scenes of them fighting. The Billboard post that premiered the vid says those darker tones will carry over to the band’s upcoming project. With Katie Kate, Cuff Lynx, DJ Simon Thwaits. Neumos. 8 p.m. $10 adv. 21 and over. Seattle five-piece BLACK WHALES has a sound that really is all its own. The band’s sophomore album, Through the Prism, Gently, is a mix of pop sensibilities and darker psych-rock elements. A focus on catchy melodies and big hooks is there, but the band adds enough fuzz and ambience to keep Prism from feeling overly polished—a balance that makes it one of those records that fits a variety of spaces. There are enough pensive moments for a quiet night in, but danceable beats also make it a strong live album—something fans can experience for themselves at this album-release show. With the Young Evils, Timbre Barons. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $8. 21 and over.

Sunday, Nov. 30

If loving solid power-pop records is wrong, then I don’t want to be right. Case in point: singer/songwriter ERIC HUTCHINSON’s latest release, Pure Fiction. Unapologetically upbeat, it lets listeners know it’s OK to be happy. Pure Fiction is more than just auditory cotton candy, though; Hutchinson incorporates a variety of techniques to keep things interesting. He slows things down on “Goodnight Goodbye” and “Sun Goes Down,” and adds soulful flair to “Love Like You.” Also, the album closes with three acoustic tracks, including a take on opener “Tell the World,” that show that Hutchinson’s pop mastery isn’t all smoke and mirrors. With Tristan Prettyman, Nick Howard. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org/neptune. 7:30 p.m. $20. All ages.

Monday, Dec. 1

It’s been an odd year for THEE OH SEES. The quartet, led by singer/guitarist John Dwyer, announced it was taking a break at the end of 2013, leading many to think it was going on indefinite hiatus. The April release of a new album, the psychedelic Drop, added to the confusion over the band’s status. Plus, before Drop was recorded, three members left the band, leaving Dwyer to work with frequent collaborator Chris Woodhouse by himself. The band’s social-media accounts also haven’t been updated since the break, but despite all that, the band, now a trio, is back on the road. With Jack Name. The Crocodile, 2200 Second Ave., 441-4618, the crocodile.com. 8 p.m. $15 adv. All ages.

Tuesday, Dec. 2

The self-titled debut from Toronto-based indie-pop quintet ALVVAYS (pronounced “always”) covers every state of being in love with a ’60s-inspired jangle-pop feel. There’s “Archie, Marry Me,” in which lead singer Molly Rankin boldly proposes despite Archie’s distaste for matrimony and fears that alimony could ruin his student-loan payments; and the easy invitation of “Party Police”: “You don’t have to leave/You could just stay here with me.” The band also handles the “delusional” act of waiting for someone who just doesn’t feel the same way in “Red Planet” and losing the one you love in “Next of Kin.” Alvvays is a solid indie-pop package: charming, stylish, and refreshing. With Absolutely Free. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $10 adv. 21 and over. Every year, 106.1 KISS FM brings together up-and-coming pop stars for one night of music to ring in the holidays. This year’s 106.1 KISS FM MAZDA JINGLE BALL is no different. Local favorites Mary Lambert, who recently released her debut album, Heart on My Sleeve, and indie-rock quartet (and Macklemore and Ryan Lewis collaborator) Fences are scheduled to take the stage, as is YouTube sensation Lindsey Stirling, who combines classical and electronic music and dance through choreographed violin routines. Florida-based hip-hop artist Jake Miller, English pop quartet Rixton, and Canadian reggae-rock quartet Magic!, whose song “Rude” topped the charts this summer, will also perform. The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org/moore. 7 p.m. $22.50 and up. All ages. BY A Z AR IA C . P O D P LE S K Y

Send events to music@seattleweekly.com. See seattleweekly.com for more listings.

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SE ATTLE WEEKLY’ S 2014 HOLI DAY GIFT GUI DE • PA RT ON E

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PAGE 6

COVER ILLUSTRATION AND LETTERING BY CHRISTINE HERRIN

SOMEDAY SOON, YOU WILL BUY your first gift. For many of you, that day will come the day after Thanksgiving, on Black Friday. In a kinder, gentler time this was regarded as the official start of the holiday shopping season, but that tradition now sits on the shelf collecting dust next to caroling, a relic of the past. For now many of you will start even earlier, lining up in front of big boxes at dinnertime on Thanksgiving. Sacrilege. Do-gooders might choose to wait until Small Business Saturday to start their gift-getting, while those averse to putting on shoes, or pants, might choose Cyber Monday. Or perhaps you’ve already done all your holiday shopping. Kudos to you, mythical shopper. If you have not yet wrapped your presents with care or plotted your Thanksgiving-day campaign, this Holiday Gift Guide—the first of four—is for you. To help you on your annual spending spree, I asked some of my savviest writers to search the city for the best gifts for this holiday season. My directions were simple: We want things that were made by Seattle makers or that are sold in independent Seattle shops. If my minions were able to find items that met both those criteria—well, joy to the world. They came back with an impressive haul of albums and necklaces, dresses and books, artwork and toys that, along with easing the buyer’s load, show off the inventiveness of Seattle’s creative community. And these guides are not just about gifts, but about the shops, here in Seattle and in our neighboring cities, that deserve your business. So give the guide a perusal, make up your list, and get out there. But finish your Thanksgiving dinner first.

Mark Baumgarten Editor-in-Chief

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SEATTLE WE EKLY’ S 2014 HO LIDAY GI FT GU IDE • PART O N E

from audiophiles to bibliophiles to jewelryphiles.

IT BEGINS ...

BUY NEARBY ... 6 Taking the ferry to the

LOREN ELLIOT

MATT “SPEK” WATSON

MC, Bitter Barista, unwitting viral superstar. A Passing Lane Many years ago

some brave city planner had the clever idea to build exits on both sides of the freeway. “It’ll double our efficiency!” he exclaimed. In fact, what we have is a zigzagging mess of road rage that keeps me from driving north of downtown for at least six hours out of the day. I don’t care if the passing lane is on the right or left, just give me one and get out of the way.

Competent Cops We don’t expect the Seattle COURTESY GRAYL

Police Department to become The Avengers, but we deserve cops who will investigate downtown gropers, racist instigators, and known cell-phone thieves without a local paper having to stir up a public uproar about it first. We deserve cops who police as effectively and empathetically in the south end as they do up north. And we deserve cops who won’t sue the city when we demand reasonable and necessary reform.

SE ATTLE WEEKLY’ S 2014 HOLI DAY GIFT GUI DE • PA RT ON E

More All-Ages Venues Seattle just designated

BUILDING A BETTER BOTTLE

Engineers told Nancie Weston her idea was impossible and too expensive. Now her all-purpose, French-press-inspired personal water filter is a reality. BY PATRICK HUTCHISON Clipped, strapped, slung, hung, and slipped

on, Seattle carries water bottles around like they were guns in a spaghetti Western. Fiercely loyal to brand, size, and type, our bottles and the water inside them are very important to us. Fourthgeneration Seattle native Nancie Weston knows this, which made her home city the perfect place to launch the GRAYL Water Filtration Cup, the last water bottle you’ll ever need to buy. Weston’s story begins back in 2006. Amid growing concerns about the harmful effects of bisphenol A in plastic water bottles, she wondered why there weren’t more stainless-steel options. Years passed and companies like Klean Kanteen solved that problem in the mainstream market, but Weston kept thinking about how to make water bottles better. With more than 25 years’ experience working with products in the outdoor industry, Weston knew a lot about two things: water bottles and filters. Naturally, she eventually began to think about how to combine them in the best possible way. “Other companies were making water bottles that had filters built in, but they were so frustrating to use. You had to suck or squeeze the water past

the filter. It was a really frustrating experience,” says Weston. She wondered why you couldn’t make a water bottle with a filter like a French press? Weston began shopping her idea to local engineers, who turned her down in droves. “They all told me it was either impossible or would be far too expensive,” Weston tells me. But she persevered, eventually finding a local freelance engineer who was willing to give it a shot. After 20 or so prototypes, they finally had something that worked. The idea is actually pretty simple. The GRAYL has three main parts: an outer cup, an inner cup, and a filter. Fill the outer cup with water, take the inner cup with the filter attached to the bottom, and press it down into the outer cup, just like depressing the plunger in a French press. The water is forced through the filter and into the inner cup, where it sits, filtered and delicious, ready for you to drink. The time it takes to push the inner cup down ranges from seven to 30 seconds depending on the filter you’re using. Since Weston and her team wanted this to be the water bottle to end all water bottles, they didn’t stop at just one filter. The GRAYL is available

$49.95-$89.95, thegrayl.com.

Capitol Hill as the city’s official “Arts District.” I can think of two venues on Capitol Hill that host all-ages shows, leading me to believe that we don’t appreciate how important it is to strengthen Seattle’s rich arts tradition by including and investing in the city’s youth. And speaking as a performer, I’d rather play for a room full of excited, (vaguely) sober teens than a bar full of grown-up, jaded drunks.

Sitbit This doesn’t exist yet, but it should

with three filters: tap, trail, and travel. The tap filter removes chemicals and heavy metals commonly found in regular tap water. The trail filter adds an extra level of protection, taking care of the bacteria and protozoa you might find in a mountain lake or stream. Finally, the travel filter takes care of the nastiest stuff you’ll find—viruses and other bugs that might exist in water in developing countries. The filters are swappable, and last for more than 300 uses before they need to be replaced. The beauty of the GRAYL is its simplicity, convenience, and individual focus. “There are filters for backpacking, but you wouldn’t take them in the office, and there are water filters for the home and office, but they come in pitchers that you share across multiple people,” says Weston. The GRAYL is a unit just for you, so you can always have filtered water, wherever you are. E

because I’m stressed out about how infrequently I exercise, and all that anxiety can’t be good for my health. Sitbit is just like a Fitbit, except it encourages your inactivity with helpful notifications like “Exercise is for tomorrow,” “Have a snack because calories are necessary for life,” or “Watch a thrilling episode of TV to raise your heart rate.” Like a Fitbit, it would also track your sleep patterns—because even though I already know I sleep 10 hours a day, I want to know how good at it I am.

Socks I’m a 30-something male without any kids, so socks are a given. It’s such a reliable gift that I haven’t even purchased a sock in more than a decade, which makes me a little nervous. What if they just stop buying me socks? I wouldn’t even know where to begin. So I’m saying it here . . . socks. E Watson performs around Seattle and beyond as Spekulation. You can find his music at spekulationmusic.com. You can also purchase his book, Bitter Barista, at bitterbarista.com.

PIKE, PINE, AND BEYOND Capitol Hill is great for gifts. But where to go?

Glasswing

CHARLIE SCHUCK

Soap at Sugarpill.

COURTESY SUGARPILL

BY ABBY SEARIGHT Capitol Hill is a must for holiday shoppers

anchor of the Capitol Hill retail revival, Elliott Bay Book Co. (1521 10th Ave., 624-6600). Read the staff recommendations. Trust them. Then cross the street to Everyday Music (1520 10th Ave., 568-3321), home to a huge selection of new and used vinyl (and, yes, it’s OK to give used music as a gift, as long as it’s good). With your media needs checked off your list, head to Arabica Lounge (1550 E. Olive Way). Order a cup of coffee or a glass of wine, claim a couch, and, well, lounge a while; the cafe is meant for precisely that. Then pop over to the eclectic and excellent Ghost Gallery (504 E. Denny Way) for art and jewelry made by local hands. Finally, head to the shops on Melrose Avenue, where you are sure to find the perfect gift. Try Glasswing (1525 Melrose Ave., 6417646). Carrying men’s and women’s wear and decor perfect for just about any space, the giving potential is limitless. Not limitless is your budget, but while prices here are rather steep, the timeless products are quality. E

Cone & Steiner

Tastings, Tours and Holiday Specials available in our Tasting Room, Tuesday through Saturday, 11am—6pm. ASK FOR WESTLAND AMERICAN SINGLE MALT WHEREVER FINE WHISKIES ARE SOLD.

SARAH FLOTARD

2931 First Avenue South | Seattle, Washington 98134 2931 First Avenue South | Seattle, Washington 98134 westlanddistillery.com westlanddistillery.com PLEASE DRINK RESPONSIBLY © WESTLAND DISTILLERY LLC 2014

SEATTLE WE EKLY’ S 2014 HO LIDAY GI FT GU IDE • PART O N E

keeping it local this season. With the neighborhood booming it’s a better time than ever to venture into, around, and through Pike and Pine. But a plan is in order. Begin at Cone & Steiner (532 19th Ave. E., 582-1928), just east of the bustling corridor. A neighborhood market that offers groceries and gifts, you can cross items off both lists. Cone & Steiner carries local produce and meat as well as farm-fresh eggs and dairy products, plus prepared food including baked goods and grab-’n’-go meals. Apart from greeting cards and a limited art selection, most gifts are limited to cookware and diningware, though the selection in these categories is anything but limited. If you’ve come to the market not for groceries or gifts but for a pick-me-up prior to heading west, prepare to pick your poison: craft beer or oldfashioned sweets. C&S houses a rotating tap and a self-serve candy bar. No matter your purpose, be warned: You may spend more time browsing than you’d budgeted. If ever there was a market you’d like to window-shop at, it’s Cone & Steiner. On familiar Pine Street, pop into Sugarpill (900 E. Pine St., 322-7455). The apothecary atmosphere is a cure for most anything. The exposed brick and distressed dark wood are warm and inviting, and the aroma of the botanical brews draws you in all the more. At Sugarpill you can just as easily plan for your next cocktail party or for your next cold—the store’s tonic and syrup selection is solid. While either product can be gifted, available too are more customary presents such as body and skin-care products, fragrances, candles, and an assortment of accessories. Outside Sugarpill, chances are you won’t last long. A half-block takes you to the unlikely

at Meany Hall on the UW Campus

Mark O’Connor and Friends Performing Christmas carols, fiddling, bluegrass and other traditional American music.

Plum and other shops on Bainbridge Island.

FERRY MERRY 206-543-4880 | UWWORLDSERIES.ORG

Getting away—and getting gifts —on the islands. BY JEANNY RHEE

SE ATTLE WEEKLY’ S 2014 HOLI DAY GIFT GUI DE • PA RT ON E

Shopping doesn’t need to be a chore. It can be

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an excuse to get out of the city and a perfect time to jump on a ferry and discover (or get back to) the lands that float out there in the Puget Sound. But before you venture out—by foot, bike, or car—make sure to mark a date that doesn’t coincide with the holiday rush; the earlier in the season, the better. Also bring a jacket, as you’ll want to enjoy the scenery of the Sound out on the ferry deck. Here we go. BAINBRIDGE ISLAND

A 35-minute ferry ride from downtown Seattle will get you to the island just on the other side of the Sound. One of the most charming aspect of Bainbridge Island’s downtown is how walkable and bike-friendly it is. Once you arrive at the ferry terminal on the island, head for the home of the “best ice cream in the U.S.” (according to Food & Wine), Mora Iced Creamery (139 Madrone Lane N., 855-1112). The shop has more than 70 Old World flavors to choose from, including marron glacé and dulce de leche, as well as newschool favorites such as goat cheese with fig and banana split, plus seasonal specials like eggnog. Afterward, ice cream cone in hand, head downtown toward Winslow Way, where you’ll find a variety of independent shops, a bookstore, several galleries, and restaurants. Visit Petit and Olson (150 Winslow Way E., 201-3262), a cottage-like retail shop similar to Anthropologie (think luxury artisan with a rustic boutique-y vibe and aromas of rich rosehip candles) but locally owned. The store prides itself as a lifestyle shop, selling everything from antiques and fine linens imported from Europe to 100 percent merino wool Oleana blankets. If you’re looking for gems and handmade jewelry made exclusively in the Pacific

Northwest, stop by Mill Stream (120 Winslow Way W., 842-4495), filled with whimsical pieces made of sterling silver, bronze, and semiprecious stones—one-of-a-kind “wearable sculptures” that will make you swoon with regional pride. Around the corner to the left is Plum (124 Winslow Way E., 201-3654), an Asian-inspired boutique where you’ll find many locally made home-decor items, accessories, and gifts—like hand-dyed silk scarves, reclaimed wood furniture, bamboo paraphernalia, and felted handmade “vessels” and jewelry by Laura Sebastian, an Island native. VASHON ISLAND

A “rural paradise” as the locals describe it, Vashon Island is only a 22-minute ferry ride from downtown Seattle. With a population just over 10,000, the hilly and forested island makes for an ideal home-away-from-home day trip offering a slower pace. Forget for a moment the weekly farmers markets you see in Seattle: Vashon is home to more than a dozen small family farms selling organic lettuce and kale and accepting payments on the honor system. Once you leave the ferry terminal, you’ll want to make your way (via car) along Vashon Highway southwest to get to the main part of town. Once there, stop by Vashon Tea Shop (17610 Vashon Hwy. S.W., 463-5202), a homey cafe and store where you can find bulk teas and an eclectic mix of tea implements like teapots and tea sets reminiscent of Pacific Northwestern pottery. Browse Dova Silks (17600 Vashon Hwy. S.W., 463-4888), a wearable-art boutique where Vashon fashion designer Dorothy Dunnicliff specializes in hand-

COURTESY THERESA COLLIER

December 21

dyed silk garments using charmeuse, organza, and chiffon. What’s unique about Dunnicliff ’s creations is that each design is hand-painted using colors unseen anywhere else: swirls of metallic grey, bronze, and taupe blend harmoniously, giving the illusion of a mixed palette. Now that you have a taste of the small-town shopping experience, explore further by stopping by Treasure Island (17722 Vashon Hwy. S.W., 463-2083) for the eccentric on your gift list. Raved about by locals and tourists alike, it offers the most unexpected and one-of-a-kind items, trinkets, and hokey junk. Life-size skeleton props, old illustrated children’s books, vintage jewelry: it’s all here. For the most worldly hippie friend on your gift list, visit Giraffe (9905 S.W. 174th St., 463-1372), an artsy, peace-loving shop selling fair-trade goods and home decor. Their business model and mission is to help the environment by using reclaimed and recycled material from around the world—selling, for example, purses made of recycled inner tubes and coffee sacks from El Salvador and sustainable candles made with soy and essential oils from Haiti.

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This archipelago is, collectively, the mostsought-out destination for active Seattleites. With pristine waters ideal for kayaking and flat paved roads for cycling, the San Juans offer breathtaking and scenic views of Puget Sound. San Juan Island’s main shopping hub is located in the town of Friday Harbor, where you’ll find artisan goods, souvenirs, and gift shops. Start at Mystical Mermaid (65 Spring St., 360-3782617), where you can get yourself and a special someone custom-made cuffs for the holidays, or sustainable and locally made suds by Bare (for the missus) and Dr. Squatch (for the mister). The enchanting shop also carries tarot cards, Dungeons and Dragons paraphernalia, and crystals, quartz, and fossils, some of which, according to store owner Brian Moore, are four million years old. Don’t miss Krystal Acres Alpaca Farm and Country Store (3501 West Valley Rd., 360-3786125), where you’ll see the largest herd of alpacas in the San Juans. The store, located inside the farm, is set up within a cozy cabin selling everything alpaca. From capes and sweaters to toys and slippers, your [non-vegan] friend will be sure to jump for joy this season, bundled up in alpaca goodness. Wind down and spend a few hours browsing through Serendipity Used Books (223 A St., 360-378-2665). With nearly 40,000 used books on every subject imaginable, you’re likely to find a gift for the bookworm on your list. If all else fails, go to Funk & Junk Antiques (85 Nicols St., 360-378-2638), the island’s oldest antique shop, which carries unique treasures like Native American tribal masks, vintage musical instruments, and false teeth from the ’30s. E

PRISCILLA SCHLEIGH

Goods at Giraffe.

EAT, DRINK, SING & DANCE!!

BOOKS FOR COOKS

Choose your own kitchen adventure. Make it Ahead by Ina Garten

SE ATTLE WEEKLY’ S 2014 HOLI DAY GIFT GUI DE • PA RT ON E

Indian for Everyone: The Home Cook’s Guide to Traditional Favorites by Anupy Singla

Making Indian food may very well be a home cook’s most anxietyridden challenge. There’s the ghee, the hard-to-find ingredients, all those spices. Indian food really does boil down to the spice mixes, or masalas, and this book offers seven of them. But perhaps this book’s biggest selling point is Singla’s heavy use of a slow cooker, as well as her healthy alternatives to things like ghee and vegetable oil. Jump into this book with a simple North Indian curry if you’re a beginner, or, if you’re more advanced, a multi-step recipe like Punjabi chili chicken. Bonus: Fun mash-ups like Indian sloppy Joes. NS $35. agatepublishing.com/surrey. Greg Atkinson’s In Season: Culinary Adventures of a Pacific Northwest Chef

This reissue of the 1997 classic by Pacific Northwest culinary pioneer Greg Atkinson, owner and chef of Restaurant Marche on Bainbridge Island, is a celebration of the seasons and an honest, lovely homage to Atkinson’s time as a young chef and father exploring the region—particularly the San Juan Islands. Each recipe, from simple halibut stew with spring vegetables to forest-mushroom

CHARITY BURGGRAAF

Garten’s latest includes instructions for preparing dishes to serve immediately, as well as notes on how to make them ahead of time. But her planahead versions aren’t only about convenience; she believes they actually taste better when prepped in advance. The book is quintessentially Ina: food that’s not fussy, yet still special and delicious. I’ve already made her baked farro & butternut squash, which gets a blast of salty depth from applewoodsmoked bacon and freshly grated Parmesan cheese. Others I’m looking forward to trying: pear & parsnip gratin, French chicken pot pies, and lemon ginger molasses cake. NICOLE SPRINKLE $35. crownpublishing.com/imprint/clarkson-potter.

Vanilla-Poached Pears with Caramel Sauce from Greg Atkinson’s In Season

Napoleons, is accompanied by an essay by Atkinson explaining its provenance. Thoroughly practical for home cooks as well as a love letter to home, it’s updated with new, gorgeous color photography. NS $22.95. sasquatchbooks.com. The New Vegetarian Cooking for Everyone by Deborah Madison

This update on the 1997 classic will still be welcome in any kitchen, vegan to omnivore. Recipes now reflect new knowledge of cooking oils (like coconut and avocado), post-’90s food trends like kale and truffles, and the rise of plant-based eating with many clearly marked vegan entries. 200 new recipes help fill the rest of the near-700-page volume, with chapters prefaced by time-tested techniques, tips, and food facts. Its tasteful cover jacket, along with Madison’s indispensable tricks of the trade, make this cookbook an excellent gift for the discriminating home cook looking to taste and explore the plentiful possibilities of plant-based cooking. GWENDOLYN ELLIOTT $40. crownpublishing.com/imprint/ten-speed-press. A Boat, a Whale & A Walrus: Menus and Stories by Renee Erickson

Laid out in one of my favorite cookbook formats—by seasonal menus—this book celebrates events in the life of Seattle chef and restaurateur Renee Erick-

son. I also love the “Methods” section, which underscores her philosophy, incorporating everything from why she likes charring food and toasting spices to how to choose olive oil and eat food at room temperature. Wedged among these are recipes for delectables like herring butter toasts, roasted side of halibut, and strawberry-jam tart. A “Holiday Supper” includes a standing rib roast with horseradish cream and lacinato kale gratin, while a “Wintry Brunch” menu has, among other things, Boat Street’s Cream Scones. NS $40. sasquatchbooks.com. Baking Chez Moi: Recipes From My Paris Home to Your Home Anywhere by Dorie Greenspan

No holiday season is complete without a baking book, and this year’s stunner is by renowned baker and author Dorie Greenspan. Known for her elegant, often labor-intensive French patisserie, Greenspan has finally written about the kind of desserts real French people make. You’ll find things like Apple Weekend Cake from Normandy and a brown-sugar tart. The book is divided into seven chapters, including Fancy Cakes and Tarts and Galettes. But it wouldn’t be Greenspan without a challenge or two from a renowned French pastry shop—like Hugo & Victor’s Grapefruit Tart. With a lemon-almond cream and a grapefruit crèmeux, Greenspan calls it “a miracle.” NS $40. hmhco.com.

» CONTINUED ON PAGE 10

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might expect. The book’s gorgeous color photographs prove these dishes are as pleasing to the eye as to the palate. GE $35. crownpublishing.com/ imprint/ten-speed-press.

» FROM PAGE 8 North: The New Nordic Cuisine of Iceland by Gunnar Karl Gislason & Jody Eddy

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Perhaps the year’s most gorgeous and ambitious cookbook, North is written by the chef of one of Iceland’s most renowned restaurants. Dill, with its lake views, onsite garden, and wild-bird preserve, is a backdrop to world-class cuisine via a seven-course menu. For a Seattle cook, there is much affinity: poached cod cheeks with rutabaga purée and dill powder, or cured arctic char, buttered potatoes, mixed salad, and smoked fresh cheese could have easily been conjured up from our region’s culinary resources. As pristine as the Icelandic landscape, this cookbook introduces you thoroughly to a country’s culinary history. NS $40. crownpublishing.com/imprint/ten-speed-press. Plenty More: Vibrant Vegetable Cooking From London’s Ottolenghi by Yotam Ottolenghi

This colorful volume forever dispels the notion that British cooking is boiled and bland. The Israeli-born restaurateur infuses vegetable-based dishes with the flavors of the Middle East, incorporating elements of many of the other cuisines of culturally rich London. The result is a blend of sweet, savory, rich, tangy, austere, bright, and nothing less than exotic. Recipes like roasted Brussels sprouts with pomelo and star anise and squash with labneh and pickled-walnut salsa will delight and impress—with less prep than you

KIDS ’N’ PLAY

Toys for people 5 years old and younger. Modular Tree House

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Handcrafted in Seattle by husband/wife team David and Adrienne, this will add a bit of whimsy to any child’s playset. Its fluid and simple design makes it the perfect backdrop for a child’s imagination. Made from eco-friendly birch plywood, the Modular Tree House comes with three movable ladders and notched walls so it can easily be built in multiple ways and joined with other Manzanita items. $88. manzanitakids.com. Robot Turtles

Designed to teach children about computer programming, Robot Turtles puts kids at the controls, directing how they want

Slow Cooker Revolution Volume 2: The Easy Prep Edition by America’s Test Kitchen

Everyone is slow cooker-happy lately. I’ve received at least five cookbooks about the method in the past year alone. While sexier ones are available, you can’t go wrong with one from the team that tests the hell out of recipes. And contrary to popular belief—that you can’t screw up anything cooked in a slow cooker—I’ve often found recipes that call for long, slow cooking that aren’t in fact suited to this style. But you can bravely forge ahead with this obsessively tested cookbook and enjoy meals like Tex-Mex meatloaf, lemony chicken with artichokes and capers, and fudgie brownie wedges. NS $26.95. americastestkitchen.com. Prune by Gabrielle Hamilton

It was 1999 when Gabrielle Hamilton and her all-female staff opened Prune in New York City. Early on she served deep-fried sweetbreads, cold paté sandwiches, pork butt, and braised beef tongue. Soon after, Mario Batali would gain major acclaim for putting offal and other formerly distasteful parts of animals on the menu—but Hamilton started it all at her cozy East Village restaurant. Here are all of those comforting but deeply inspired recipes, written as they are in Hamilton’s personal cookbook—full of jotted notes in the margins, stains, and pink highlighter. At last, this is the cookbook we’ve all been waiting for. NS $45. randomhouse.com. E their turtle to move in order to collect jewels and unlock features; adults act as the computer, maneuvering the turtles according to the kids’ commands. The “code” created unravels a fun-filled journey, complete with goofy responses, ensuring that children will be captivated while learning. Created by Seattleite Dan Shapiro, Robot Turtles is not your typical education game, and can be played by children as young as 3. $25. bluehighwaygames.com. Robot Blocks

Blocks are a perennial favorite, but nothing quite stacks up against the handcrafted wooden Robot Blocks by Seattle artist Baylie Peplow. Each block displays original illustrations of fun and quirky robot parts, allowing kids to mix and match the blocks to build their own unique robot creations, and is hand-cut and finished with a natural and non-toxic beeswax. $32. red umbrella design.com. E

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PRETTY THINGS

Jewelry and other handsome accessories. 1. Alice Noon Half Moon Tea Rose Calf-Hair Handbag

2. Anna Skibska Necklaces

Internationally renowned artist Anna Skibska has shown her sculptural work far and wide, but she has been quieter about her design work until recently. Now, aptly it’s on display for sale in several museum stores. Each necklace she makes is unique, using unexpected blends of material, from local agates to lava-stone beads to rubber to felt to cut glass, all arranged with the utmost sophistication and balance. It’s wearable art at its most personal. T.S. FLOCK $350. Available at Finerie CoLAB, 1921 Second Ave., thefinerie.com; the Seattle Art Museum Store; the Bellevue Art Museum Store; and the Tacoma Museum of Glass. 3. Reverse Goddess Necklace

West Seattle resident Xenia Mara reinvents treasures, working semiprecious and precious gemstones, pieces of Peking glass, antique Venetian beads, and vintage chains into her own beautiful artisanal jewelry. The Goddess Necklace is Mara’s signature piece. For this version, she used Tibetan double-terminated quartz and a vintage key chain in what she calls a “reverse goddess” design. This piece goes beyond the statementnecklace look, and is the perfect edgy chic adornment. LC $350. xeniamara.com. Available at Hitchcock Madrona, 1406 34th Ave., 838-7173.

5 4. Oxenrider Billfold featuring Celeste Cooning

Durable paper wallets are appearing more and more, and not only among those who avoid leather products. The compact, modern designs on the market allow for a truly personal touch, and Seattle’s recently launched Oxenrider Wallets raise the sophistication a notch using designs by local and international artists, including Celeste Cooning. Carry one in miniature in four designs. TSF $25. oxenriderseattle.com. 5. Leaf and Flower Bangles

The handcrafted pieces by Seattle-based jewelry designer Juliet Rogers are worthy of obsession, and this one is no exception. The contrast of the brass-vermeil 18-karat yellow-gold leaves and flowers against the black rhodium bangle make the bracelet both edgy and elegant. One looks great, but these gorgeous bangles deserve to be worn in a fabulous stack up your arm. If that’s not enough, there are matching earrings as well. LC $60 per bangle. julietrogers.com. 6. Pressed-Flower iPhone Case

In Seattle, we love natural beauty and technology. The fine folks at With Lavender & Lace seem similarly inclined, as their pressed-flower iPhone cases offer a unique fusion of organic and synthetic design elements. Actress and style icon Emma Watson has been spotted with one, so you’ll be in good company with a flower to your ear. TSF $30. withlavenderandlace.com. Available at Moorea Seal, 2523 Third Ave., mooreaseal.com. E

SEATTLE WE EKLY’ S 2014 HO LIDAY GI FT GU IDE • PART O N E

Self-taught handbag designer Tiffany Eley had never used a sewing machine until three years ago. Now the Seattleite’s locally sourced leather bags sit in the boutique Les Amis alongside those of French handbag maker Jérôme Dreyfuss. The company is named after Eley’s great-grandmother, who she says “was a strong, kind, witty, intelligent, self-made woman—the kind of woman I envision wearing my bags.” The Half Moon calf-hair handbag comes in three colors, and tucks perfectly under your arm. LISA COLE $350. alicenoon.com. Available at Les Amis, 3420 Evanston Ave. N., 632-2877.

MUSIC, MAN

Choice cuts for the fickle fan. Sleater-Kinney Gift Package

Riot grrrls new and old are rejoicing at the news that ’90s punk band SleaterKinney has reunited. After a decade-long break, the Olympia-born band is touring next year in support of its soon-to-be released eighth fulllength, No Cities to Love. Sub Pop is offering a preorder bundle that includes No Cities to Love in the format of your choice and a T-shirt. Create the ultimate Sleater-Kinney gift package for the fanatic in your life by including selections from their back catalogue, recently reissued by Sub Pop, and maybe even a pair of tickets to the notyet-sold-out February 9 show in Boise. DIANA M. LE $27–$45 for the bundle. subpop.com.

SE ATTLE WEEKLY’ S 2014 HOLI DAY GIFT GUI DE • PA RT ON E

You Know What to Do by the Shivas

This title is self-promotional, confident, and very suggestive (in keeping with all great K Records bands). Based on the Shivas’ past three records, the commanding tone is justified. You know exactly what to do: run, don’t walk to your local independent record store to pick up the new album, on which the beloved Portland band continues to charm audiences with its take on ’60s psychedelic surf-rock. The playful boy/girl vocal styling between Jared Wait-Molyneux and Kristin Leonard is beyond cute, and makes this a great gift for anyone you might be crushing on. DML $10–$15. krecs.com.

December 10th, 2014 &

All Your Friend’s Friends by various artists

It’s no surprise that K Records is yet again doing something a little off-center and definitely way

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LIT PARADE

cool. More than 30 MCs from across the Northwest (including members of Oldominion and the Sandpeople) have come together to create a hiphop compilation pulled entirely from samples of the K catalogue. It’s definitely weird, and could be completely mind-blowing for the music lover who is deep into K and will notice all the riffs from the Microphones, Mirah, and Built to Spill, as well as for the hip-hop head who wants to look deeper into Northwest hip-hop than Macklemore. It’s here, and it’s good. DML $10. krecs.com. Lese Majesty by Shabazz Palaces

The local experimental hip-hop group blew the doors off Seattle hip-hop in 2009 after anonymously self-releasing two EPs—followed by revelations that the voice delivering the elliptical verse was that of Ishmael Butler, formerly Butterfly of Digable Planets—and a debut full-length album in 2011 on Sub Pop (then a rare hip-hop signing for the label). The duo’s sophomore album, Lese Majesty, is strange and refreshing, proving that the group’s creative well runs deep—and that it still maintains that “something else” factor that develops and magnifies its mythology, and the musicality to warrant gaping wonder. Perfect for the adventurous music lover in search of new terrain. DML $10–$24. subpop.com. B-Sides by Nada Surf

Some would now deem Nada Surf one of the most underrated bands of the ’90s. But back at the turn of the century, only a handful of fans thought the East Coast band was more than a one-hit wonder. Fortunately, one of those was Josh Rosenfeld, the co-founder of Seattle’s own Barsuk Records, who saved the band from the 99-cent bin. Largely because of Barsuk, the band has continued to gain a cult following, and even soundtracked some very seminal moments on The O.C. B-Sides is exactly what the title says—15 tracks of rarities, including songs that have been available only on limited-edition CDs, tracks that have never been released in the U.S., and a few covers. DML $7.20–$8.80. barsuk.com. E

Bangin’ books from Seattle’s word herd.

This Is Me: A Girl’s Journal by Julie Metzger

Most women can remember those guided journals that helped you navigate the ins and outs of keeping a diary with fill-

in-the-blank exercises. They still exist, and here’s a great one you can gift the preteen girl in your life. Jam-packed with girl power in the form of insightful quotes, interesting questions, sound advice, and encouraging ideas, along with beautiful illustrations, this book will help her find her own voice and learn how to tell her own story. DIANA M. LE $16.99, sasquatchbooks.com.

32,000 FANS AND COUNTING Trances of the Blast by Mary Ruefle

This collection of poems is refreshing for those of us who just don’t “get” poetry and wonder why poets don’t just get to the point. Ruefle is a lyrical wordsmith whose work is comforting and smart without being condescending. Her poems pack in a lot of story with little meandering, leading The Boston Review to call her a “verbal hunter-gatherer.” This will be a great gift for poetry lovers, poetry explorers, and maybe even poetry haters. DML $18, wavepoetry.com. Tibetan Peach Pie by Tom Robbins

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Welcome Sights

Prolific fiction writer, American icon, and Seattle resident Tom Robbins delivers something different with the tale of his crazy life in Tibetan Peach Pie. He tells his story with the signature voice and whimsy that brings his unconventional and charmingly weird novels to life, whether recounting his Appalachian childhood or his many adventures around the world. Filled with Blue skies in December. insight into the making of some of his novels, A hardware store on Capitol Hill. this will be a great read for any Tom Robbins fan. DML $27.99, harpercollins.com. 206-322-1717

A HARDWARE STORE ON CAPITOL HILL

Hip Hop Family Tree 1975–1983 Gift Box Set by Ed Piskor

1417 12TH AVENUE (BETWEEN PIKE AND UNION) WWW.PACSUPPLY.COM

20% OFF STOREWIDE Friday, November 28th & Saturday, November 29th JOIN US! Refreshments, raffle and free gifts if you bring a donation of a new hat or gloves for our local homeless shelter.

Film Noir 101: The 101 Best Film Noir Posters from the 1940s–1950s by Mark Fertig

Winter is the perfect season for classic noir. The weather is cold and dark, and so are the people—not cheery, but definitely beautiful, with talent like Mary Astor, Barbara Stanwyck, Lauren Bacall, Rita Hayworth, and Glenn Ford gracing the posters found in this collection. Fertig also provides sharp and concise synopses of each film. Perfect for film-noir lovers interested in seeing another film lover’s carefully curated collection of his favorites. DML $35, fantagraphics.com. E

4303 University Wy NE Seattle 98105 • 206-632-3254

And remember we always validate parking for all UDPA parking lots.

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SEATTLE WE EKLY’ S 2014 HO LIDAY GI FT GU IDE • PART O N E

The incredible story of hip-hop, from its roots to its impact on contemporary pop culture, is told through the medium of comics in this collection. Piskor’s vivid storytelling and beautiful art work together to tell the tales of early hip-hop heroes, eliciting nostalgia for both hip-hop and comics with yellowed pages and that classic newsprint smell. DML $59.99, fantagraphics.com.

1417 12th Avenue 206-322-1717 www.pacsupply.com

Jobs obs & the Internet

Prepare for YOUR Job Search: • Check out your online presence • Use the right tools & resources • Make connections online & ofﬂine

Low Cost Internet Low-income residents may qualify for $10/month high-speed Internet and for affordable computers.

SE ATTLE WEEKLY’ S 2014 HOLI DAY GIFT GUI DE • PA RT ON E

Get more info at: www.seattle.gov/getonline or call (206) 233-7877

Take Me Home for the Holidays All I want is someone to love. Do you have room in your heart for me? Give the gift of a second chance this year. November 22 to December 30, all adult cat and dog adoption fees are reduced. Visit paws.org for details.

Adoption saves lives.