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news&comment 5

AIMING AT I-594

BY MATT DRISCOLL | Is the “transfer” provision in Washington’s new gun-control law too broad? One lawsuit claims so. Plus: more School Board scandal.

YES, WE DID

»27 Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller

BY T.S. FLOCK, SHAUN SCOTT, AND JOHN TOTTEN | Three writers ponder

Music Editor Gwendolyn Elliott

the Congressional “torture report” and its hideous revelations.

Editorial Operations Manager Gavin Borchert

food&drink

15 DIM SOMEWHAT

BY NICOLE SPRINKLE | Tray Kitchen

does its own thing with Chinese. 15 | FOOD NEWS 15 | THE WEEKLY DISH 16 | THE BAR CODE

arts&culture 17 TOO MUCH KAWAII

BY BRIAN MILLER | Japanese Neo-Pop

at SAAM. 17 | THE PICK LIST 19 | OPENING NIGHTS | A Streetcar

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20 | PERFORMANCE 21 | VISUAL ARTS 22 | BOOKS

OPENING THIS WEEK | Paul Thomas

Anderson’s take on Thomas Pynchon, plus Iranian vampires and an errant Catholic schoolboy.

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27 MUSIC

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Macklemore jumps Fences. Also: beer/ band pairings at a winter music fest. 30 | THE WEEK AHEAD

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news&comment

Quick Draw

Profiles in Protest The Master Student

Opponents of I-594 are already appealing to the courts, taking aim at the background-check initiative.

BY PATRICK HUTCHISON

BY MATT DRISCOLL

STEVEN DEWALL

Gottlieb: “They just went way overboard.”

It’s certainly a compelling argument—one easy

for skeptics of gun-control efforts to latch onto. The problem, according to Geoff Potter, communications director for the Washington Alliance for Gun Responsibility, is that the challenge to I-594 is simply not based in reality. Potter says the initiative’s definition of “transfer” is similar to those in existing background-check laws in six other states across the country, and points out that I-594 has been in effect in Washington for

mdriscoll@seattleweekly.com

marijuana migration » Are Homeless Moving to Seattle for the Weed? On December 24, the Associated Press ran a story detailing an alleged influx of homeless people moving to Denver for legal weed. We contacted Seattle-area homeless advocates and service providers to ask if they’d experienced anything similar. “We have not experienced or seen anything that suggests the legalization of marijuana has had an impact on King County’s homeless population.” —Anand Bala-

•

subrahmanyan, Committee to End Homelessness in King County “We do not see any indication that Seattle homelessness is on the rise due to the legalization of recreational marijuana.” —Katherine Jolly, City of Seattle’s Human Services Department “When this came out I got a call from CNN and others got media inquiries as well. I haven’t heard anything to corroborate locally.” —Tim Harris, Real Change

•

How do you know if a protest has been effective? When I measure the success of protests, I don’t

just look at numbers. I look at whether the message was clear, whether we engaged our target audience, whether we had a clear direction, clear action. If those things exist, then it’s a successful protest. Small protests can be effective. Large protests can be ineffective. It just depends on how they are executed.

How do you ensure that people work together?

Successful protesting requires that people cooperate, and that happens with communication. Sometimes it seems as if people want to agitate the situation, shouting things like “All cops are bastards!” Are chants like that harmful?

[It] can be distracting, but I don’t think it’s harmful. It still sends a message, even if it’s one that makes some people uncomfortable. I actually think the chant “All lives matter!” is more destructive. To say that “All lives matter” is to give into the homogenizing effect of our white-supremacist society, to ignore the specific suffering and specific grievances of the communities that have been leading these protests.

The last few protests I’ve been at have had a poor turnout. Are they losing support? No. The

protests will continue. But people’s political passion is a finite resource. They can get fatigued if there are protests scheduled without purpose, because the results of those protests aren’t clear. Turning their political passion into political will means thinking about and directly speaking about how this problem can actually be solved. Well-organized protests don’t fatigue people, they capitalize on opportunities to make a statement. There will be more protests that will be well-attended, even if I’m not sure when exactly they’ll happen. E

news@seattleweekly.com

Portraits in Protest is an ongoing series spotlighting local activists involved in the Black Lives Matter protests.

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

ranges), Gottlieb and his team of lawyers argue that, as it’s written, I-594 makes all sorts of innocent activities illegal and/or needlessly arduous: say, a non-married but cohabiting couple sharing a weapon for self-defense or a security company supplying its employees with firearms. “All of this makes it impossible to comply with I-594 and thus criminalizes a significant number of transfers that take place on short notice or are necessarily repetitive,” explains lead attorney Steven Fogg, a hotshot partner at Corr Cronin Michelson Baumgardner Fogg & Moore LLP, the Seattle-based firm that will argue the suit. “They were trying to write something as draconian as they could,” Gottlieb says of the motivations of I-594’s crafters. “There’s definitely a public interest in keeping firearms out of the hands of dangerous people . . . [But] they just went way overboard.”

more than a month while none of the doomsday scenarios and complications the plaintiffs foresee have materialized. He maintains that the offensive mounted by the opposition via the lawsuit amounts to little more than the same scare tactics that proved unsuccessful during the campaign. “The actual implementation and adoption of 594 is going really well and really effectively,” Potter says. “This is not actually going to put individuals in the kind of legal jeopardies they’re claiming. What we’re seeing is more and more evidence build of how there simply isn’t anything behind these claims.” “The suit is frivolous and without merit,” Potter continues. “They are trying to create this impression of a burden where one hasn’t existed.” If a burden has been created, perhaps it’s in the federal courts, where a judge in Tacoma will now be tasked with wading through and trying to make sense of the various arguments. In the opinion of Hugh Spitzer, a prominent state and constitutional law professor who currently teaches at the University of Washington, the plaintiffs likely have an “uphill battle” in front of them. “My reaction is that, primarily, they don’t like the definition of the word ‘transfer,’ but it’s not unclear,” Spitzer says of the argument presented after studying the lawsuit. “It’s a very broad definition, and I think the challengers don’t like the breadth of the definition. . . . But just because somebody can think of situations where they aren’t sure whether a court would rule the activity an illegal transfer or not . . . that doesn’t mean the statute should be void for vagueness. “I think the challengers just don’t like the fact that the law makes so many things illegal,” Spitzer concludes. In a debate as contentious and convoluted as this one has become, that might be the only thing everyone can agree on. E

PATRICK HUTCHISON

his was no surprise. From the moment the first election-night returns trickled in on the first Tuesday in November, unquestionably showing that Initiative 594—Washington’s attempt at expanding gun background checks by a vote of the people— would be approved, it was clear that the next act would unfold in the courtroom. “We’re expecting a lawsuit,” Zach Silk, campaign manager for Washington Alliance for Gun Responsibility, told Seattle Weekly amid celebratory toasts at the Edgewater Hotel, where the pro-I-594 election-night party was just hitting its stride. The opposition, Silk noted, was not expected to go down easily, and had a very litigious reputation. Silk’s prediction proved accurate last week when a group of 12 plaintiffs, including Bellevue’s Second Amendment Foundation and its bow-tied leader, Alan Gottlieb, chose a federal court in Tacoma to file a lawsuit seeking a permanent injunction against the parts of I-594 that they argue are unclear or go too far. The court filing marked the continuation—and, with luck, the eventual conclusion—of a semantics argument that’s taken on a life of its own. For voters, the main selling point for I-594– which took effect December 4—was the closure of the so-called “gun-show loophole,” requiring background checks on all gun sales, including those via the Internet. (Pressed, not even Gottlieb seems to have much issue with these types of checks.) However, with this new lawsuit, antiI-594 forces are taking aim at a very specific aspect of the initiative that requires background checks also on the transfer of firearms. The plaintiffs argue that these new rules—which define a firearm transfer as “the intended delivery of a firearm to another person without consideration of payment or promise of payment, including, but not limited to, gifts and loans”—violate the Second and Fourteenth Amendments. Furthermore, they say the new law is so unclear that law-abiding citizens can’t understand it—and are likely to be drawn into criminal activity because of it. “I-594 is . . . so vague that a person of ordinary intelligence cannot understand its scope,” the lawsuit argues. In the end, it all comes down to whose interpretation of the word “transfer” you prefer. While I-594 included a host of instances in which a background check would not be required for a firearm transfer (for example, gifts between immediate family members, anything involving an antique gun, anything that would prevent imminent danger, or loans at authorized shooting

tanding at the base of the King County jail on a recent evening, a protest leader shouted above the drone of a nearby construction crew: “Let’s let our brothers know we’re out here for them!” Shouts of “No justice! No peace! No racist police!” rang out. High above, the lone shadow of a prisoner could be seen waving from a window. It was a powerful moment for the few protesters who had braved the cold that night. I had to give credit to the man leading the chants. With a master’s degree in human rights and political science from Manchester University, Cliff is more than just a supporter, he’s a student of civil rights who’s taken part in protests all over the country—mainly in New York and in Seattle, where he’s lived for the past year. Given his experience, I had to find out what he thought of the state of our city’s protests, which seemed to be waning.

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news&comment» School Follies Continue With ‘Unnecessary’ Investigation

ou have to hope the lessons being taught in Seattle’s classrooms are not the lessons being taught in the school boardroom. Take the internal investigation released last month, in which special-education executive director Zakiyyah (“Zee”) McWilliams was found to have secretly e-mailed copies of competitors’ BY RICK ANDERSON sealed bids to another bidder, her friend, helping his firm land a $150,000 special-ed contract. Once investigators got hold of her personal e-mails, which McWilliams used to transfer confidential school documents, they found a trail of apparent legal and ethical violations. McWilliams had been “informed there was a policy governing the contracting process and chose not to read, follow, and/or understand it,” says Seattle attorney Patricia Buchanan, who prepared a 26-page internal school report on the case. Dr. Robert Pasternack, a representative of the winning bidder, Teams Intervening Early to Reach all Students (TIERS), was asked by investigators if he thought the director, who repeatedly discussed TIERS’ bid with Pasternack outside of school, was trying to steer the contract to his firm. “I don’t think that she ever said she would make sure,” he said. “I think that she was—I think she was trying to—that she wanted our help—she needed our help—wanted our help. So yes, in that regard.” Yet McWilliams, hired in 2013 as the eighth special-ed director in five years, was put on paid leave last August, then was allowed to resign and walk away with three months’ severance pay. The district also agreed to say she left for personal reasons, and gave her a friendly letter of reference. Did she actually do the things she was suspected of—circumventing state law, violating the public-records statute, cronyism, and trying to cover it all up? The district simply said it was “not necessary” to actually prove it. McWilliams and the district had moved on; so should the public.

close schools. That included mothballing two sites and moving their classes to another school—even though that school needed $6 million more in repairs and upgrades than the two mothballed schools combined. Overall, the strategy of “closing five school buildings, shuffling students to different schools, and now proposing the re-opening

SEATTLELAND

of seven buildings within a year’s time,” wrote school bloggers Sue Peters and Dora Taylor, “speaks volumes about the lack of competency of our superintendent and her chosen staff.” The superintendent then was Maria Goodloe-Johnson, under whose watch the district was unable to account for more than half a million dollars in equipment, electronics, and other missing property—including a $34,000 John Deere riding mower, 30 cameras and projectors, 15 desktop and laptop computers, and a $8,000 wide-screen TV. Also missing was $500,000 worth of copper wire. As I wrote in 2011 (“Maria GoodloeJohnson’s Firing Is Two Years Late; Will School Board Please Fire Itself, Too?”, March 2, 2011), “Incredibly, none of the missing assets were reported to the state, as required by law. Some of the thefts were reported to police, the district said, but due to the staggered method the schools use to inventory public assets, there was no way to tell what might be missing. Additionally, the district could not say whether it even filed an insurance claim for the stolen wire.” That was followed by a state auditor’s report of $1.8 million in misspent district funds, leading to the firing of Goodloe-Johnson (with 12 months’ severance pay), a district financial scandal, and the eventual indictment of Silas Potter Jr., who in 2013 was sentenced to three and a half years in prison for stealing school funds. With all those teachable examples, you’d sus-

pect the district would learn something about watch-dogging and transparency. On December 10, then-interim Superintendent Larry Nyland spoke volumes about that. He was appointing a new special-ed director, he said. As for the old one? “Zakiyyah McWilliams has resigned from the district for personal reasons.” That is all. Later that day, the school board voted to give Nyland the permanent superintendent job. Let that be a lesson to us all. E

randerson@seattleweekly.com

Rick Anderson writes about sex, crime, money, and politics, which tend to be the same thing. His latest book is Floating Feet: Irregular Dispatches From the Emerald City.

City of Seattle

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

head in sand. Superintendents and the school board did this often in the past, approving what were supposedly “balanced budgets.” One of them turned out to be $14 million in the red, another was $24 million short. Despite that bleeding, the district pushed ahead with a $30 million plan for a new central headquarters in SoDo. Critics tried to warn officials and the school board that the site wouldn’t pencil out and would widen the district’s deficit crisis. By the time the big glass-walled edifice rose across from a recycling center in 2005, its costs had soared to $55 million. By 2011, the district still owed $50 million on it, and today continues to struggle to make payments. There’s no calculating how that revenue drain has affected education in Seattle, but there have been times when teachers bought books and supplies with their own money. Similarly, in 2009, amid a predicted $25-million-plus budget shortfall, the district began to

COURTESY SEATTLE

That’s another lesson the district teaches—bury

Superintendent Larry Nyland

SEATTLE WEEKLY • JAN UARY 7 — 13, 2015

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COMING TO GRIPS W ITH OUR HORRIBLE ACTS.

TORTURE

E S S AY S BY T. S. F L O C K , SH AU N SC O T T, A N D JOH N T O T T E N ILLUST R ATIONS BY BAR RY BL ANK ENSHIP

When Congress released its official report on the Central Intelligence Agency’s “detention and interrogation program” last month, it served as a reminder of what any American paying attention for the past decade has understood: We torture our enemies. For a moment, the report grabbed headlines, elicited moral outrage as well as fervent defense—and then suddenly disappeared. In its place was the Sony hacking scandal, then the murder of two New York City police officers, and then, mercifully, a weeklong holiday reprieve. Now we find ourselves in a new year, but instead of looking forward, we are looking back on that report with three essays from Seattle writers who have spent the past month grappling with its gruesome revelations. Why? Because this is something that we can not afford to forget.

MARK BAUMGARTEN, EDITOR-IN-CHIEF

A thrill ride through America’s psyche. By Shaun Scott

ot to be outdone by local law-enforcement officials in Ferguson and New York City, the U.S. House of Representatives sought to restore the CIA’s place atop the totem pole of state-sanctioned violence by releasing the Senate Select Committee on Intelligence’s much-anticipated “Study of the Central Intelligence Agency’s Detention and Interrogation Program,” aka the “Torture

revenue accrued, career commentators became household names, and book deals were signed. Fear and anger were peddled like currency in Washington, D.C., and the CIA used its newfound political capital to contract two Spokanearea psychologists to develop its “enhanced interrogation techniques” for a price of $180 million. In an interview with Fox News given the day the report was released, Vice President Dick Cheney retroactively managed the moral balance sheet by using 9/11 to legitimize the behavior he oversaw: “I’d do it all over again in a minute.” Of course, the report reveals that the CIA appealed to the Attorney General for immunity because it knew “enhanced interrogation techniques” violated U.S. torture statutes. The work’s chief literary leitmotif is that these techniques failed to result in actionable intelligence that would bring the U.S. any closer to prosecuting those responsible for 9/11 or thwarting future terrorist attacks. Dozens of innocents were wrongly manhandled. (Those looking for a companion piece to the report would be well served by The Black Banners, a memoir by counter-terror agent Ali Soufan that explains how the FBI was able to extract valuable information with more peaceful means from detainees who were made despondent by the CIA’s draconian misdeeds.) In a rational world, these inconvenient truths about the gore-and-guts approach to interrogation would be enough to mute the PR pretzel logic pushed by defenders of torture chambers in Abu Ghraib, Egypt, and Guantanamo. But enabled as they are by echo chambers, many Americans already formed opinions about anything the report could say well in advance of its release. For its exhaustive detail and forceful logic, the report is an artifact of an antediluvian world in which there are no comments sections

beneath online articles to reveal America’s prevailing refusal to respond to reason. To a concussed national mind, the report succeeds mightily as a revenge fantasy. For many Americans, the question of torture is one of effectiveness, not morality: Before asking if forcefully piping hummus through another human’s anus without his consent is just, we ask whether it “worked.” By constantly reinvoking the specter of 9/11, even the crystalclear answer to that query—a resounding No!—is clouded by moral outrage, the likes of which even directors of great cinematic vengeance narratives like The Searchers or Django Unchained could never match. John Ford had an already marginalized Native population, and Quentin Tarantino had the evil but extinct institution of slavery—but when looking for grist to put in a postmodern revenge mill, it’s hard to compete with the bloodiest day on American soil since The Battle of Antetiam. And yet as a political text, the report falls short. To succeed, it will require an epilogue of criminal prosecutions—the exact kind President Barack Obama has vowed against initiating since well before the report was even released. For as long as that vow stands, the report will remain a neutered tome trapped digitally in a two-dimensional tomb; a spectacle consumed alongside cat vids and automated ads. Inspired by the impending release of Ava DuVernay’s Selma, activists in Ferguson are poised to sustain their dramatic demonstrations until at least Martin Luther King Day, and probably through Black History Month. And the ever-photogenic New York Police Department appears to be mulling a military coup. Meanwhile, dozens of police departments across the country are planning body-

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

PA G E TURNER

Report,” on December 9, 2014. An inquiry into the “enhanced interrogation techniques” exacted by the federal defense establishment on real and imagined terrorists in the mid-2000s, the report was primed to stuff the magnum stockings hanging above holiday fireplaces that could fit its 6,000 pages—or, for the light reader, the 525-page summary that was released to the public. And if the retrospect results in no prosecutions, no protests, and no changes to American foreign policy, the report’s authors can hang their hats on this achievement: In an era whose hallmark is visual saturation, the masterpiece proves that phrases like “stress position,” “clearly a broken man,” and “symptomatic rectal prolapse” can still occupy a sliver of real estate in the ever-receding American attention span. Yet in a masterstroke of messaging, this story’s main characters make it impossible to have a conversation about the report without also having a conversation about September 11, 2001. So a bit of background viewing is required to fully appreciate the work as a contribution to the canon of American political literature. Even today, rewatching broadcasts of 9/11 is riveting. NBC cuts from a McDonald’s commercial to the burning north tower. We know the second plane is coming—but it’s breathtaking to hear studio technicians bray in horror as they see it for the first time. Fresh from a morning yoga session, Tom Brokaw arrives in time to dispense prosaic voice-over narration—“We have an explosion of undetermined origins at the most conspicuous symbols of American capitalism, the twin Trade Towers”—while a cautious Katie Couric prefers a poignant simile: “It looks like a movie, frankly.” In the ensuing days, President George W. Bush urged Americans to fight terrorism by shopping, and 9/11 was monetized. Ratings

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ON TORTURE PAG E T U R N E R

» FROM PAGE 9

camera programs that are sure to continue to inundate TV and social networking with exactly the kind of viral content that makes paging through a brick like this report seem less and less appealing. LeBron James and Macklemore may protest police brutality in the present, but they could never bring their star power back in time to prevent soundboarding. A distracted viewership is therefore encouraged to look elsewhere than tortured words on paper pages for action-packed political narratives. America’s defining dramas are playing out on the screens we call home. E Shaun Scott is a Seattle-based essayist and filmmaker.

ENTER NIGHT A taste of torture, courtesy of Metallica. By John Totten

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

nter Sandman” is a dark song, a sinister tale about a little boy’s descent into night terrors. But it recalls only warm memories for me. The song, released in 1991 on Metallica’s self-titled “black album,” was the third song I learned to play on my guitar four years later. I was 13 in 1995, staying up late to sneak in some MTV and spending hours jamming in the basement with my buddies. When the Senate Intelligence Committee on the CIA’s “enhanced interrogation” program released its report last month, it didn’t come with a playlist, but prior reports did include a kind of soundtrack to the torture program. Over the past decade, these reports have indicated that prisoners were chained in “stress positions” in dark rooms where a single song was played on repeat. A suspect, Shafiq Rasul, described to Spin in 2006 how the technique led him to hallucinate and give a false confession. The torture report confirms that the techniques earlier reported were in fact used, excessively and ineffectively. One such procedure, used on Gul Rahman as he lay dying of hypothermia chained to a cold concrete floor naked, was described as “auditory overload.” Some artists are consistently mentioned in these reports and testimonies: hit songs from Eminem, Britney Spears, Deicide, and Metallica. They all seemed horrifying, but when I decided to experiment with audio overload, I picked “Enter Sandman.” It seemed like the song that I could most endure for 24 hours. I wanted to know what that kind of torture was like for the victims. So much of the report was beyond my imagination—rectal

feeding, hypothermia, being forced to stand on broken legs. Music seemed the least of these evils. From the beginning, though, the tension in my experiment, between empathy for the victims and my own privilege, was clear. Terror suspects don’t get to pick their own music. They don’t have the TV on in the background, and they don’t have comfortable beds in warm homes. No one knew I was doing this and no one was there to enforce it. This was going to be soft rock compared to actual torture. Still, at 11 a.m. on a Wednesday in late December, I put my headphones in, changed my settings to “repeat,” and began a playlist of one. Hour two: The first few plays weren’t horrible, but they weren’t exactly fun. I noticed that my jaw was clenched for the first half hour. I left work and went to a friend’s apartment. My headphones were in while we talked. I told him about my experiment, and his reaction was one of disgust. I already felt disgusted as well, an extreme buyer’s remorse. As I left his apartment, he said, “Well, you’re off to Never-Never Land.” Any nostalgic feelings I maintained for the song had by this point been depleted completely. On the drive home, I fended off a panic attack when my amygdala apparently told my body that I was in danger. My heart rate increased and my breath became short. I calmed myself. Your body can’t produce adrenaline forever. Your brain is telling you there is a beast under your bed, but it’s just inside your head, and it can’t last forever. Metallica persisted. Hour three: The wave of depression was less negotiable. After 33 plays of “Enter Sandman,” I was lethargic, sleepy, and unmotivated. I wanted to write, but I couldn’t concentrate. I reverted to taking brief notes. My eardrums were sore. My neck was tight. I wanted to clean my house or go to the gym, but I just couldn’t care. I felt hopeless. What the fuck is the point of doing anything? This day is wasted. Hour six: I had to take the headphones off. The pain was too intense. I used the speakers on the desk in my room. As the night continued, I become more liberal with the volume, feeling guilty for subjecting my dog and my housemates to this. Even at less volume, my eardrums pounded with each beat. James Hetfield’s yarl recalled the voices some schizophrenics describe—quietly gnawing away at me in the background like static. Hour nine: I wasn’t enduring the same conditions that the terror suspects had been under. I wasn’t chained to a concrete floor in a cold, dark room. I began to feel guilty. Maybe I wasn’t being tortured enough. Should I go to the garage and sit in the dark? As I entered some bizarre cycle of depression and privilege shame, my friends keeping in touch urged me not to damage myself in the name of research. Hour 12: I was becoming whinier and whinier about a voluntary exercise. Why am I even doing this? I couldn’t help but feel a bit like Lars Ulrich. In Some Kind of Monster, the documentary in which Metallica enters therapy, we see the drummer grapple with the angst of his own voluntary art auction. He sacrifices his precious Basquiat paintings for millions of dollars each and wrestles with questions of meaning. Ulrich, a member of a band that sued their own fans over file-sharing,

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easily portrays himself as a victim or a tortured soul. But he doesn’t know suffering, and neither do I. This was simply a taste of torture, a grain of sand. Hour 23: Despite being surrounded by comfort, I was miserable. After leaving the song playing from my speakers all night, I woke up at 10 a.m. after 252 plays of “Enter Sandman” with bags under my eyes. It had felt like a deep sleep, but my delirium proved otherwise. I put my headphones back on and went to the grocery store. It’s not torture if you can buy groceries. With 30 minutes left, I exited the store and began to put the groceries in my car. There was a homeless man in the corner of the parking garage. I imagined him approaching me and stabbing me from behind. That guy definitely wants to stab me. I hurried and got in the car and drove away, relieved. As far as I know, I’ve never had paranoid delusions. I’m not afraid of the homeless—I’ve worked with homeless people for three years. Here was a glimpse into the mind of the torture victim. Perhaps it was possible to empathize, even amid convenience. I began thinking of other ways I could relate to torture victims without experiencing true torture. There are pathways to this kind of empathy. After all, we are all subject to the same intelligencegathering complex that perpetrated these crimes. We are analogues to the torture suspects—they represent a radicalization of our position. Still, there is a concrete difference between the National Security Agency reading my e-mails and the kind of invasive trauma perpetrated by the CIA. Those of us who live in comfort might experience paranoia at the thought of wiretaps, but our bodies and minds remain largely intact. A knowing empathy difficult to attain, I resorted to abject sorrow for the CIA’s victims. Even while tasting torture at the hands of the Sandman, my easy life went on. The irony here, of course, is that former Vice

President Dick Cheney would have me believe that this privileged life continued because of programs like the CIA’s “enhanced interrogation.” When he defends the program, Cheney wants us to think that he was tucking us in and keeping us free from sin. But Cheney was our Sandman. He fed us dreams of war and dreams of liars. Cheney, and the other shadow-lurkers, constructed an intelligence complex with an all-access pass. The terror suspects forfeited their physical integrity, their sanity, and in one case, a life. For the rest of us life goes on, in a new world where our information, privacy, and sanity are entitled to the state in the name of safety—where the line between rationality and delusional paranoia is blurred. Sleep with one eye open, indeed. E John Totten is a musician and a licensed therapist who works with trauma in marginalized populations. His new band, Daggerhands, releases its debut record in 2015.

OUT OF THE PICTURE The trouble with torture art. By T.S. Flock

ugust saw the tenth anniversary of James Schlesinger’s 2004 Pentagon study of abuses at Abu Ghraib prison. The anniversary was met with little notice, especially in galleries and museums. But when the iconic figure of Ali Shallal al-Qaisi first appeared—hooded, standing on a box with arms extended—it was a shock, a pitiable emblem of human frailty and cruelty embraced by protesters worldwide. In political and street art, the new outrage against torture was made manifest. Al-Qaisi’s image was raised in marches, placed subversively in silhouette on walls of iPod ads, and combined ironically with that paragon of pacifism and redemptive suffering—Christ himself. As powerful as it may be, such protest art is inherently ephemeral. Effigies and banners and flyers often lead a brief, rough life, exposed to the elements and crowds. Even if such ephemera survive, they will not likely be treated with any reverence. Many of the artists—who create at their own expense and sometimes their own peril—would likely be unhappy to see their work contained in a guarded vitrine, part of the very establishment they sought to challenge. But what of artists aligned with the establishment, their work comfortably in the canon? Art, we are told, is meant to document and also challenge convention, to increase awareness of our condition and that of others. Nothing should be off limits, especially significant events by which our sympathies and loyalties are challenged. Images of violence are ubiquitous in our culture, and artists in the past century have frequently used such imagery. (Think of the A-bomb cloud, the lynching tree, Hitler’s concentration camps, the Tiananmen Square tank protester, or Kim Phuc, the 9-year-old “napalm girl” photographed during the Vietnam War.) So one must question why the fine arts seem so wary to broach the subject of torture as it occurs today. In December, the Senate report on the CIA’s “enhanced interrogation” elucidated how gruesome—and sometimes fatal—U.S. practices have been at Guantánamo Bay (and likely beyond) during the first decade of this century. In part because the names of so-called detainees are often classified, the victims of such torture are mostly absent in the mainstream media. Meanwhile, polls indicate that a majority of Americans support the use

protest component to such work. Instead, these images can be seen as the same sublimation of savagery that has made violent spectacles an enduring delight for a mob: from gladiatorial games in Rome to the perverse ingenuity of Inquisition-era torture and executions; from Grand Guignol theater to Hollywood slasher films and “torture porn.” The artist’s tendency toward detachment from troubling images makes an honest and empathetic depiction of torture very tricky. In his 2007 book The Abu Ghraib Effect, art historian Stephen Eisenman examines depictions of torture and suffering in art over the centuries. In doing so he identifies the pathos formula, by which artists have represented suffering in ways that beautify or redeem it, thereby making it palatable or even erotic to viewers. He compellingly argues that images that include sexual humiliation, such as photos from Abu Ghraib, may convince viewers that the victims deserve their fate—or even enjoy it. Even if today’s artists could confront torture in a non-exploitative fashion, few institutions are likely to show such work. In 2010, under fire from conservative critics, the Smithsonian punted David Wojnarowicz’s short film A Fire in My Belly, made in response to the AIDS crisis and featuring a crucifix overrun with ants. (Only Tacoma Art Museum was willing to screen the film, in 2012, as part of the broader show, Hide/Seek.) It’s a small miracle that paintings from Fernando Botero’s Abu Ghraib series were shown at Manhattan’s Marlborough Gallery and the Berkeley Art Museum (in 2006 and 2011, respectively). Botero’s compassionately robust, isolated figures successfully humanize the prisoners without making a fetish of their suffering. Meanwhile Richard Serra clumsily went the other route by appropriating al-Qaisi’s silhouette for a lithograph emblazoned “FUCK BUSH.” The Whitney not only included a version of Serra’s lithograph in its 2006 Biennial, it used it for posters (scoured to instead read FUCK B S ). The lazy image is not a comment on torture, but on the proliferation of the al-Qaisi meme in street art; only Serra is less self-aware, more smug than Banksy and his fellow street artists. Who’s making art about Abu Ghraib and Gitmo today? Where are the images of waterboarding and Lynndie England? Artists seem to be ignoring them as best they can—unfortunate, since the only thing worse than regarding torture as taboo is not regarding it at all. E T.S. Flock is a Seattle-based writer on contemporary visual and performing arts in the Pacific Northwest.

TORTURE AS AN ARTISTIC SUBJECT IS THE LAST GREAT TABOO IN A CULTURE THAT CONSIDERS ITSELF HUMANE AND COMPASSIONATE.

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SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

of torture—even when aware that some captives are innocent and have no useful intelligence. How should art respond? Historically, the aesthetics of pain have transfixed us, perhaps first peaking in the medieval era, with its gory martyrs and crucifixions. The agony of severed and punctured saints was seen as redemptive, unlike the foreboding portraits of hell. Elsewhere and for centuries to come, scenes of suffering indicted enemies of the church and state—barbarians, heretics, idolaters. In short, the depiction of torture is almost never a protest against the established order, but propaganda for it. Until only recently (meaning the past century in some lucky Western nations), an artist who humanized the enemy and questioned authority risked exile or death. A rare example of a courtly artist who treated atrocity in an honest manner was Goya. His Disasters of War prints were unprecedented in their depictions of wartime atrocities in early 19th-century Spain, preceding the restoration of the Bourbon monarchy. Goya shies from nothing: executions, rows of bodies, mutilated torsos and heads impaled on dead trees. His engravings survived because he—a servant of the court—never publicly acknowledged the protest being violently suppressed, and because they were not published until 35 years following his death, long after there could be any accountability. In 20th-centur y America, Leon Golub stands out as one of the first to frankly depict torture in entire figurative series, variously titled Vietnam, Napalm, and—germane to current events—Interrogation. In his massive paintings, groups of larger-thanlife American soldiers brutalize men and women. Golub was briefly successful in this explicitly political work, but today he isn’t nearly as famous as other artists from his heyday during the ‘60s and ‘70s. He also has few successors. Confronting torture will always be less marketable than pop culture and color therapy, after all. Torture as an artistic subject is the last great taboo in a culture that considers itself humane and compassionate. In fact—in a disturbing bit of doublespeak—commentators who rationalize torture suggest that it is necessary if we are to defend our supposedly enlightened culture against terrorists, even though attempting to benefit from that suffering indicts our own humanity. That’s not an easy thing to face. However, torture symbolism in art has remained a common cathartic device. During the last century, the paintings of iconoclast and masochist Francis Bacon explored modern anxiety and alienation by stripping the redemptive aspects from images of martyrdom and crucifixion. Surrealists H.R. Giger and Zdzisław Beksiński employed images of torture and eroticized violence. But again, there’s no political or

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food&drink

FoodNews

Dim Sum, Sort Of

BY JASON PRICE

Head to Culture Club, the new entry on the food scene from Sheri LaVigne (of Melrose Market’s Calf & Kid), when it opens early this year. Yet another LaVigne spot on Capitol Hill, it’ll be all about the cheese—with flights, rotating mac-’n’-cheese creations, and seasonal dishes. Cheese lovers will rejoice that LaVigne will hold seminars in the space, and dish up what we hopes will be the best plate of fromage in town.

Tray Kitchen’s unusual serving style may belie the real beauty of its food. BY NICOLE SPRINKLE

works (I think I do), let me move on to the food itself, which is actually quite notable and balances bold flavors in a way that few restaurants are pulling off. Once seated, put in an immediate order for the K.F. C. (Korean fried chicken) wings on the a la carte menu. They’re incredibly flavorful, courtesy of a seriously spicy Korean chili sauce, and fried to a lacquered crisp. If there are only two of you, go with the small portion. This will give you something to munch on while you wait out the potentially long periods between tray presentations. As for the dim sum menu, you’ll want at least six or more of these for two people, as they truly are small. I’m not a huge shrimp fan, but

Top: dishes presented via trays. Bottom left: mussels in coconut milk. Bottom right: poached shrimp and broccoli with a punch.

Seattle soul-food fans rejoice! Helen Coleman has reopened her restaurant, The Rose Petals, in White Center, where she will once again serve her famous pork chops, oxtail, and corn cakes, among other things. It’s currently open for dinner Thursday– Sunday, but they expect to open seven days a week and offer lunch service in two weeks, after they get their kitchen fully ready. E morningfoodnews@seattleweekly.com

TheWeeklyDish Trove’s new chicken pozole with achiote noodles.

to my surprise, my very favorite was the butterpoached shrimp and broccoli with fish sauce and a Thai chili vinaigrette. The beauty of the butter (kept in check by the chef so as not to become overly rich) balanced against the acidic yet slightly sweet vinaigrette is outrageously delicious, and the poaching preserves the delicacy of the shrimp. Even my 7-year-old couldn’t get enough of it. Another winner—again, not one I expected—was the trout mousse. It’s brilliantly served over two bottom layers of avocado and sriracha, which gives it a kick and several dimensions of flavor that don’t, shockingly, overpower the trout. The honey-roasted carrots with French feta, fennel, sunflower seeds, and smoked paprika was hands down my favorite vegetarian option, the cheese creamier and less aggressive than traditional feta. The mussels, in a perfectly piquant sweetand-sour broth with a light touch of coconut milk, come with delightfully chewy rice cakes— like those often found in Taiwanese soups—and a punctuating pop of cilantro. There’s a slow

build of heat with this dish, which I also really enjoyed. A Brussels sprout salad manages to make an overused ingredient desirable again, the leaves cut in a chiffonade and served slightly warm, with just a touch of brightening vinegar. It’s a great palate-cleanser amid some of the meatier plates, like a just so-so Moroccan spiced lamb (the lamb was on the tough side) and the beef tartare with Asian pear, sesame, soy sauce, honey, pine nuts, and the requisite egg yolk (on this one, the balance was upset by the overabundance of sesame oil). Other nice, if not extraordinary, bites include the kimchi falafel with housemade mint yogurt and fennel fronds (I expected the kimchi to get lost in the frying, but it didn’t), and the wild mushroom faro with chanterelle mushrooms and whipped ricotta. Desserts are limited, but the beet ganache actually maintained its beet-ish character without turning the dish too vegetal and paired well with the ginger-cinnamon ice cream.

» CONTINUED ON PAGE 16

NICOLE SPRINKLE

BY NICOLE SPRINKLE

Trove recently added a soupier dish to its noodlebar offerings, after many requests for one with more broth. The resulting chicken pozole with achiote noodles, Chinese celery, and red chili relish is a grand slam. I was skeptical about the marriage of Mexican and Asian flavors in this dish, but they were beautifully executed. Those pumpkin-colored noodles, made from Mexican achiote peppers, are perfectly dense and chewy (and hold up well to wok cooking). The addition of tamarind to the broth gives it a jolt of sourness that somehow complements the grassy, peppery flavor of Chinese celery, stronger-tasting than traditional celery. I found myself in a weird internal debate whether to gobble up the noodles or slurp down the broth—both were competing for my full attention. The chef that day told me he expects this one to stick around for a while. E

nsprinkle@seattleweekly.com

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

Now that, I hope, you understand how it all

Lovers of Miles James’ famed Dot’s Charcuterie and Bistrot have been holding out hope that the shuttered upper-Fremont spot will reopen with something similar. Well, don’t hold your breath: It was recently announced that Eriko Sugawara, owner of the downtown Seattle Benihana, will open a “Japanese family comfort food” space in early 2015 called Suga.

PHOTOS BY KYU HAN

ver in Frelard, the recently opened Tray Kitchen is attempting to bring a dim sum-like experience to its terrific Asian-fusion food, with an emphasis on Korean flavors—though it remains to be seen if they’ll work out the kinks in execution. Even trying to explain how it all works is an exercise in confusion, but let me give it a go. There are two menus. The first features a la carte selections with about seven plates, midsize to large. The second is a rotating menu with just over 20 small plates, considered Tray’s dim sum cart. These dishes are “of the moment,” according to the restaurant’s website, and come to you not on a cart, but on a tray that a waiter shakily holds before you (hence the restaurant’s name). This is supposed to allow you to choose items that catch your eye and make spontaneous choices. As with dim sum, you get a sheet on which your waiter checks off a box for any items you order. Sounds good in theory, but there are problems. For starters, unless you’re there on a busy night (a Friday or Saturday), the dishes come at an awkward, often lumbering pace. Sometimes you might see only two, and then 15 minutes later get bombarded with five or six, making it hard to curate your eating experience. Maybe the first two things look tasty, but you’ll want to hold out because a tray with something even better could be headed your way shortly. Or not. Or, while a waiter shows off plates to two tables, you might find yourself in an unexpected rivalry with your neighboring diner for one particular dish. But really, all this fuss and stress is unnecessary. At the end of the day, if you don’t feel like waiting around to actually see the items, you can just order from the dim sum menu as you would from the standard a la carte menu. While practical, this option makes the whole dim sum deal feel a bit gimmicky—or, less pejoratively, as one waiter called it, “like a visual element.” All that said, if time is not an issue and you’re totally up for going with the flow, the experience can in fact be a fun one.

food&drink » FROM PAGE 15

15 Drinks for 2015

etting goals at the beginning of the year is always fun. I’m not talking about resolutions; that was last week’s column. I’m talking about goals, and since I’m a drink columnist, here’s a list of 15 drinks to try in 2015. You might well BY ZACH GEBALLE have had some of these, but revisiting an old favorite can be at least as much fun as finding a new treat. Without further ado:

THEBARCODE

• A wine from a country you couldn’t find on a map. These days, there’s actually some pretty

From top: the triple-layered trout mousse; the completely open kitchen.

SEATTLE WEEKLY • JAN UARY 7 — 13, 2015

On weekends, Tray Kitchen offers a very dif-

ferent—and not to be missed—brunch menu (no trays) with three categories: congee, Chinese-style pancakes, and grain bowls. My coconut curry congee with seasonal mushrooms, kale, chives, and a soft poached egg was luscious, with the coconut preventing the one-note-ness that I find sometimes pervades congee. The walk-up congee bar allows you to add all sorts of other ingredients, like cripsy shallots, pickled radish, ginger, and charred jalapeño relish. The grain bowls are a knockout too; the “loco moco,” which the menu calls a “chickenfried kalbi patty,” is actually a dense and addictive pork-and-beef patty marinated in kalbi sauce (named for its style rather than its substance) over short-grain rice topped with pork miso gravy and a soft poached egg. My favorite, though, was the kimchi pancake, browned superbly on the outside but soft and yielding within, with textural depth via shredded kimchi, scallions, bean sprouts, and chunks of house-cured bacon—comfort food at its best. It too comes topped with an egg. The only thing missing from this remarkable brunch is sweetness. Though they do offer Chinese donuts (basically just an airier version of a churro, served with chocolatesriracha dipping sauce), all the dishes are savory. Though I tend to go with salty items at brunch, I always like some toast with jam or a side of fruit to bring a touch of sweet. Brunch is sure to be a smashing success, but while diners are bound to either love or hate the clunky tray aspect of the dinner service here, the quality and verve of the food should more than easily make up for it. E

nsprinkle@seattleweekly.com

TRAY KITCHEN 4012 Leary Way N.W., 557-7059, traykitchen.com. 5–10 p.m. daily plus 10 a.m.–2 p.m. Sat.–Sun.

amazing wine being made in Georgia, Slovenia, Hungary, and Croatia. You might not be real knowledgeable about ex-Soviet republics or varietals like Croatia’s crljenak kaŠtelanski (genetically identical to zinfandel), but there’s fun wine to be found if you explore Eastern Europe. • A Bellini. Take everything you like about a mimosa and make it way, way better. Peach purée is infinitely more enjoyable than orange juice, and that’s just a fact. • A boot full of beer. Find some friends for this one, because sometimes a great drink is about who you share it with. • Shochu. This Japanese/Korean spirit offers many of the same charms as vodka (clear color, mild flavor), but pairs much better with citrus and other tart mixers. • Mulled wine. The perfect drink for a cold winter night, easily made at home with a bottle of inexpensive red and some mulling spices. • A Ramos gin fizz. An astonishingly delicious combination of gin, lemon, lime, orange-blossom water, simple syrup, soda water, and an egg white; it’s basically brunch in a glass. • Mead. They’re not all fantastic, but a wellmade honey wine is a truly unique drinking experience. Check out whichever one is on tap at Über Tavern on Aurora. • Muscat de Beaumes de Venise. An underappreciated but excellent dessert wine from the southern Rhône, it’s a perfect accompaniment to citrusy treats like lemon meringue pie. • A bottle of cider that costs at least $10 at the store. It’s time to see what all the fuss is

about, right?

• A cocktail with fresh pineapple juice in it.

Rumba on Capitol Hill juices their own—and, holy cow, does it make a difference. • A Black Velvet. Irish stout and sparkling wine seems like it should be a terrible pairing, but few drinks are as much fun to drink. The textural contrast is so delightful! • A gin martini at a steakhouse bar. It’s a great drink anywhere, but this setting makes it timeless and perfect. • A cask-conditioned ale. While most beers are poured using nitrogen or carbon dioxide, cask-conditioned (or “real”) beer has a different texture and flavor, one more true to what the brewer actually intended. Many area beer bars (and even Safeco Field) have a cask engine or two, so they should be easy enough to explore. • Death in the Afternoon. My favorite drink name, a favorite of Ernest Hemingway, and a complex mix of sparkling wine and absinthe. • Pink bubbles. Because life doesn’t get much better than that. E

thebarcode@seattleweekly.com

arts&culture

ThisWeek’s PickList

Reverie and Rubble

Poised between shining kitsch and forbidding ruins, meet Mr. BY BRIAN MILLER

Yes, we are shamelessly running a photo of Franco and a puppy.

ED ARAQUEL/SONY PICTURES

WEDNESDAY, JAN. 7

David Shields & Caleb Powell

Making Things Right

the next gallery (proceeding counterclockwise) are some large and rather generic paintings, all created pre-Fukushima. Largest and most interesting is Making Things Right, a densely imagined mashup of feudal life and modern anime. Within a teeming, well-ordered medieval village are little cartoon-bubble details of the citizenry (not historically accurate, obvs). Maybe the cute little warrior girls in the foreground are going to topple the feudal order, maybe not—it really doesn’t matter. A theme echoed in the God’s-eye perspective of The Endless Landscape of This Reality is the harmoniously ordered system of human settlement. The latter painting is a tidy, modern view, with a pixie perched on a ledge—her cat’s friendly gaze inviting us in—above the bustle. But that can all change in an instant. Both

gests an affinity.) And while there’s a longing and nostalgia to his paintings and drawings, they’re simply too kawaii-cute-familiar to have any substance. Similarly, the half-hour movie Nobody Dies gently displaces war into a harmless paintball game played by giggling teenage girls; Mr. even appears as a bungling cop at the end. His shallow oeuvre mostly registers as creepy middleaged juvenilia. If you’re going to borrow childish cartoon iconography, use it for a purpose, as Roger Shimomura does. Yet clearly, whether it’s Fukushima or Japan’s ongoing economic malaise, the real world is weighing on Mr. to some extent. He simply lacks the sophistication or training to engage with it. Still, if you enter his show from SAAM’s central atrium and walk through it clockwise, it gains a bit more weight and structure. After all the sugar and schoolgirls, the cataclysm of Give Me Your Wings feels like a necessary rebuke to everything you’ve just seen. E

bmiller@seattleweekly.com

SEATTLE ASIAN ART MUSEUM 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5–$7. 10 a.m.–5 p.m. Tues.–Sun. Ends April 5.

Have you heard about that controversial James Franco movie? No, not The Interview. Apparently he filmed a version of the extended dialogue that is I Think You’re Totally Wrong (Knopf, $25.95) by these two Seattle writers (Shields the more prolific and renowned, Powell his former UW student). Their book, subtitled “An Argument,” is the result of a four-day marathon bullshit session spent together in a Skykomish cabin, with topics ranging from parenthood to art, Ron Paul to Cormac McCarthy. It’s essentially a long, edited transcript of their sparring—in which Shields naturally makes reference to My Dinner With André. How’d the movie come about? (No release date is currently set.) Franco was a student of Shields during a visiting stint at North Carolina’s Warren Wilson College, and he subsequently invited his prof (and Powell) down to L.A. to re-enact it. (He also appears in the film, natch.) Oh, and there’s still more Franco/Shields news to report: Esquire says Franco now hopes to direct a fictional treatment of Shields’ 1999 Black Planet, about race and sports, a book based partly on his ’90s reporting on the Sonics in these pages. Whether that movie happens or not remains to be seen, but let’s hope that Shields and Powell tonight have tales to tell from the Francosphere. University Book Store, 4326 University Way N.E., 634-3400, bookstore. washington.edu. Free. 7 p.m. (Also: 7 p.m. Fri., Jan. 16 at Elliott Bay.) BRIAN MILLER

THURSDAY, JAN. 8

Cinema Italian Style

2014 was a quiet year for new Italian movies; the well-reviewed Human Capital, which arrives here in February, didn’t even make the Oscar short list. So maybe it’s time for a repertory glance back at past peninsular glories with this nine-film series, running most Thursdays through March 19. In addition to proven classics like Luchino Visconti’s 1963 The Leopard, it includes new additions to the canon—notably last year’s Oscar winner, The Great Beauty. Beginning the retrospective tonight is Ossessione, Visconti’s 1943 adaptation of the James M. Cain novel The Postman Always Rings Twice, with its timeless themes of adultery and murder. That noir tale was filmed here in 1946 and ’81, and there’s even a French take from 1939, but Visconti’s version—his first feature—wasn’t seen for decades in the U.S. because he didn’t clear the copyright. (Whether he had Cain’s verbal

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

medieval and modern Japan have been repeatedly devastated by earthquakes and tsunamis. The disjunction between Mr.’s budding fantasy scenes (or moe) and cruel nature is brought home in the 100-odd earthquake photos he’s placed in an array flanking Making Things Right. Civilization, meet catastrophe. Everything is made wrong. In sober photojournalistic fashion, Mr. documents the wreckage inland and along Japan’s east coast (Fukushima for short): boats in the road, houses reduced to rubble, streets erased, and the residents belongings’ strewn everywhere. It’s the latter that Mr. is representing, of course, in Give Me Your Wings: All our material possessions, valuable and not, spilled from our closets and drawers, suddenly transformed into worthless debris. (But for a few telling kanji characters, Mr.’s photos could equally well have been taken in New Orleans after Hurricane Katrina.) This jarring contrast between escapist otaku fantasies and the world as it really is—harsh, violent, pitiless—is what sticks with you in Live On. And, necessarily, it’s the least visually appealing. Junk is junk, however it’s arranged. (Are otaku also hoarders? Mr. doesn’t make that connection, though a portrait of the artist in his studio sug-

Give Me Your Wings: Think Different

BRIAN MILLER

y preferred circulation path in a museum is counterclockwise, like running on a track. However, that may not be the best way to approach Live On: Mr.’s Japanese Neo-Pop, whose centerpiece installation is the first thing to greet you on the right, at the show’s designated starting point from the lobby. On a recent visit that happily coincided with SAAM’s Free First Saturday, the museum was aswarm with families and kids, tourists (some Japanese), and those looking for a cost-free weekend outing. Yet no one seemed certain how to respond to the cluttered, gallery-filling assemblage Give Me Your Wings: Think Different, a 2012 meditation upon the earthquake, tsunami, and Fukushima nuclear disaster the year before. Mr. is the nom de easel of Masakatsu Iwamoto, a 45-year-old artist here receiving his first U.S. solo museum show. He’s considered a protégé of Takashi Murakami, who discovered him in the mid-’90s and helped introduce anime and kawaii imagery to the American art world. (Both he and Mr. were part of the Henry’s 2001 Superflat show.) Mr., only a few years younger than Murakami, came of age during Japan’s booming ’80s, then experienced its economic stagnation of the past two decades. During bygone years of abundance, those Hello Kitty tokens and cheerful cartoon characters meant something quite different than they do in the nostalgic now. Live On extends back some 15 years, during which time—besides the Fukushima disaster—Mr. has also explored the shut-in otaku subculture of solitary Japanese millennials who’ve never known prosperity, who can’t find jobs or marry, who live at home with their elderly parents and seek solace in manga, porn, chat rooms, Internet avatars, and computer games. So despite the bright hues and smiling waifs (with their saucer-sized peepers so like those tacky Keane paintings in Tim Burton’s new movie Big Eyes), this is not a cheerful show. The colors and kitsch are deceptive, and Give Me Your Wings is downright depressing. “It looks like a yard sale,” I overheard one visitor saying. That’s putting it kindly. A narrow path allows you to circle an epic catalogue of junk—not actually collected from Fukushima—that resembles nothing so much as a Goodwill dumpster’s disgorged and unsorted contents. Arrayed in a central block, with the walls similarly adorned, are stacks of bound mangas, broken furniture and mattresses, old skis and snowboards, food containers and plastic bottles, broken computer keyboards (plus a few live monitors showing post-tsunami scenes), tangled nests of unspooled VHS tape, blue tarps, unloved golf clubs, wads of newspapers, etc., etc. You could simply call it garbage, perhaps amassed by a hoarder, though there’s a connection lurking deeper in Live On (which opened in late November). The problem, however, is making that connection amid so much kawaii confectionery. In

» CONTINUED ON PAGE 19 17

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‘RaZOR SHaRP BRILLIaNCE’ THE AUSTRALIAN

SEATTLE WEEKLY • JAN UARY 7 — 13, 2015

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January 15-18 at The Moore DameEdnaFarewell.com

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arts&culture»

IN ACTING

Opening Nights

Shakespeare

A Streetcar Named Desire NEW CITY THEATRE, 1410 18TH AVE., 800-838-3006, BROWNPAPERTICKETS.COM. $10–$15. 7:30 P.M. THURS.–SAT., 2 P.M. SUN. ENDS JAN. 25.

By James DeVita

Civic Rep’s program notes read: “While the playwright suggests a specific time and place for the story, we have chosen to create a world that is in the past, but timeless, and a place that could be anywhere. We have chosen not to use Southern dialects for that reason.”

Freely adapted from Sir Ian McKellen’s Acting Shakespeare, with his permission.

Directed by John Langs

ICI/IMAGE ENT.

» FROM PAGE 17

Mohrbacher (left) and Jones.

Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m. BRIAN MILLER

Alexandra Witze & Jeff Kanipe

Town Hall, 1119 Eighth Ave., 652-4255, townhall seattle.org. $5. 7:30 p.m. BRIAN MILLER E

Can Tennessee Williams’ great warhorse, redolent with Southern defeat and decay, endure the loss of such specificity? Director L. Zane Jones seems to think so, hence the gamble on a motley production that, while not devoid of charm, fails to connect the dots of the play with a sense of tragic inevitability or heft. The interpretation feels oddly weightless— ungrounded in space and time—despite the formidable rantings of a very enjoyable Stanley. Angie Harrison’s faded, brick-walled railroad apartment set could easily be imagined as hipster Seattle. Frail and lovely, Blanche (Robin Jones) arrives in dainty vintage togs with her scuffed trunk of sartorial “tools” for nabbing a man who might save her from moral and financial ruin. Sister Stella (Kelli Mohrbacher) confusingly sports a tattoo, long, streaky blond highlights, and ’50s-style cateye glasses. Stanley (a terrific David Nail) looks pure Ballard: L-shaped sideburns, bowling shirt, and pate-stubble. Their dialects seem random— Jackie O, San Fernando Valley, and Queens, respectively. I don’t mind the latter, which does capture Stanley’s primal urges and smug humor, but somehow Blanche just isn’t Blanche without her distinctly Southern cadences. Her words don’t cast their bayou-inflected spell. But the bigger problem is an abiding tentativeness among the central cast. They often seem to avoid one another’s gaze, rather than locking into the moment. Strangely, the characters on the margins—neighbors, friends, even Blanche’s suitor Mitch, played by Sam Read—defy this characterization, providing welcome intensity and directness in the otherwise emotionally evasive atmosphere. Jones’ beauty compensates to some degree for the missing music of language. And her reminiscences are touching, aided by the gentle lighting and soundscapes (created by Lindsay Smith and Andy Swan). Still, Nail’s big-throated, Archie Bunker-like Stanley is the performance I’ll remember. He seems to sniff every room he enters and every person he evaluates, trusting that most basic sense over the eyes’ and ears’ vulnerability to seduction. Would that the ensemble’s emotional dynamics were as exacting as his nose . . . MARGARET FRIEDMAN E

stage@seattleweekly.com

Jan 8–11

Buy tickets today or see it with an ACTPass! 206.292.7676 | acttheatre.org

LIVE @ BENAROYA HALL February 17

GREGORY ALAN ISAKOV

WITH THE SEATTLE SYMPHONY Singer-songwriter Gregory Alan Isakov crafts wistful, hypnotic soundscapes with hints of his influences, Leonard Cohen and Bruce Springsteen.

FOR TICKETS:

206.215.4747 | BENAROYAHALL.ORG

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

Volcano! Sometimes it just feels good to shout the word, and it’s also a reminder of the large lurking presence to our city’s south. Sure, Mount Rainier appears a benign white snowy presence on a sunny January day, but the authors of Island on Fire: The Extraordinary Story of a Forgotten Volcano That Changed the World (Pegasus, $26.95) would like to remind you how we could all die at any moment in clouds of ash and supersonic rivers of hot mud. However, that’s not quite what happened in 1783— 100 years before Krakatoa (and two centuries before Simon Winchester’s book on the same kaboom)— when an Icelandic volcano called Laki blew its top. There wasn’t much to ruin on Iceland, of course, but the eruption changed weather patterns worldwide—destroying crops, causing famine, and possibly even worsening the social conditions that led to the French Revolution! Witze and Kanipe, married science writers from Boulder, first heard about Laki while researching the much smaller 2010 eruption of Eyjafjallajökull (the one that canceled all those flights). Laki spewing sulfurous clouds east over Europe wasn’t a well-understood phenomenon in the 18th century, though Benjamin Franklin—then our ambassador to France—correctly guessed the Icelandic source of what he termed a “peculiar haze.”

ALEXANDRAWITZE.FILES.WORDPRESS.COM

The craters of Laki today.

CIVIC REP

permission is another matter.) Only in 1977 did it get a stateside release, when critics noted a far more class-conscious treatment than the 1946 Lana Turner/John Garfield version: neorealism layered atop the noir. And another fun fact: This 35 mm print belongs to Martin Scorsese, that champion of film preservation and Italian cinema.

An underdog’s journey from the fishing boats of Long Island to the heights of great poetry.

arts&culture» Performance Stage OPENINGS & EVENTS

DEAR RUTH A reading of Norman Krasna’s 1944 comedy,

PRESENTS

in which an idealistic teen poses as her older sister to correspond with, and inadvertently spark romance with, an overseas G.I. ACT, 700 Union St., 292-7676, endangered speciesproject.org. $10–$15. 7 p.m. Mon., Jan. 12.

THE 4TH GRADERS PRESENT AN UNNAMED LOVE-SUICIDE A child’s final testament becomes a

drama-within-a-drama as his classmates re-enact it. Ballard Underground, 2200 N.W. Market St., 395-5458, ghostlighttheatricals.org. $12–$15. Opens Jan. 9. 7:30 p.m. Thurs.–Sat. plus 7:30 p.m. Mon., Jan. 12 and 2 p.m. Sun., Jan. 18. Ends Jan. 24. THE HOLLER SESSIONS Frank Boyd’s solo faux radio show about his passion for jazz. On the Boards, 100 W. Roy St., 217-9888, ontheboards.org. $12–$25. Opens Jan. 8. 8 p.m. Thurs.–Sat., 5 p.m. Sun. Ends Jan. 18. IN ACTING SHAKESPEARE James DeVita’s solo show about his journey to a stage career. ACT, 700 Union St., 292-7676, acttheatre.org. $20–$30. 7:30 p.m. Thurs,. Jan. 8–Sat., Jan. 10, 2 p.m. Sun., Jan. 11. MEASURE FOR MEASURE Give me your virginity and I’ll spare your brother’s life is the Sophie’s choice Shakespeare poses—this is a comedy? Center Theatre at Seattle Center, 733-8222. $29–$43. Previews Jan. 7–8, opens Jan 9. Runs Wed.–Sun.; see seattleshakespeare. org for exact schedule. Ends Feb. 1.

D L O F E E R TH TH

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THE MODERN ADVENTURES OF SHERLOCK HOLMES The audience takes the place of Sir Arthur

Conan Doyle in this improv mystery. Jet City Improv, 5510 University Way N.E., 352-8291, jetcityimprov.org. $12–$15. Opens Jan. 8. 8 p.m. Thurs.–Fri. Ends Feb. 13. WHERE NO MAN HAS GONE BEFORE An improv spoof of—you can probably guess which sci-fi TV cult classic. Theater Off Jackson 409 Seventh Ave. S., seattleexperimentaltheater.com. $15–$18. 8 p.m. Thurs., Jan. 8–Sat., Jan. 10, 2 p.m. Sun., Jan. 11.

J AN UA RY 1 6-1 8 , 2 0 15 CORNISH PLAYHOUSE at SEATTLE CENTER

return to a swanky hotel to renew their vows. By the end, the gender-melding is complete—Beaumount and Caswell reconcile, each adopting at least two sexes, maybe more. It’s 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.

Classical, Etc.

SEATTLE SYMPHONY Two evenings of Mozart concer-

tos: clarinet, piano #20, and violin #4 on Thurs.; piano #21, flute #1, violin #5 on Sat. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $20–$76. 7:30 p.m. Thurs., Jan. 8, 8 p.m. Sat., Jan. 10. THE ART OF THE PIANO Latin and Latin-inspired music (plus Chopin and Schubert) from three pianists. Seattle Art Museum, 1300 First Ave., lmc.org. Free. Noon, Thurs, Jan. 8. • SEATTLE COMPOSERS SALON A new-music open-mike night, curated by John Teske, with music by Neil Welch, Cole Bratcher, Ivan Arteaga, and Matthew James Briggs. Chapel Performance Space, 4649 Sunnyside Ave. N., composersalon.com. $5–$15. Performance at 8 p.m. preceded by the Salon’s “New Music Holiday Office Party” at 6:30. Fri., Jan. 9. SALISH SEA EARLY MUSIC FESTIVAL Baroque songs and arias with soprano Lydia Brotherton. Christ Episcopal Church, 4548 Brooklyn Ave. N.E., 633-1611, salishseafestival.org. $15–$25. 7:30 p.m. Fri., Jan. 9. • UNIVERSAL LANGUAGE This new new-music project presents premieres of works by Sean Osborn and Wayne Horvitz. Velocity Dance Center, 1621 12th Ave., universallanguageproject.com. $15–$25. 7:30 p.m. Fri., Jan. 9. PHILHARMONIA NORTHWEST Chamber music from PNW players, from baroque to modern. (The music, not the players.) Kenyon Hall, 7904 35th Ave. S.W. philharmonianw.org. Donation. 2:30 p.m. Sat., Jan. 10.

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Greer Grimsley returns as Scarpia, one of the repertory’s most loathsome villains, in Seattle Opera’s production of Puccini’s Tosca, Jan. 10–24.

BILL MOHN

SEATTLE WEEKLY • JAN UARY 7 — 13, 2015

CALL NOW & SAVE UP TO 84% ON YOUR NEXT PRESCRIPTION

CURRENT RUNS

FOUR STORY HOUSE Four commissioned plays staged

in four rooms of an actual house at 1428 Martin Luther King Jr. Way. (Attendance limited to 20.) Suggested donation $6. erbednarz@gmail.com for more info. 7:30 & 8:45 p.m. Fri., Jan. 9. PIGGYBACK Improv inspired by a preceding stand-up routine. Unexpected Productions’ Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $10. 8:30 p.m. Sun. Ends Feb. 8. A STREETCAR NAMED DESIRE SEE REVIEW, PAGE 19. TEATRO ZINZANNI: HACIENDA HOLIDAY TZZ’s new show keeps its dinner-cabaret formula fresh with acts that mash up entertainment skills in pairs: aerial plus dance en pointe by PNB alumna Ariana Lallone; trapeze plus contortion with Duo Rose; juggling plus the speed and aesthetic of thrash metal by Gamal David Garcia; and ballroom dance plus pole work by the astounding Vertical Tango. All this is organized by just the lightest spritz of storyline: Vivian Beaumount and Clifton Caswell (Christine Deaver and Kevin Kent)

•

SEATTLE OPERA Tosca is probably Puccini’s luridest

opera, which is saying something. McCaw Hall, Seattle Center, 389-7676. $25 and up. Opens Sat., Jan. 10. Seven performances through Jan. 24; see seattleopera. org for exact schedule. SEATTLE BAROQUE ORCHESTRA One final holiday concert: English theater music (Locke, Purcell, etc.) to mark Twelfth Night. Town Hall, 1119 Eighth Ave., 3257066, earlymusicguild.org. $20–$45. 8 p.m. Sat., Jan. 10. • MELIA WATRAS Music old and new, written and improvised, from this UW faculty violist. Meany Hall, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. Sun., Jan. 11. TAKACS QUARTET Haydn, Schubert, and Beethoven. Meany Hall, UW campus, 543-4880, uwworldseries.org. $10–$45. 7:30 p.m. Tues., Jan. 13. B Y G AV I N B O R C H E R T

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com

» Visual Arts NOTE: First Thursday is being held on the second Thursday of the month, Jan. 8, owing to the New Year’s Day holiday last week. ALIX BRODEUR A Shovel A Shovel features minimalist pottery. Opening reception, 6-8 p.m. Sat., Jan. 10. Pottery Northwest, 226 First Ave. N., 285-4421, potterynorthwest.com. 11 a.m.-5 p.m., Tues.-Fri. Ends Jan. 31.

CONTEMPORARY PRINTS FROM THAILAND AND PRINTS OF INDUSTRY A selection of prints from the

•

mixed-media art fragmented with ornate patterns. First Thursday opening reception, 5-8 p.m. Hall|Spassov Gallery, 319 Third Ave. S., 453-3244. 11 a.m.-6 p.m. Tues.-Sat. Ends Jan. 31. POLICE AT WORK In light of the events of Ferguson, artists in this group show present smartphone footage taken of police officers in the field (all benign, we hope). First Thursday opening reception, 6-8 p.m. Gallery 110, 110 Third Ave. (Tashiro Kaplan Building), 624-9336, gallery110.com. Noon-5 p.m. Wed.-Sat. Ends Jan. 24. TRAVIS POND From Portland, the sculptor crafts wild animals out of steel. First Thursday opening reception, 6-8 p.m. Bryan Ohno Gallery, 521 S. Main St., 4596857, bryanohno.com. 11 a.m.-5 p.m. Mon.-Sat. Ends Feb. 28. REAR VIEW The gallery attempts to pair new paintings with older works to draw parallels in time and contrast evolving techniques in the fields. First Thursday opening reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, lisaharrisgallery.com, 443-3315. 10 a.m.-5:30 p.m. Mon.-Sat. Ends Jan. 31. TYSON SKROSS The New York artist’s mixed-media work resembles the surface of the moon or some other astral body. First Thursday opening reception, 6-8 p.m. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Feb. 14. TERMINAL A group show dealing with the subject of mortality and the effort to make space for beauty in the face of approaching death. Opens Thurs., Jan 8. Reception 6-8 p.m. Thurs., Jan. 15. Photo Center NW, 900 12th Ave., 720-7222, pcnw.org. Noon-9 p.m. Mon.-Sat. Ends April 5. TEXTURE This show pairs visual artists and poets in collaborative work, featuring Sherman Alexie with Lia Hall and Cedar Mannan; Daemond Arrindell with Maura Donegan; and Jeannine Hall Gailey with Carol Milne. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 223-8505, methodgallery.com. Noon-5 p.m. Fri.-Sat. Ends Feb. 21.

•

Ongoing

• ZACK BENT Lean-out, Lean-to is an installation

•

B Y K E LT O N S E A R S

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

•

Box Office: (425) 392-2202 • January 22 - March 1, 2015 • VillageTheatre.org

Choose Your Country of Service Lunchtime Information Session Thursday, January 15 12 to 1 p.m. Peace Corps Seattle Office Westlake Tower Building 1601 Fifth Avenue, Suite 605

Returned Peace Corps Volunteer Benjamin Conway will discuss the new shorter application process and how applicants can now choose their assignment and country of service using our interactive website.

Life is calling. How far will you go?

855.855.1961 | www.peacecorps.gov

Win Seahawks Playoff Tickets,

Taking appointments and walk-ins

see our Facebook page for details! Haircuts Massage Waxing Manicure Color Pedicure Complimentary beverages Free parking 228 Park Lane Kirkland, WA 98033 425-828-2000

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SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

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., 6340919, jackstraw.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Feb. 6. BRUCE BICKFORD If you live in Seattle and love animation, then bow down to this hometown hero. Since the ’60s he’s relentlessly churned out bewitchingly bizarre films featuring surreal landscapes both hand-drawn and crafted in clay. Although he’s most remembered for his half-dozen years as Frank Zappa’s resident animator, he’s continued to produce incredible work, including one of history’s greatest work’s of stop-motion, Prometheus’ Garden. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle.com. 4 p.m.midnight. Tues.-Sun., Ends Feb. 7. 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 stagemanaged scenes, posing a costumed actor as the blueskinned Hindu god Krishna in 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. BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $12–$19. Weds.-Sun. Ends Feb. 15.

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Chiang Mai Art on Paper Studio, as well as an exhibition of prints examining the rise of the industrial era. First Thursday opening reception, 6-8 p.m. Davidson Galleries, 313 Occidental Ave. S., 624-6700, davidsongalleries.com. 10 a.m.-5 p.m. Tues.-Sat. Ends Feb. 16. CROSS POLLINATION Gallery artists invite a guest to show a piece alongside their own works. First Thursday opening reception, 5-8 p.m. Shift Gallery, 312 S. Washington St. (Tashiro Kaplan Building), shiftgallery.org. Noon-5 p.m. Fri.-Sat. Ends Jan. 31. PATRICK DRISCOLL & BARRY STONE Driscoll is a painter, but he prefers T-shirts and underwear to canvasses. Stone’s “data-bending” work uses technology to warp his photo and video pieces. First Thursday opening reception, 6-8 p.m. James Harris Gallery, 604 Second Ave, 903-6220, jamesharrisgallery.com. 11 a.m.-5 p.m. Sat. Ends Feb. 14. GROUP SHOW A collection of work from gallery-affiliated artists. First Thursday opening reception, 5-8 p.m. Traver Gallery, 110 Union St. #200, 587-6501, travergallery.com. 10 a.m.-6 p.m. Tue.-Sat. Ends Feb. 28. FRED HOLCOMB & G. LEWIS CLEVENGER Holcomb’s paintings look like blurred photographs taken from a whizzing car window, while Clevenger’s deal in soft abstractions. First Thursday opening reception, 6-8 p.m. Linda Hodges Gallery, 316 First Ave. S. 6243034, lindahodgesgallery.com. 10:30 a.m.-5 p.m. Tues.-Sat. Ends Jan. 31. INCANTATION AND FOLLIES Incantation, inspired by death, rebirth, winter, and ritual, is group show featuring work with strong mystical influences. Mark Mitchell’s Follies, features clothing inspired by pharmaceutical companies and the AIDS epidemnic. First Thursday opening reception, 6-8 p.m. Roq La Rue, 532 First Ave S., 374-8977, roqlarue.com. Noon-5 p.m. Wed.-Sat. Ends Jan. 31. IN THE ABSENCE OF.... AND CONCINNITAS Sierra Stinson and Klara Glosova’s In the absence of... invites artists to explore “a gap” in their show. Concinnitias features hand-drawn equations and formulas by 10 notable mathematicians and physicists. Each print is accompanied by an explanation of the equation, so make sure to bring a notepad. First Thursday opening reception, 6-8 p.m. Greg Kucera Gallery, 212 Third Ave., 624-0770, gregkucera.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends Feb. 14. KEN KELLY Large-scale, bold color canvasses that the artist promises don’t “address issues” or “reference anything.” First Thursday opening reception, 6-8 p.m. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), galleries.4culture.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Jan. 29. ANDREAS KOCKS & ROBIN LAYTON In a clever twist on the notion of “medium,” Kocks sculpts “paint” out of paper that leaps off the canvas. Layton’s photo series attempts to capture the emotional spirit of the Seahawks’ “12th Man” fans. Opening reception, 6-8 p.m Weds., Jan. 7. Winston Wächter Fine Art, 203 Dexter Ave. N., 652-5855, winstonwachter.com. 10 a.m.-5 p.m. Mon.-Sat. Ends Feb 25. JERRI LISK Arboreal collects her romantic paintings of trees. First Thursday opening reception, 6-8 p.m. Patricia Rovzar, 1225 Second Ave., 223-0273, rovzargallery.com. 11 a.m.-5 p.m. Mon.-Sun. Ends Jan. 31. JAMES MARTIN Cartoony, circusy gauche paintings full of monkeys, lions, characters from King of the Hill, Mariners players, and more. First Thursday opening reception, 6-8 p.m. Foster/White Gallery, 220 Third Ave S., 622-2833, fosterwhite.com. 10 a.m.-6 p.m. Tues.-Sat. Ends Jan. 31. MUSEUM FOR AN IMAGINED CITY A bunch of artists from Scotland who’ve never been to Seattle create art based on what they think our city might be like. First Thursday opening reception, 6-8 p.m. SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Noon-5 p.m. Thu.-Sun. Ends Jan. 31. DYLAN NEUWIRTH Neuwirth’s “post-human” art often ponders the odd relationship humans have with technology and how the lines between man and machine continue to blur. First Thursday opening reception, 6-8 p.m. Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Noon-5 p.m. Thurs.-Sat. Ends Jan. 31.

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epic. Seattle Central Library, 1000 Fourth Ave., 3864636, spl.org. 7 p.m. Weds., Jan. 7. SUZANNE SELFORS Her children’s tale is Ever After High: Next Top Villain. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m. Weds., Jan. 7. STEVE SIEBERSON The veteran Northwest climber’s memoir is The Naked Mountaineer: Misadventures of an Alpine Traveler. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Weds., Jan. 7. PIERCE BROWN The class war unfold on Mars in his sci-fi novel Golden Son. University Book Store, 7 p.m. Thurs., Jan. 8. DAVID R. KOPACZ He’ll discuss Re-humanizing Medicine: A Holistic Framework for Transforming Your Self, Your Practice and the Culture of Medicine. University Book Store, 7 p.m. Thurs., Jan. 8. CAROL LEVIN Confident Music Would Fly Us to Paradise collects her new verse. She’s joined by fellow poet Natasha Kochicheril Moni (The Cardiologist’s Daughter). Elliott Bay, 7 p.m. Thurs., Jan. 8. JASON SCHMIDT A List of Things That Didn’t Kill Me is his humorous new memoir. Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks.com. 7:30 p.m. Thurs., Jan. 8. WAGE SLAVES Langdon Cook, Holly Hughes, Jenny Hayes, Ela Barton, and Ruchika Tulshyan offer accounts of the writer’s eternal struggle to make a buck. With Michelle Goodman and Sierra Golden. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. 7 p.m. Thurs., Jan. 8. NICK BRUEL For kids, he’s written Bad Kitty: Puppy’s Big Day. Third Place, 6:30 p.m. Fri., Jan. 9. EMMA CAMPION Local mystery writer Mary Daheim chats with the author of A Triple Knot. University Book Store, 7 p.m. Fri., Jan. 9. STEVEN HENDRICKS Dementia and parenthood figure in his debut novel Little Is Left to Tell. Also on hand to read: Stacey Levine (Girl With Brown Fur) and Miranda Mellis (None of This Is Real). Elliott Bay, 7 p.m. Fri., Jan. 9. SKYLAR DORSET The Boy With the Hidden Name is his new YA fantasy tome. Third Place, 6:30 p.m. Sat., Jan. 10. MICHAEL SPENCE & JUDITH SKILLMAN Their two new poetry volumes are, respectively, The Bus Driver’s Threnody and Angles of Separation. Elliott Bay, 7 p.m. Sat., Jan. 10. TRACY WEBER & M.A. LAWSON The authors of A Killer Retreat and Viking Bay, respectively, sign their wares. Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery.com. Noon, Sat., Jan. 10. HELEN MARSHALL She collects new oddball stories in Gifts for the One Who Comes After. University Book Store, 3 p.m. Sun., Jan. 11. SUSAN LEVY She’ll discuss The 8 Principles of a HeartHealthy Woman. Eagle Harbor, 3 p.m. Sun., Jan. 11. ADAM ROVNER He considers the prehistory of Israel in In the Shadow of Zion. University Book Store, 7 p.m. Mon., Jan. 12. SARAH VAN GELDER The editor of Sustainable Happiness: Live Simply, Live Well, Make a Difference is joined by contributors to that anthology. Elliott Bay, 7 p.m. Mon., Jan. 12. DANIEL DISALVO The author of Government Against Itself: Public Union Power and Its Consequences joins in a discussion with UW prof Michael McCann. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle. org. $5. 7:30 p.m. Tues., Jan. 13. MARIA GITIN The author recalls her activism during the ’60s in This Bright Light of Ours: Stories from the Voting Rights Fight. Elliott Bay, 7 p.m. Tues., Jan. 13. DAVID KUKOFF His memoir of growing up in L.A. during the ’60s is Children of the Canyon. University Book Store, 7 p.m. Tues., Jan. 13. SEATTLE POETRY SLAM Local poets share their verse. 21 and over. Rebar, 1114 Howell St., 233-9873, rebarseattle.com. $5. 8 p.m. Tues., Jan. 13. STEVEN BRILL The Time magazine writer talks about his America’s Bitter Pill: Money, Politics, Backroom Deals, and the Fix to Fix Our Broken Healthcare System. Town Hall, $5. 7:30 p.m. Weds., Jan. 14. JEANNETTE FRANKS The former UW gerontologist talks about his To Move or to Stay Put: A Guide for Your Last Decades. University Book Store, 4:30 p.m. Weds., Jan. 14.

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Unlikely barflies Christensen and Ptacek.

Before I Disappear OPENS FRI., JAN. 9 AT SUNDANCE CINEMAS. NOT RATED. 93 MINUTES.

OPENS FRI., JAN. 9 AT GUILD 45TH, MERIDIAN, AND THORNTON PLACE. RATED R. 148 MINUTES.

Joaquin Phoenix. He’s a P.I. who collects very little hard evidence; yet he persists, unperturbed by the absence of such facts. If it’s his ex-girlfriend, or “old lady,” Shasta (Katherine Waterston), who’s turned him onto the case, if the missing party is her new man, Doc appears unruffled by jealousy. Yet he’s not an easily abiding Dude-esque figure (he actually kills two guys), and Inherent Vice isn’t so comic as The Big Lebowski. Doc’s on a serious quest for answers. The problem is that he isn’t proceeding from a clear set of questions. Confusion is his modus operandi, the Ouija board his compass. To help us track a labyrinthine mystery that he has little interest in resolving, Anderson provides a narrator (musician Joanna Newsom, also appearing as Doc’s pal Sortilège). The elusive Shasta makes a few tantalizing appearances, and Doc meanwhile stumbles through a gallery of SoCal eccentrics. (These include Martin Short, Owen Wilson, and Benicio Del Toro.) The squares of Nixon’s silent majority are represented by Martin Donovan (as a string-pulling tycoon), Reese Witherspoon (a D.A. and Doc’s new squeeze), and Josh Brolin as Bigfoot Bjorn-

A Girl Walks Home Alone at Night RUNS FRI., JAN. 9–THURS., JAN. 15 AT SIFF FILM CENTER. NOT RATED. 99 MINUTES.

It sounds like something that fell from a branch of the Tarantino tree: Surely a movie promoting itself as an Iranian vampire/spaghetti-Western indie featuring a skateboarding undead heroine must be doing its thing with tongue firmly in cheek. But hang on, because A Girl Walks Home is not too interested in genre spoofery. This debut feature by Ana Lily Amirpour (who grew up in Bakersfield of Iranian ancestry) is a very studied mood piece, dryly humorous and more inclined toward the arthouse than the drive-in. There will be blood—and it will be sucked—but Amirpour has more on her mind than horror.

It’s an American film, but it’s set in Iran and the dialogue is in Farsi. The cast includes many Iranian expatriates—or actors who, like Palo Alto–born leading lady Sheila Vand, grew up speaking Farsi in their American homes. Vand plays our unnamed heroine, a young woman who walks (and yes, sometimes skateboards) down the streets of Bad City at night. Clad in her chador, drenched in the movie’s black-and-white gloom, she has a great vampire vibe. The opening reel, in which she is picked up by a creepy pimp who doesn’t suspect the supernatural possibilities at play here, is an instant classic—atmospheric,

On the cusp of something: Waterston and Phoenix.

Paul Thomas Anderson was born in 1970, the year in which Thomas Pynchon’s shambling detective story is set. An auspicious coincidence, right? Yet Pynchon’s jokey novel, tenderly but not reverentially adapted here, is actually quite late in his canon. The famously cryptic and reclusive author hit his peak of boomer renown in the ’60s and early ’70s—after leaving a Boeing technical-writing gig in Seattle—with his totemic trifecta: V., The Crying of Lot 49, and Gravity’s Rainbow. Despite being immersed in the counterculture of that period, Inherent Vice came out in 2009, by which time Anderson was the era’s auteur. Why Pynchon would go back to 1970 is obvious: nostalgia, command of period color, and unfinished business as one optimistic decade curdles into another—trying to locate Where It All Went Wrong. But what mysteries are there for Anderson to plumb? That undefined mission is also Doc Sportello’s. He’s a mutton-chopped hippie gumshoe operating near the beach, salt air and cannabis fumes constantly in his lungs, vaguely pursuing a missing-person case in which the real-estate developer in question (Eric Roberts, as it turns out) may not be missing at all. Doc is played with wonderful head-scratching panache by

sen: police detective, part-time actor, and Doc’s possible doppelgänger. With his brutal growl, flattop, and casually administered beatings, Bigfoot would seem to embody the fascism of the Dragnet-era LAPD, yet his duality makes him the film’s strangest and strongest character. Doc is recessive and basically decent. The heroin dealers or dentists’ cabal or sanatorium scammers who constitute the Golden Fang (the movie’s MacGuffin, possibly a conspiracy, possibly a paranoid stoner misunderstanding)—well, that’s the evil Doc is confronting, even if he can’t quite put his finger on it. But Bigfoot has feet in both realms as they shift like tectonic plates. His dilemma is Pynchon’s: rejection of the old order, distrust of the new. In Anderson’s loosest, most purely enjoyable film to date, the indigestible apricot pit of The Master is blissfully washed away. Plot matters less than the telling and serendipitous details of the tale: Doc curling up in a ball to avoid yet another beating from Bigfoot; cheesy TV spots for Channel View Estates (a hideous resource grab of Chinatown proportions); Short’s coked-up dentist unzipping between trysts; Bigfoot digitally inserted into an old episode of Adam-12 (and

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

Vand as nocturnal heroine.

KINO LORBER

A cliché, once struck, can never be unrung. Expanding his Oscar-winning 2012 short Curfew, Shawn Christensen again plays Richie, interrupted from his suicide bath by an unexpected phone call. It’s his single-parent sister Maggie (Emmy Rossum, recently seen in Comet), from whom he’s been estranged for years. She needs an emergency babysitter—the reason to be divulged later—for her precocious 11-year-old daughter Sophia (Fátima Ptacek, the current voice of Dora the Explorer, reprising her role from the short film). Should he stay or should he go? This random, life-affirming decision determines the next 24 hours in a New York demimonde, no matter how many madcap misadventures the script tosses in the way. In flashbacks and a few fantasy sequences, we gather how petulant Richie is a not-quite-recovering addict with a wavering death wish. He’s caught in a beef between two thuggish club owners (Ron Perlman and Paul Wesley) about a dead girl, victim of a heroin OD, whose corpse he inconveniently discovered. Meanwhile bossy little Sophia is demanding dinner, quiet time to study, and the responsible uncle behavior that Richie is entirely unprepared to provide. Yet provide it he must, and will, because he answered that fateful phone call—no matter the blood dripping from his hastily bandaged wrists. Whatever the plot implausibilities here, chemistry is what matters between Richie and Sophia. They have it in quieter moments, as when the two lay low in a bowling alley—then along comes some new histrionic scene or baroque filmmaking flourish to spoil the charm. In padding his tale, Christensen provides ample scenery for the chewing by Perlman and Wesley (the latter doing his best Ray Liotta impersonation); and he’s no less indulgent in making Richie the sort of verbose martyr to whom we’d gladly lend sharper razor blades and a vascular anatomy book. Rossum doesn’t fare much better with Maggie, written as a volatile, self-destructive yuppie because— well, because Richie somehow needs to prove himself a responsible brother and uncle.

ROBERT HORTON

PInherent Vice

WILSON WEBB/WARNER BROS.

Opening ThisWeek

Sophie’s never truly endangered during Richie’s generally comic errands; she’s protected as much by sentiment as screenwriting convention (Don’t Harm the Child). Moreover, Christensen can’t settle on a satisfactory tone—mawkish one moment, menacing the next, then everyone jumps into a choreographed dance number at the bowling alley. His movie is so vehement about Richie’s redemption that even its bumpy detours are dully predictable. BRIAN MILLER

menacing, odd. While this girl walks alone at night, her soulmate also moves through the nocturnal city. He is Arash (Arash Marandi), whose vintage T-bird has been claimed by a local gangster—yet even without wheels, he’s still cool. When he dresses as Count Dracula for a costume party and runs into the vampire there, their union is written in blood. Amirpour, an experienced hand at short films, is content to let the movie float along on its gorgeous monochrome look and punk attitude. She seems to have taken the attitude that if vampires have nothing but time, why shouldn’t scenes just keep going on and on? Even though Girl feels like it could benefit from losing 20 minutes or so, you might miss the languid, going-nowhere pace if things were hurried. It goes without saying that Amirpour has turned the film into a graphic novel, which sounds like a good home for this kind of unhurried, arty, super-stylish project.

» CONTINUED ON PAGE 24 23

JANUARY 9 - 15

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MOVIES IN BLACK AND WHITE: KING KONG

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NEWSLETTER The inside scoop on upcoming films and the latest reviews.

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YOU AND A GUEST ARE INVITED TO A SPECIAL ADVANCE SCREENING OF

VISIT WWW.GOFOBO.COM/SWEEKLY FOR A CHANCE TO DOWNLOAD PASSES FOR TWO. Screening will be held Wednesday, January 14 RATED R FOR CRUDE AND SEXUAL CONTENT, LANGUAGE THROUGHOUT, SOME DRUG USE AND BRIEF GRAPHIC NUDITY.

IN THEATERS JANUARY 16, 2015 /WeddingRinger #WeddingRinger

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Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit one pass per person. Each pass admits two. Seating is not guaranteed. Arrive early. Theatre is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theatre (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theatre, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

PARTS & SERVICE

RUNS FRI., JAN. 9–THURS., JAN. 15 AT NORTHWEST FILM FORUM. NOT RATED. 75 MINUTES.

speaking angry, fluent Japanese at a diner); and a visit to the world’s surliest brothel—located, of course, at Channel View Estates, where the prostitution of land and flesh coincide. Like Stanley Kubrick, only with a compassionate sense of humor, Pynchon warned us in the ’60s about the creeping tyranny of the system—“the ancient forces of greed and fear”—over the individual. And in the deliriously enjoyable Inherent Vice, Anderson finally grants us a consoling bulwark against that toxic tide. If “American life was something to escape” (again says the narrator), instead of heroin or real estate, at least we have each other: Doc and Bigfoot, Shasta and Doc, the Golden Fang be damned. BRIAN MILLER OPENS FRI., JAN. 9 AT SEVEN GABLES. RATED R. 93 MINUTES.

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

/WeddingRinger

PMy Last Year With the Nuns

Life Partners

M U SI C

FIL M

» FROM PAGE 23

JOHN JEFFCOAT

SHOWTIMES

arts&culture» Film

Smith and a map of segregated Seattle.

PR O M O TI O NS

Whatever else it achieves in offering observations about friendship and love in the modern age, Life Partners is definitive on one subject: the tyranny of the smartphone. The devices intrude on almost every scene—not as a way of making a point about our wired existence, but just as a part of everyday life. (One subplot involves texting while driving, and the minor fender-bender that results.) The characters are accustomed to having every conversation, flirtation, or seduction punctuated by the buzzing WHAAH of a phone vibrating its latest demand. No wonder they can’t concentrate long enough to straighten out their lives. At the heart of the film is the longtime friendship between Sasha (Leighton Meester) and Paige (Gillian Jacobs), 29-year-olds who like to drink wine, stage mock public arguments, and provide live running commentary for reality-TV shows. Sasha is lesbian and Paige is straight, but this doesn’t have too much to do with the story’s main turn: Paige meets a boyish Mr. Right (Adam Brody), and the old friends must delicately renegotiate their time together. Director Susanna Fogel works hard to make them specific people, not types: Paige is control-oriented and condescending, while Sasha keeps dating young airheads. There’s also a nice wrinkle in what seems to be a cliché about Sasha, who works at a meaningless job but has a true calling as a singer/songwriter : namely, what if—in opposition to most chase-your-dream movie scenarios—the true calling isn’t actually all that compelling anymore? These are valid storytelling beats, and Life Partners draws energetic turns from its engaging leads, all of whom came from television (Meester became a star on Gossip Girl, Jacobs was a regular on Community). As veterans of same-sex dating battles, Gabourey Sidibe and Beth Dover provide some laughs. But for all the nice effort, I didn’t really believe Life Partners. From scene to scene, everybody tries too hard to convince us how informal and funny it all is. Meester and Jacobs unleash brassy zingers like nobody’s business, but they don’t convey the laid-back, lived-in rapport of old friends who know what the other person is going to say before she says it. Of course, when the world is keyed to the rhythm of the smartphone, no wonder everybody seems jumpy.

Seen during SIFF last spring, this adaptation of Matt Smith’s 1997 stage monologue has three irresistible selling points if you’re a) Catholic, b) were raised on East Capitol Hill during the 1960s, and c) have an aversion to warm and easy nostalgia. Directed by Bret Fetzer (who also staged the original monologue), Nuns doesn’t cover a lot of ground, but it also doesn’t need to. It’s a condensed, somewhat fictionalized account of what it meant to be a teenage troublemaker during 1966–67, when Smith and his buddies were in the eighth grade at St. Joseph’s. Smith is unsparing—and often hilarious— about his clannish, insular, and bigoted parish, populated by large families whose kids were just beginning to sense the liberal breeze of the late ’60s. Seattle was then a thoroughly Republican and conservative town, segregated by class, faith, and race. Open-housing laws didn’t yet exist, and Smith—variously playing his younger self, peers, and elders—is frank about how the Madison Valley was then called Coon Hollow, a term none even thought to question. The anecdotes and adventures Smith relates aren’t terribly novel (stealing from the collection plate, etc.); but again, they don’t need to be. Their snotty, profane details transport us— meaning Seattle natives; Amazon newcomers won’t care—back to our city’s preliberal roots. Seattle is then seen through the parochial perspective of a lad Smith has subsequently called “a 13-year-old white Catholic boy who is cluelessly racist, homophobic, and misogynistic, and is only now just barely beginning to confront the horror of his thinking.” Although it didn’t occur to me last year, when I interviewed Smith and Fetzer before SIFF, Nuns deserves comparison to the ’60s coming-of-age-on-Mercer Island memoir Cheese Deluxe by the late Greg Palmer, who shares Smith’s wry observational tone. Too much of Seattle’s history has been written in pious, pooh-poohing tones of disapproval: Oh, we’re so much better than that now. Smith doesn’t have any such pretentions or delusions. We’re no better now, but we better understand the past by describing it truthfully (salted with a little art and embellishment). This is regional filmmaking at its most amusing and specific. Note: Smith and Fetzer will appear at selected screenings, as will producer Michael Seiwerath and cinematographer Ben Kasulke.

A R T S A ND E NTE R TA I NM E NT

ROBERT HORTON

BRIAN MILLER

Local & Repertory

Selma OPENS THURS., JAN. 8 AT SIFF CINEMA UPTOWN. EXPANDS FRI. AT ARK LODGE, MAJESTIC BAY, AND OTHER THEATERS. RATED PG-13. 127 MINUTES.

BILL AND TED’S EXCELLENT ADVENTURE This 1989

The most suspenseful scene in Ava DuVernay’s Selma does not depict the dramatic 1965 march from Selma to Montgomery, nor an Oval Office facedown between Martin Luther King, Jr., and President Lyndon Johnson. No, the real cliffhanger happens during a twilight domestic scene between King (David Oyelowo) and his wife Coretta (Carmen Ejogo). The husband’s alleged extramarital affairs are the immediate concern, and at this crucial moment in the civil-rights struggle, two married people must acknowledge a few intimate truths. The storytelling takes a pause, the gifted actors operate on a slow simmer, and Selma conveys a tingly sense of the way the march of history turns on human give-and-take in humble rooms. If all of Selma had that personal electricity, it might be a fresher movie. A lot of it is that good, and a lot of it is dutiful lesson-telling. But even when it feels like civics class, Selma benefits from its timing: Coming at the tail-end of 2014, a truly rotten year for race in America, the film’s depictions of protest marches and boiled-over tensions can’t help but create ripples of excitement in a movie theater. DuVernay keeps her focus on the events surrounding the march, when the horrifying violence of Alabama law enforcement against black protesters—televised in a newly immediate way—helped turn public opinion toward the idea of the Voting Rights Act of 1965. It’s a stirring true story, and DuVernay deserves credit for including the layers of strategy and compromise that happened behind the headlines.

film@seattleweekly.com

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2015

OUR SEASON

Create. Perform. Share.

UNIVERSAL LANGUAGE A 21st CENTURY MUSIC PROJECT

Friday, January 9

THIS WEEK!

Featuring new works by Sean Osborn and Wayne Horvitz

Friday, March 13*

TORCH - original contemporary quartet compositions. * At the Good Shepard Center Chapel

Friday, May 15/ Saturday May 16

Featuring the premiere of Jovino Santos Neto’s piece for Narrator and Dance

INAUGURAL SEASON 2015 Find out more at UniversalLanguage Project.com

VELOCITY DANCE CENTER 1621 12th Ave. Seattle

Ongoing

• THE BABADOOK How did this children’s book get

into the house? Nobody seems to know. This one—it shares its title with the movie we are watching—is called The Babadook, almost an anagram for “bad book,” and that’s the effect it has on Amelia (Essie Davis) and her 6-year-old son Sam (Noah Wiseman). They’re especially vulnerable to its dark magic. Among other issues, the death of Sam’s father is very much in the background of this scary little tale. The Babadook himself is dark-suited and creepy-fingered, and he wears a cape and a Victorian hat, like a creature from an earlier era of horror. After a great deal of slow-burning buildup, the Babadook becomes real, and mother and son must wage battle (but then they have been all along). This is the debut feature of writer/director Jennifer Kent, who skillfully keeps us locked into the moment-by-moment thrills of a monster movie, but also insists that this Babadook is clearly a stand-in for the other problems that inflict the household: grief, guilt, depression, an unwillingness to live life. The Babadook may be a monster, but he’s the monster Amelia and Sam needed. (NR) ROBERT HORTON Sundance

» CONTINUED ON PAGE 26

g all Playin KS W SEAHAMNF and es! Gam

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

This very American story has a curiously Britdominated cast, including Oyelowo and Ejogo. The casting is not a huge issue, although anybody with direct memories of the larger-than-life presences of LBJ and Alabama governor George Wallace can be forgiven for finding Tom Wilkinson and Tim Roth (respectively) insufficiently vulgar in the roles. Cameos by the likes of Oprah Winfrey (as a victim of the ludicrously unfair methods of keeping African-Americans away from the voting booth) and Cuba Gooding, Jr., carry an unfortunate TV-movie guest-star air about them, although one understands the value of getting marquee players in a relatively low-budget project. For all the wobbles, when the film reaches its climax, the sheer force of history bends toward its fascinating mid-’60s moment. The feeling that the victories of 1965 can be viewed through our 2015 eyes as unfulfilled promises gives Selma its present-day juice. ROBERT HORTON E

•

ATSUSHI NISHIJIMA/PARAMOUNT

Oyelowo and Ejogo enact the politics of marriage.

time-travel comedy about two genial teenage ninnies struck an extended Reagan-era chord. Their sheer cluelessness, and affability, made them like chips off the old Gipper. Keanu Reeves and Alex Winter may be dumb American teens, but they’re dumb American teens willing to learn a bit about history (just enough to graduate high school and preserve their band, Wyld Stallyns). Meeting Lincoln and Socrates, among other historical figures, may not make them wise. But at least they cheerfully embrace the idea of wisdom, instead of sneering at it. A 1991 sequel didn’t recapture the B&T magic, yet a trilogy—said to be in development—might work if the two characters were brought forward to early middle age, kids, wives, and mortgages. (PG) BRIAN MILLER SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff.net. $7-$12. 11:55 p.m. Sat. & Sun. CZECH YOUR HEAD Short films featuring puppetry and stop-motion from the Czech Republic are screened. (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5-$9. 1 p.m. Sun. DOUBLE INDEMNITY Barbara Stanwyck’s doublecrossing Phyllis is perhaps the iconic femme fatale of film noir—a sultry schemer who, in Billy Wilder’s superior 1944 adaptation of the James M. Cain crime novel, seduces a sap (Fred MacMurray) and tricks him into murdering her husband. Walter’s pal and fellow insurance investigator (Edward G. Robinson) is the only figure of decency in the movie. And he warns Walter about what will inevitably follow the fatal train “accident” that Phyllis orchestrated: “Murder’s never perfect. Always comes apart sooner or later. And when two people are involved, it’s usually sooner.” (NR) B.R.M. Central Cinema, 1411 21st Ave., 686-6684. $7-$9. 7 p.m. Fri.-Weds. & 3 p.m. Sat.-Sun. GOODBYE TO LANGUAGE We haven’t seen it, and Jean-Luc Godard’s new 3-D movie may never open in Seattle for a regular engagement. So this is a rare opportunity, presented by Northwest Film Forum, SAM, and Paul Allen’s newly renovated Cinerama. The Guardian’s Peter Bradshaw calls it “an uncompromising and exasperating 70-minute cine-collage placed before us on a take-it-or-leave-it basis, composed of fragments of ideas, shards of disillusionment.” (NR) Cinerama, 2100 Fourth Ave. Tickets: 448-6880 and cinerama.com. 7:30 p.m. Tues. LEON: THE PROFESSIONAL Long before she won her Black Swan Oscar, Natalie Portman starred with Jean Reno in this stylish, violent 1994 English-language picture from Luc Besson. The European cut verges on kinderporn, so we’re guessing this version favors bullets over January-November age-inappropriate romance between the European hitman and the 12-year-old orphan girl he takes under his wing. Extra bonus: the over-the-top corrupt New York cop played by Gary Oldman—just what kind of drugs is he on? (R) B.R.M. Central Cinema, $7-$9. 9:30 p.m. Fri.-Weds. LION’S MAIN ART COLLECTIVE The group presents an evening of short films dedicated to LGBT themes by Northwest artists. (NR) Central Cinema, $10-$12. 8 p.m. Thurs. SATURDAY SECRET MATINEE Hosted by The Sprocket Society, this Saturday matinee series (through March 28) features the 1941 serial The Adventures of Captain Marvel, preceded by various vintage cartoons and shorts. Total program length is about two hours. (NR) Grand Illusion, $5-$9. 1 p.m. Sat.

2014

arts&culture» Film » FROM PAGE 25 BIG EYES The pancake-eyed-waif portraits of Walter and

dinner & show

mainstage WED/JANUARY 7 • 7:30PM

midge ure w/ angela sheik THU/JANUARY 8 • 7:30PM - AN EVENING WITH

david lindley FRI/JANUARY 9 • 8PM

anna coogan / carrie akre SAT/JANUARY 10 • 7PM & 9:30PM - CAN CAN PRESENTS

elvis alive with vince mira SUN/JANUARY 11 • 7PM

korby lenker w/ the banner days WED/JANUARY 14 • 7:30PM

sean watkins of nickel creek w/ lauren shera THU/JANUARY 15 • 7:30PM

SEATTLE WEEKLY • JAN UARY 7 — 13, 2015

tom paxton w/ kate power and steve einhorn

next • 1/16 curtis salgado • 1/17 joey jewell, a tribute to sinatra • 1/18 tomo nakayama w/ eric johnson of fruit bats • 1/21 jill cohn w/ hereward • 1/22 the kingston trio • 1/23 brazilian nights! tribute to tom jobim • 1/24 martha davis & the motels • 1/25 casey abrams • 1/27 zach fleury & friends • 1/28 the bgp w/ ok sweetheart • 1/29 mouths of babes • 1/31 the duhks • 2/3 lloyd cole

happy hour every day •1/7paulbenoittrio•1/8erichullanderband•1/9rangerandthere-arrangers / happy 4tet • 1/10 ari joshua band • 1/11 hwy 99 blues presents: chebon and pals • 1/12 crossrhythm sessions • 1/13 singer-songwriter showcase featuring: ben union, & yet (solo) • 1/14 country dave and the pickin’ crew 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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216 UNION STREET, SEATTLE · 206.838.4333

Margaret Keane became inexplicably popular during the ’60s. For director Tim Burton, at least, they still hold a kitschy fascination. As we see in this lighthearted, factually inspired account, the Keanes’ success was born from the beatnik Bay Area of the late ’50s, reversed at the 1964 World’s Fair, and collapsed during the Nixon end of the ’70s. The nation turned more cynical during that span, or developed more sophistication, but Burton isn’t interested in diagnosing the American mood or deciding why the Keanes’ art had its appeal. Big Eyes is a simple comedy of female vindication, and it’s enjoyable as such. Any film with Amy Adams (as the naive painter Margaret), Christoph Waltz (as her credit-stealing husband Walter), and Terence Stamp (as the critic who calls them out) is a film I want to see. Burton’s been down this road before with Ed Wood, also written by Scott Alexander and Larry Karaszewski. Yet if Margaret is a less colorful figure than Wood, and if we can laugh about her art today, we can never mock her. (PG-13) B.R.M. Pacific Place, Sundance, Lincoln Square, Oak Tree, Cinebarre, others 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). And Keaton—the former Batman, of course—is a splendidly weathered, human presence. (R) R.H. Sundance, Pacific Place, Oak Tree, others FOXCATCHER The wrestler Mark Schultz (Channing Tatum), who won gold in the 1984 Olympic Games, isn’t very bright. He’s got a puppy-dog earnestness; his ears have turned to cauliflowers after so much time on the mat; he’s accustomed to taking orders from his older brother Dave (Mark Ruffalo), who also won gold in ’84. Yet Mark is suddenly on his own when he accepts the patronage of the eccentric multimillionaire John E. du Pont (Steve Carell). In Bennett Miller’s clinically chilly true-crime tale, the murderous outcome is never in doubt. One brother will perish and du Pont go to jail (where he died in 2010). Foxcatcher is uniformly well crafted and acted, though Carell playing the villain isn’t really the selling point. With his birdlike prosthetic nose, craned neck, and opaque, upper-toothed smile, Carrell’s du Pont remains a mystery, but not an interesting mystery. Meanwhile Mark—whom Tatum ably invests with inchoate currents beneath that bulging brow—becomes a clay-footed figure of inarticulate tragedy. (R) B.R.M. Sundance, Lincoln Square, others THE IMITATION GAME A ripping true story can survive even the Oscar-bait effect. Benedict Cumberbatch plays the brilliant English code-breaker Alan Turing as a borderline-autistic personality, a rude brainiac who during World War II fiddles with his big computing machine while his colleagues stand around scratching their heads. Turing’s homosexuality only gradually enters the picture, and even when he proposes marriage to fellow codebreaker Joan Clarke (Keira Knightley), it isn’t treated as a really big deal. Even if the movie sketches simplistic conflicts among its principal characters, the wartime world is so meticulously re-created and the stakes so compelling that it emits plenty of movie-movie sparks. (Morten Tyldum, of Headhunters, directs.) But the real reason to like this movie is that it’s so diligently pro-weirdo. Especially in Cumberbatch’s truly eccentric hands, Turing stays defiantly what he is: an oddball who uses rationality to solve problems. (PG-13) R.H. SIFF Cinema Egyptian, Sundance, Kirkland, Lincoln Square, Thornton Place, Lynwood (Bainbridge), others INTO THE WOODS Cue the irony that this sly modern classic musical (songs by Stephen Sondheim, book by James Lapine) has been taken up by Disney, history’s busiest purveyors of the happy ending. Its fairy-tale happy ending comes halfway through the action, then Cinderella and company must decide what to do next. Into the Woods presents a crowded roster, with Meryl Streep earning top billing as the Witch, the blue-haired crank who sets things in motion with a curse. (James Corden and Emily Blunt play the baker and wife who want a child; also on hand are Anna Kendrick, Chris Pine, Tracey Ullman,

•

and Johnny Depp as various fairy-tale characters.) The blend of rustic locations and studio-built woods is eye-filling, especially when the characters cross the border from the realistic realm to the enchanted forest. In general, though, director Rob Marshall (Chicago) brings his usual clunky touch, hammering home the big moments and underlining subtlety with a broad brush. (PG) R.H. SIFF Cinema Uptown, Ark Lodge, Majestic Bay, Pacific Place, SIFF Cinema Uptown, Thornton Place, Bainbridge, Kirkland, others TOP FIVE If Chris Rock’s movies were as good as his interviews, he’d be racking up year-end critics’ awards right about now. The story unfolds over the course of a long day in New York, as a once-popular comedian named Andre Allen (Rock) desperately promotes his new movie. He’s talking to a New York Times writer (Rosario Dawson) throughout the day, a device that’s less about illuminating his character and more about highlighting their growing rapport. (Although one long slapstick recollection about a lost weekend in Houston keeps the movie 2014-level raunchy.) As for Rock’s performance, even playing opposite the lively Dawson doesn’t make him a more fluid actor. There’s nothing wrong with the idea of mixing comedy and Woody Allenesque introspection—I guess the comparison here is with Allen’s Stardust Memories, but that movie wasn’t especially strong, either. (R) R.H. Sundance, Pacific Place, others UNBROKEN The greedy guy on a life raft who eats all the chocolate bars is surely going to die. That’s just one of the moral lessons in Angelina Jolie’s adaptation of the remarkable life story Unbroken, a recent bestseller by Laura Hillenbrand. Since indefatigable hero Louis Zamperini endured so much during World War II—surviving a bomber crash in the Pacific, 47 days on that life raft, then two years of brutal mistreatment in Japanese POW camps—Jolie needs to extract plenty of lessons, or at least uplift, during her very sincere, stolid movie. Flashbacks extend to Zamperini’s solid family upbringing during the Great Depression and Olympic running exploits, but most of the film consists of Louis (Jack O’Connell) stoically suffering. During the long imprisonment, sadistic warden Watanabe (Japanese pop star Miyavi) becomes slightly and slyly more interesting while Louis remains the same solemn martyr. As the movie grinds its way to victory, there’s the unpleasant sense that we’re prisoners, too, and Jolie our cruel captor. (PG-13) B.R.M. Sundance, Pacific Place, Lincoln Square, Thornton Place, Kirkland, Bainbridge, others WILD Though I have reservations about the fulsome emotional blasts of director Jean-Marc Vallée (like his Dallas Buyers Club), and though the adaptation by Nick Hornby (About a Boy, An Education) leans rather too hard on the death of bestselling memoirist Cheryl Strayed’s mother (played by Laura Dern), this is a movie that—like its solitary hiker heroine—cannot be stopped. Reese Witherspoon’s ironclad casting makes matters even more inevitable. Here is a woman who bottoms out—with men, drugs, and grief—then straightens out while hiking the Pacific Crest Trail from California to Oregon, even without disavowing all her past actions. Wild is essentially a memory trip, presented non-sequentially. Yet don’t mistake Wild for a conventional healing narrative (though healing does of course come at the end). Rather, it’s more a coming-toterms account. Or as our heroine puts it, “Problems don’t stay problems. They turn into something else”—in this case a book and surefire hit movie. (R) B.R.M. Guild 45th, SIFF Cinema Uptown, Big Picture, Ark Lodge, Pacific Place, Bainbridge, Kirkland, Meridian, Thornton Place, Lincoln Square, others WINTER SLEEP The rustic hotel at the heart of Nuri Bilge Ceylan’s Winter Sleep is a strikingly unfamiliar place: Located somewhere in Turkey’s Anatolian countryside, perched on a rocky slope, the buildings seem to emerge directly from the stone of the hillside itself. In the course of 196 slow minutes, we discover the world of Aydin (Haluk Bilginer), who inherited the inn. He also inherited a bunch of local rental properties, the income from which allows him to sit around penning op-ed newspaper essays while washing his hands of the economic woes of his tenants. After a brilliant opening hour, Ceylan falls out of rhythm. Two extremely long and talky sequences dominate the middle of Winter Sleep: Aydin and his sister (Demet Akbag) calmly engaging in a duel of mutual laceration; and Aydin and his younger wife (the superb Melisa Sözen) arguing over her charity work—he insists on “helping” her with things she desperately needs to do herself. Those scenes are precise and well observed, but the film has a hard time finding its stride again. (NR) R.H. Grand Illusion BY B R IA N M I LLE R

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» Music

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Misery Loves Company

JAZZ ALLEY IS A SUPPER CLUB

Fences’ follow-up amplifies Chris Mansfield’s lonely sound. BY MARK BAUMGARTEN

Mansfield and Macklemore have a history, woven

Multi-award winning guitarist. Acoustic Guitar Magazine calls him ‘THE Acoustic Guitarist of his Generation.’

MARK HUMMEL’S BLUES HARMONICA BLOWOUT THUR, JAN 8 - SUN, JAN 11

Bluebird Records Tribute with Billy Boy Arnold, Rick Estrin, Little Charlie Baty, Steve Guyger, Rich Yescalis, Bob Welsh, RW Risby and June Core. Legendary performers of the West Coast blues!

It was a tremendously beautiful album, dark and fragile, angry yet tender. The music press took notice, Spin in particular recognizing Fences as one of 2010’s 10 best. (Full disclosure: I was paid to write the promotional biography for that release.) Within that album, though, were the seeds of a more grandiose pop sound. Mansfield, a former student at the Berklee College of Music, invests his songs with bright earworm melodies strong enough to keep tracks about loneliness, regret, and death buoyant—a hallmark of great pop songcraft. Those melodies remain throughout Lesser Oceans, though here they’re delivered not with simple guitar and piano, but within intricate synthesizer lines that sparkle and swell as each song jogs along. Lyrically, Mansfield is prone to repeat his most searing lines over and over. In the intimacy of the lonely shoebox ballads found on his earlier releases, this practice comes across as meditative, or perhaps compulsive. On Oceans, though, with an expansive sound befitting the arena, they become anthemic. And as a blueprint for a live experience, it works. “I think that death is comin’ around, I like it, I like it,” Mansfield sings on “Songs About Angels,” and you can imagine his fans gleefully singing along. The strongest moments on the album, however, are the simplest—as on “My Mountain Is Cold,” a tender, devastating mandolin-fueled duet that finds Mansfield trading lines with vocalist/bassist Lindsey Starr, recalling Evan Dando and Juliana Hatfield in the Lemonheads. But as with “Arrows,” the outside influences

meant to lift Mansfield’s art sometimes crowd out his greatest asset, that lone voice singing heartbreaking songs. Maybe its a necessary trade-off to reach a wider audience. If so, it’s an unfair one. “Running Off the Gods,” which follows “Arrows” on Oceans, is a reminder of what has been lost; for fans of Fences’ prior work, it should stand as a favorite. “People all around me are telling me I’m so damn lucky,” he sings, perhaps about his own burgeoning fame, as he plucks out a rolling guitar line. “In getting what I wanted, I became so goddamn ugly.” E

mbaumgarten@seattleweekly.com

CHRIS MINH DOKY’S NOMADS

FEATURING DAVE WECKL WITH DEAN BROWN AND GEORGE WHITTY

TUE, JAN 13 - WED, JAN 14

Bassist extraordinaire with his band and special guest drummer for two nights!

Tuesday’s

Wednesday’s

PETER WHITE THUR, JAN 15 - SUN, JAN 18

One of the most versatile and prolific acoustic guitarists on the contemporary jazz landscape.

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

THE TRIPLE DOOR presents

An evening with

Jill Cohn and Hereward WEDNESDAY, JANUARY 21ST

JILL COHN

HEREWARD

“Her songs are beautifully crafted, sometimes bittersweet and sometimes hopeful, but ever easy and melodic with soulful and savvy lyrics”- Chicago Tribune 5/2014

Hereward draws upon bassist Brady Millard-Kish’s jazz, classical, and rock influences to create highly melodic, memorable compositions.

www.jillcohn.com

wwww.herewardmusic.com

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SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

with a common struggle with substance abuse and made manifest in the 2010 Macklemore and Ryan Lewis single, “Otherside (Remix),” for which Mansfield wrote and performed a foreboding hook. With “Arrows,” Macklemore and Lewis are returning the favor—and that favor has yielded results, garnering more than 4 million YouTube views for the song’s video and landing Mansfield on Good Morning America and Ellen. Fittingly, Lesser Oceans sounds like a play for a bigger stage. The album is Fences’ first for Atlantic Records imprint Elektra, and it sounds like a major-label makeover. In addition to the Macklemore appearance—a huge score in contemporary pop music—there’s an entirely new band behind Mansfield, and the album features glossy synth lines, more electric guitars, and intricate production work from Jacquire King (Kings of Leon, Of Monsters and Men, Modest Mouse). In some ways, Fences seemed ripe for such a recast. The debut album was a dark rumination filled with regret and loneliness, consisting of little more than Mansfield’s croon, acoustic guitar, some piano, and a brushed drum, along with the odd female vocal here, a little bit of synthesizer there.

MARTIN TAYLOR WED, JAN 7

BRANTLEY GUTIERREZ

hen “Arrows,” the first single from the second Fences album, Lesser Oceans, was released last August, it started in familiar territory for Christopher Mansfield, the sometimes-Seattle songwriter who has written tortured indie folk under the moniker for the better part of the past decade. “My old man, he kicked me out, kicked me out, when I told him that I live this way,” Mansfield sings, revisiting the terrain of one of his oldest, most powerful songs, “Same Tattoos,” a heartbreaking ode to paternal absence found on Fences’ selftitled 2010 debut. “It’s not like you were really gone . . . but you were and I never felt love,” a younger Mansfield sang then. But before Mansfield has a chance to delve again into parental neglect, the song is hijacked by Macklemore. The rapper is credited as a featured artist on this single, but it’s a clear takeover, the Seattle MC devoting more than half the song to verse exploring the misery that accompanies his massive fame. Speaking of his plight in a reflective third person, Macklemore shares that “when the world finally sees his art, he wishes he’d never made it” over ornate production from Ryan Lewis. Mansfield’s personal drama gives way to Macklemore’s public one, and we never hear of Mansfield’s old man again.

(1/6) Springer & The Story Collider: Springer Storytellers: Stories About Science

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(1/6) Matt Taibbi The Growth of ‘American Injustice’ CIVICS

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COMMUNITY

(1/7) First Hill Public Realm Action Plan (1/7) Aaron Glass and Barb Cranmer with Feliks Banel Edward Curtis and ‘The Making of Modern Cinema’

Brews and bands go hand in hand at the second annual Timbrrr! Winter Music Festival. BY JACOB UITTI

hould you find yourself smack-dab in the center of Little Bavaria—aka Leavenworth—for the Timbrrr! Winter Music Festival this weekend, you’ll find it impossible not to think of two supremely important things: beer and bands. What delectable local brew might you sample while listening to the retro-pop sounds of Seattle’s Prom Queen, one of the weekend’s 14 performers? What German-style bier will you quaff before the Sisters show? These questions are surely racing through your mind—as they should be. Having attended last year’s event, I’d like to introduce you to some of Leavenworth’s best pints and offer you a guide to bands to pair them with. While some of these suds will be on tap this weekend (especially those at Icicle Brewing Company, an official Timbrrr! venue), I can’t predict exactly where you’ll find them all. Hey, I can’t do all the work for you.

(1/8) Alexandra Witze and Jeff Kanipe Volcanic Legacies, Lessons (1/10) Early Music Guild and Seattle Baroque Orchestra: A ‘Twelfth Night’ Celebration with Julie Andrijeski (1/12) Town Music Third Coast Percussion (1/13) Debate: Daniel DiSalvo and Michael McCann ‘The Power of Public Unions’ (1/14) Marin Katusa The Future of the Global Energy Trade

Red Fang with Ninkasi’s Sleigh’r Ominous and

(1/14) Steven Brill Fixing American Healthcare TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(1/15) NatureBridge presents WWW.TOWNHALLSEATTLE.ORG ‘Return of the River’ Film Screening

(1/20) Anya Kamenetz Standardized Testing

(1/21) Amir Aczel The Roots of Numbers

Sol with Icicle Brewing Company’s Priebe Porter Sometimes you want one thing and you

Hobosexual with IBC’s Bootjack IPA Rugged

and quintessentially Northwest, this rock band has lyrics like “Make my daily grind chopping down trees.” What better group to drink a hoppy IPA to?

THIRD COAST (1/23) Kimberly Parker: ‘Lost in Sound: PERCUSSION A One Woman Play’

AAN with 10 Barrel’s Pray for Snow Ale At

Third Coast Percussion’s “hard-grooving” sounds take percussive instrumentation (1/24) Saturday Family Concerts to new heights dynamic, hands-on Thein Bushwick performances. for integration Book Known Club Seattle of new media,A.A. theirMilne’s lively performances highlight the skill of these four tech‘Winnie-the-Pooh’ savvy, talented musicians. CIVICS

WWW.TOWNHALLSEATTLE.ORG Media sponsor:

Creative and funky, you can’t put your finger on what specifically makes this band and beer sing, but it’s something special indeed. At times reserved, at times bold, sipping this special pairing is like a museum experience.

Courtney Marie Andrews with IBC’s Timber Town Brown American Ale Go ahead, just try not

to think of the great American landscape and dirt roads when listening to this songbird. No one will notice if you get a little wistful; just take a big swig of this brew and tell ’em it was sweat from your glass.

Dude York with IBC’s Lil’ Willy American Stout

Stouts are big and bold, yet have a very unique, precise flavor. For this reason, this American stout goes perfect with Dude York’s sound: big, unruly garage rock with simple, focused rhythms.

The Banner Days with Elysian Night Owl Pumpkin Ale There’s something autumnal about The Banner

(1/22) Joshua Davis Immigration, Robots, and MONDAY, JANUARY 12 DREAMers

COMMUNITY

Sisters with IBC’s Snowbockalypse Doppelbock

LORD FOTOG

SEATTLE WEEKLY • JAN UARY 7 — 13, 2015

dangerous: These words precisely describe both band and beer. There’s a heaviness to the group’s music, complemented well by this double-dark ale inspired by ’80s thrash-metal group Slayer.

(1/22) Seattle Neufeld Community & ParentMap: Dr. Gordon Neufeld Making Sense of Parent-Child Power Struggles

(1/24) Early Music Guild: ARTS & CULTURE Pallade Musica ‘A Mio Modo’

Sisters: nice with a doppelbock.

Enjoy Hobosexual with an IPA.

(1/22) Andrew Keen The Internet’s Unseen Consequences

TOWN HALL

Legs with Hofbrauhaus Munich Lager Glimmering and bright, this German-style beer is fit for this Brooklyn-based dancey band. The carbonation will hit your nose like the notes hit your eardrums, and you’ll grin the whole way through.

Deep Sea Diver with IBC’s Crosscut Pilsner Clean yet nuanced with a great fizz, these two are a match made in snowy heaven. DSD paired with the Leavenworth pilsner is classic.

TOWN MUSICThe Perils of

SCIENCE

all you want is a dependable brew, something on the lighter side with a good, lingering finish. If you find yourself in this mood, try the Optimator right before you catch this Anacortes dream-pop group.

want it perfect. If you have only one pint at Timbrrr!, let it be a rich, full beer befitting this socially conscious rapper.

(1/19) Wes Moore How to Live a Meaningful Life

Tim-beerrr!

COURTESY TIMBRRR! FEST

TOWN HALL

Timbrrr! you want snow. Additionally, assuming you’re over 21, you want the whole thing to be a big, boozy snow globe. AAN will soothe you with its dreamy songs as the snowflakes fall, so gear up for the set with this delicious winter ale.

Prom Queen with IBC’s Dark Persuasion German Chocolate Cake Ale Decadent: That’s the

first word associated with a chocolate-cake ale and with local chanteuse Prom Queen. Her sound is colorful, sweet, deep, rich, and—yes—dark. Bellamaine with Spaten Optimator Sometimes

Days, which makes them the prime complement for a pumpkin ale. Their sound is a tree falling into a bed of dead leaves, a forest undergoing change. Keep the feeling with a malty, autumn pint. Planes on Paper with IBC’s Dirtyface Amber Lager This band is as American as Simon and

Garfunkel, and harmonize just as well. Like this beer, the duo has a brooding undertone—as in their melancholy “Iron Boat,” with the lyric “When I was young, I knew a boy who only loved what he destroyed.”

ADD ODE with Paulaner Salvator Toasty with a bit of sweetness, the Salvator is a great German beer to rev up your engines before going to hear the curiously emotive songs of ADD ODE. E

music@seattleweekly.com

TIMBRRR! WINTER MUSIC FESTIVAL Most performances at Leavenworth Festhalle, 1001 Front St., Leavenworth, Wash., timbermusicfest.com. $30 and up. 21 and over. 5:15 p.m. Fri., Jan. 9 through Sat., Jan. 10.

QN I G H T C L U B U P C O M I N G

E V E N T S

T H U R S D A Y, J A N U A R Y 1 5 T H

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm SATURD AYS

TH URSD AYS

JUSTIN JAY + A ARON JACK SON MIGUEL MIGS + MARQUES W YATT ANTHONY ATTALL A + WEISS ANJUNADEEP TOUR GOLDROOM HUXLEY

01/08/15 01/15/15

EEKKOO KILL FRENZY ARCTIC MOON

01/24/15 01/31/15 02/07/15

RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

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

01/22/15 01/29/15 02/05/15 02/12/15

W ED N ESD AYS

AUTOGR AF 01/14/15 BRENMAR + PROMNITE 02/11/15 COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

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

2222 2ND AVENUE • SEATTLE

206-441-5449

El Corazon www.elcorazonseattle.com

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

FRIDAY, JANUARY 9TH

TUESDAY JANUARY 13TH

GERN BLANSTON

SOUTH JACKSON

(RECORD RE-RELEASE SHOW)

with Vaporland, Killer Shades, 29A Doors at 8:00PM / Show at 9:00 21+. $8 ADV / $10 DOS

FRIDAY, JANUARY 9TH

NO BRAGGING RIGHTS

SATURDAY, JANUARY 10TH KISW (99.9 FM) METAL SHOP & EL CORAZON PRESENT:

EL CORAZON’S 10TH ANNIVERSARY SHOW FEATURING: PIG DESTROYER, Theories,

The Drip, Three Chord Killer, Brain Scraper Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ ID. $16 ADV / $20 DOS

THE TRIPLE DOOR

SUNDAY JANUARY 11TH

THURSDAY JANUARY 15TH

NEW PSYCHEDELICS

with Lady Krishna’s Peppermint Lounge, Breakaway Derringer Lounge Show. Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID. $8ADV / $10 DOS

FRIDAY JANUARY 16TH

SCHOOL OF ROCK PERFORMS BLACK SABBATH Doors at 6:30PM / Show at 7:00 ALL AGES/BAR W/ID. $12ADV / $15 DOS.

SATURDAY JANUARY 17TH

CHAINBANGERS DISC GOLF SHOP PRESENTS:

10TH ANNIVERSARY SHOW!

PS3 Disc Golf * Prizes * Ping Pong * Mini Putting Challenges * Drinks * Food Doors at 6:00PM / Event at 6:00 21+. $10 Singles / $5 Doubles ($10 per team)

10 YEARS * 10 BANDS * 10 BUCKS FEATURING: Stage1: ZEKE, The Derelicts, The Hollowpoints, The Load Levelers Stage 2: THE STUNTMEN Neutralboy, Toe Tag, Millhous, 13 Scars, The Triple Sixes Doors at 7:30PM / Show at 8:30 21+. $10 ADV / $15 DOS

IPL @ THE EL INDOOR PUTTING LEAGUE

EL CORAZON’S “PUNK ROCK FURY”

JUST ANNOUNCED 2/22 LOUNGE - SHINE BRIGHT BABY 2/24 - ENUFF Z’NUFF 3/10 - SET IT OFF 4/15 - THE MAINE 5/1 LOUNGE - DESIGN THE SKYLINE

UP & COMING 1/18 - INDOOR PUTTING LEAGUE 1/18 LOUNGE - CONVEYER 1/20 LOUNGE - THE RAMONAS 1/22 LOUNGE - GRAYSON ERHARD 1/23 - DARK

TRANQUILITY 1/24 - POWERMAN 5000 1/25 - SILVERSTEIN 1/26 - JAKE E. LEE’S RED DRAGON CARTEL 1/26 LOUNGE - CALABRESE 1/27 - MAYHEM / WATAIN 1/28 - PERIPHERY 1/29 - SKULL FIST 1/29 LOUNGE - THE TOASTERS 1/30 - THE FALL OF TROY 1/31 LOUNGE - BOATS! 2/3 - KARMA TO BURN / SCOTT KELLY (NEUROSIS) AND THE ROAD HOM 2/5 LOUNGE - RAW FABRIC 2/6 - THE DICKIE 2/7 - JUCIFE 2/10 - BEHEMOTH / CANNIBAL CORPSE

TUESDAY FEBRUARY 10

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

SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

with The Greenery, Motion, Umbra, Cornerstone Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $12 ADV / $15 DOS

with Car Seat Headrest, Slums Of Utopia Lounge Show. Doors at 8:00PM / Show at 8:30 ALL AGES/BAR W/ID. $6 ADV / $8 DOS

arts&culture» Music

KARL DENSON’S TINY UNIVERSE

TheWeekAhead Wednesday, January 7

with special guest

BROWNOUT

2/19

AN EVENING WITH

BIG HEAD TODD AND THE

1/15

MONSTERS

with HIRIE + LEILANI WOLFGRAMM

1/22

8PM

SIIMPLE MOBILE NOTHING TOUR

1/23

FACILITIES

WALE

2/21

with AUDIO PUSH

9PM

BILL FRISELL

1/31

with PARADISE FEARS

8:30 PM

SHOWBOX AND KISW PRESENT

AUGUST BURNS RED with MISS MAY I + NORTHLANE + ERRA + FIT FOR A KING

RIFF RAFF

2/18

8PM

9PM

MARILYN MANSON BLUE

3/26 – ON SALE FRIDAY AT NOON 7PM

8PM

MARCHING BAND THE HELL NOT HALLELUJAH TOUR

OCTOBER

4/17–– ON SALE FRIDAY AT NOON

9PM

8PM

SHOWBOX SODO SEATTLE WEEKLY • JAN UARY 7 — 13, 2015

STEEL

PANTHER

1/17

with SKELATOR

9PM

KIP MOORE

1/31

8PM

NEPTUNE THEATRE

with special guest WOVENWAR

7:45 PM

KALIN AND MILES

7:30 PM

4/18

CHRIS HARDWICK 8PM & 10:30 PM

JOSHUA RADIN 3/1

with ANDREW BELLE + CAREY BROTHERS

SHOWBOXPRESENTS.COM

her sophomore album, Cerulean Salt, were the toast of every music blog back in 2013 after the album was released that March. Pitchfork, The Onion’s “A.V. Club,” Pretty Much Amazing, and others all sang Crutchfield’s praises and included the album on their year-end lists. The hype has since died down a bit, but the album is no less deserving. Cerulean Salt, which Crutchfield recorded with her twin sister, Allison (and members of Allison’s band, Swearin’), falls on the sad side of indie-folk without being too depressing. Punkrock moments add energy. With Us Lights. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern. com. 9 p.m. SOLD OUT. 21 and over.

Few musicians can say they’ve collaborated with both the Ying Yang Twins and Rodney Atkins. In fact, countryrap poster boy BUBBA SPARXXX might be the only one who can make that claim. Sparxxx, born Warren Anderson Mathis, has toed the line between being a good ol’ country boy and a straight-from-the-streets hip-hop star since his 2001 breakthrough, Dark Days, Bright Nights. Sparxxx addresses critics of his unconventional sound on “Okay Then” from his latest, Made on McCosh Hill Road: “If you don’t like the country-rap song/To each his own/Bubba don’t need your thumbs up/He’s grown.” With Ripynt, Eddie Grandpre, Cliff the Sav, Jesse James Greenwood, Neema, Bezzel, DJ Gerze. Nectar Lounge, 412 N. 36th St., 632-2020, nectar lounge.com. 8 p.m. $13 adv./$15 DOS. 21 and over. If it weren’t for Vashon Island, Taiga, the fifth full-length from ZOLA JESUS, might not be as vocally driven as it is. Jesus, also known as Nika Roza Danilova, spent nine months writing and recording on the island, returning to the operatic style she studied as a young singer. Inspired by the taiga forests of her ancestral Russia and the woods of northern Wisconsin where she was raised (and, likely, similar tree-filled spaces on Vashon), the electronic elements that peppered her previous releases are still present on Taiga, but a newfound vocal confidence is the star. With Deradoorian, Golden Donna. The Neptune, 1303 N.E. 45th St. 682-1414, stgpresents.org. 8 p.m. $16.50 adv./$18 DOS. All ages. After more than 40 years together, British blues-rock quartet FOGHAT, like the Foghat Cellars wine the band sells on its website, has only gotten better with age. The group’s latest, Last Train Home, which features original member Roger Earl on drums, is a collection of covers (including “Needle & Spoon” by Savoy Brown, the band from which Foghat grew, and Muddy Waters’ “Louisiana Blues”), three originals (“Born for the Road,” “Last Train Home,” and “495 Boogie”), and two songs featuring the late Eddie Kirkland (“In My Dreams” and “Good Good Day”). The band’s handle on old and new tunes is impressive, but not unexpected from a group with such a successful history. Snoqualmie Casino, 37500 S.E. North Bend Way, 425-8881234, snocasino.com. 8 p.m. $15 and up. 21 and over. It’s one thing to create somber tunes, another to create somber tunes that inspire some serious boogying. On its latest album, More Primitive, LONESOME SHACK, the bluesy trio of singer/guitarist Ben Todd, drummer Kristian Garrard, and bassist Luke Bergman, does just that. The instrumentation is sparse, which adds to the album’s haunting nature, but there’s just enough to maintain a solid groove. Though Todd’s reverby vocals channel the Black Keys’ Dan Auerbach at times, More Primitive doesn’t follow the duo’s often intense lead. Instead it takes on the same level of energy, just at a calmer pace. With Sam Doores (of the Deslondes), Inly. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 8 p.m. $10. 21 and over.

Friday, January 9

NEPTUNE THEATRE

FUNCOMFORTABLE TOUR

1/16 – LATE SHOW ADDED

IN FLAMES + ALL THAT REMAINS

3/7

WAXAHATCHEE front woman Katie Crutchfield and

Thursday, January 8

MARCHFOURTH

2/28 9PM

9PM

ANDY GRAMMER ALEX & SIERRA 2/24

GUITAR IN THE SPACE AGE! TOUR

2/16

FLIGHT

7:30 PM

TRIBAL SEEDS

9PM

7:30 PM

It’s been a big year for GHOSTS I’VE MET front man Sam Watts. The Michigan-born singer/songwriter welcomed his second son; launched a new business (Hairstream) with his partner, Angela; toured the state extensively playing drums with Planes on Paper; celebrated a year and a half of sobriety; and finished writing and recording the moody rock quintet’s forthcoming album, The Shape of Space, which Watts is dedicating to his late grandfather, sculptor Sam Richardson. Whew! On “Redwoods,” along with Bill Patton and Ben Blankenship (of Modest Mouse), we hear of an unusual Yosemite event called the Fire Falls, delivered with gloomy gusto. With Drew Victor, James Apollo. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 7 p.m. $9 adv. 21 and over. College parties seem like a dangerous place for any band

to play, but especially so for a nine-piece like THE DIP. One misstep from a tipsy coed or frat dude, and

there’s a hole in the speaker and beer spilled on, well, everything. But those risks didn’t stop The Dip from taking the UW house-party scene by storm with its fusion of funk, soul, and pop-rock after forming there in 2012. The band, which shares members with Beat Connection and the Tom Eddy Band, has graduated to larger shows since then—including the Capitol Hill Block Party—and recently released the warm and groovy “Ready to Go” from its upcoming album. With Tangerine, Tomten. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $10 adv. 21 and over. On its latest album, Western Medicine, Portland’s THE BUILDERS AND THE BUTCHERS channels the spirit of the Old West with impressive authenticity. The quintet’s Southern-fried folk captures the nitty-gritty of life way back when—especially notable for a group of musicians originally from the frozen frontier of Alaska. The opening to “Desert on Fire,” for instance, could soundtrack the tense moments before a duel, while “Redemption Sound” plays like a raucous Sunday service and “Take Me Home” is reminiscent of a campfire sing-along. An abundance of percussion, a bit of banjo and mandolin, and lead singer Ryan Sollee’s rough warble bring ye olde tunes to the 21st century. With Keaton Collective, the Sugar Strings. Sunset Tavern. 9 p.m. $10. 21 and over.

Saturday, January 10

It doesn’t matter if KULTUR SHOCK is singing in English or a mix of Serbian, Bosnian, and Croatian; the Balkan-punk six-piece makes its feelings—about everything from love and substance abuse to aging and the NSA—crystal-clear on its latest album, IX. Themes of social justice and a streak of brutal honesty run through it, especially on “Home,” in which Gino Yevdjevich sings about the siege of Sarajevo in his native Bosnia: “Some of us lived/Some of us died/Some of us stayed/Some got away to the promised land/ . . . Where is home?” IX was released in November, but the band waited until this show to celebrate its release. With Bucharest Drinking Team. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey. com. 9 p.m. $12 adv./$15 DOS. 21 and over. On its latest EP, Dirt Nap, California-based alt-country quintet DEAD WINTER CARPENTERS manages to capture the energy of its live shows while still making sure things don’t completely run off the rails. Rambunctious, mid-song jams (e.g., “Easy Sleep” and “Bootleg Jack”) add a ton of energy, but compelling vocal harmonies, to which all five band members contribute, rein things in. There’s a rustic, down-home vibe to the EP, especially with the band’s string-based sound, including fiddle, upright bass, pedal steel, and banjo. With Deception Past, Left Coast Country. Nectar Lounge. 9 p.m. $10 adv./$12 DOS. 21 and over. Every week, KEXP’s Sharlese Metcalf brings listeners some of the best music the Northwest has to offer. And every month, she and the Audioasis crew bring those artists together to benefit a worthy cause. This month it’s A BENEFIT FOR SEATTLE AGAINST SLAVERY, a nonprofit working to end human trafficking worldwide. Taking the stage is a trio of top-notch acts: pop-rock quartet Neighbors, which politely asked people to hush on its latest, Will You Please Be Quiet, Please?; Portland’s psychedelic-rock trio Old Light, playing tunes from its latest, Ice Pharaoh; and Black Whales, a quintet that blends pop sensibilities with darker psych-rock elements on Through the Prism, Gently. Sunset Tavern. 9 p.m. $7. 21 and over.

Tuesday, January 13

They say opposites attract, and NELS CLINE AND JULIAN LAGE certainly prove it. Cline, a 50-something from L.A., has performed with alt-rock sixpiece Wilco for the past decade while fronting two trios and collaborating with everyone from his wife, Cibo Matto’s Yuka Honda, to Death Grips’ Zach Hill. Lage, on the other hand, is a 20-something living in New York who’s led and co-led several projects while performing with vibraphonist Gary Burton and drummer Eric Harland. What the guitarists have in common, though, is their love of jazz; both started playing it as children, and their mastery of the instrument and the genre is evident on their collaboration Room. The Royal Room, 5000 Rainier Ave. S., 906-9920, theroyal roomseattle.com. 7 p.m. $20. All ages. 9 p.m. $20. 21 and over. 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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Vina Sauna GRAND OPENING

Open 7 Days a Week

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NOTICE Washington State law requires wood sellers to provide an invoice (receipt) that shows the seller’s and buyer’s name and address and the date delivered. The invoice should also state the price, the quantity delivered and the quantity upon which the price is based. There should be a statement on the type and quality of the wood. When you buy firewood write the seller’s phone number and the license plate number of the delivery vehicle. The legal measure for firewood in Washington is the cord or a fraction of a cord. Estimate a cord by visualizing a four-foot by eight-foot space filled with wood to a height of four feet. Most long bed pickup trucks have beds that are close to the four-foot by 8-foot dimension. To make a firewood complaint, call 360-9021857. agr.wa.gov/inspection/ WeightsMeasures/Fire woodinformation.aspx agr.wa.gov/inspection/WeightsMeasures/Firewoodinformation.aspx

Home Furnishings

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Washington Real Estate For Sale TONASKET

20 FLAT ACRES. Tired of paying utility bills? Water, sewer, garbage and electricity getting too expensive? Own your own Off-The-Grid Power Solar panel, well, septic all installed. 2 BR, 2 BA, fenced. 24’x56’ dbl wide mobile. Plumbed to propane. 15 min to Tonasket $35,000 (cash) 206.619.9674. Real Estate for Sale Jefferson County Custom built home, $409,000 Master bd + 2 bonus rooms Pleasant Tides Community Deep water Marina, WF park Prudential NW Real Estate MLS # 634050, 360-250-3308

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AM-PM TOWING INC

Abandoned Vehicle AUCTION!!! 01/16/15 @ 11AM 2 Vehicles

1987 Porsche 924CP AJJ9524 1997 Chevy CAVCP AMK5811

Preview 10-11AM 14315 Aurora Ave N. Stan’s Mountain View Towing Inc Abandoned Vehicle Auction 9000 Delridge Way SW, Seattle WA Wednesday 1/7/15 Gates Open 9AM, Auction 12 PM 206-767-4848

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

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CALENDAR ASSISTANT Seattle Weekly

Multi-Media Advertising Consultant SEATTLE

Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. has an immediate opening for a calendar assistant. This is a Part-Time position, working approximately 16 hours over 3 days per week. The calendar assistant will assist both the arts and music editors in the creation and upkeep of Seattle Weekly’s extensive events listings. He/she must be detail oriented, able to comb press releases and online calendars and manually transcribe mind-numbing information with great accuracy and gusto. A proven ability to write succinct, lively copy is a must, as is a working knowledge of most art forms and familiarity with Seattle’s arts and music scenes, from the high-art institutions to the thriving underground. Obsessive knowledge about one or two particular disciplines (Appalachian folk songs and Kabuki, say) is not required, but is definitely a plus. If you have trouble meeting deadlines, don’t apply. Applicants must have a working knowledge of Microsoft Office. The successful candidate will possess excellent communication and organizational skills and the ability to juggle several projects at once. Qualified applicants should send a resume, cover letter, and a few samples of your writing to: hreast@soundpublishing.com Be sure to note ATTN: HR/CASEA in your subject line. Sound Publishing, Inc. is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Visit our website at: www.soundpublishing.com to find out more about us!

ART DIRECTOR Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. has an immediate opening for an experienced editorial art director. The art director is responsible for the overall design quality and integrity of the publication. He/she must be able to conceptualize and produce modern, sophisticated, and vibrant design for covers, features, and editorial pages. This individual must be an exceptionally creative designer who has experience commissioning high-quality photography and illustration, negotiating fees, clearing rights and managing a budget. The art director will work with and manage other designers in a fast-paced, deadline-driven environment so will need the ability to balance strong leadership with strong collaboration in order to thrive in a team environment. Applicants must have a superior understanding of typography and expert-level skills in Photoshop, Illustrator, InDesign, and Acrobat. Editorial design experience is a plus. The successful candidate will possess excellent communication and organizational skills and the ability to juggle several projects at once. Knowledge of PDF and postscript technology is beneficial. Other talents such as illustration or photography are desirable, but not required. Sound Publishing offers competitive salaries and benefits including healthcare, 401K, paid holidays, vacation and sick time. Qualified applicants should send a resume, cover letter, and a few samples of your work to: hreast@soundpublishing.com Be sure to note ATTN: HR/ADSEA in your subject line. Sound Publishing, Inc. is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Visit our website at: www.soundpublishing.com to find out more about us!

Tree Climber/ Trimmers Experienced Tree Climbers Wanted Full Time/ Year Round Work. Must have own Gear & Climb Saw Reliable Transportation & Driver’s License req. Email Work Exp. to recruiting@evergreentlc.com 800-684-8733

D I N I NG

Be a part of the largest community news organization in Washington! Do you have a proven track record of success in sales and enjoy managing your own territory? Are you competitive and thrive in an energetic environment? Do you desire to work in an environment which offers uncapped earning opportunities? Are you interested in a fast paced, creative atmosphere where you can use your sales expertise to provide consultative print and digital solutions? If you answered YES to the above, then we are looking for you! Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. is looking for self-motivated, resultsdriven people interested in a multi-media sales career. This position will be responsible for print and digital advertising sales to an eclectic and exciting group of clients. As part of our sales team you are expected to maintain and grow existing client relationships, as well as develop new client relationships. The successful candidate will also be goal oriented, have organizational skills that enable you to manage multiple deadlines, provide great consultative sales and excellent customer service. This position receives a base salary plus commission; and a benefits package including health insurance, paid time off, and 401K. Position requires use of your personal cell phone and vehicle, possession of valid WA State Driver’s License and proof of active vehicle insurance. Sales experience necessary; Media experience is a definite asset. Must be computer-proficient. If you have these skills, and enjoy playing a proactive part in impacting your local businesses’ financial success with advertising solutions, please email your resume and cover letter to: hreast@sound publishing.com ATTN: SEA. Sound Publishing is an Equal Opportunity Employee (EOE) and strongly supports diversity in the workplace. Visit our website to learn more about us! www.soundpublishing.com hreast@soundpublishing.com

Employment Services WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

Professional Services Music Lessons

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

W E E K LY

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FILM

FILM NEWSLETTER The inside scoop on

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SE ATTLE WEEKLY • JAN UARY 7 — 13, 2015

NORTHEND MASSAGE

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Appliances

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Improve Your Relationships and Earn $200 Practice Connection and Self-Expression Skills UW Study recruiting any two people who want to get closer: friends, coworkers, siblings, romantic partners, etc. www.uwconnectionsstudy.com/206-221-4296

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

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“Seattle Stu”

Jazz Trio or Quartet for Hire Available for Parties & Restaurants (TOPPS!) Please Call: (206) 223-1110 from 1pm -7pm E-mail: sinison@comcast.net Severe Allergies or Autoimmune Disease? Earn $200 - Donate Plasma plasmalab.com 425-258-3653

Singing Lessons

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The choice is yours ... ... choose to succeed!

CAREER TRAINING

If you want to change your life for the better, choose career training from Everest College!

1-888-291-1362 • www.EverestLearn.com 5 LOCATIONS: Bremerton • Everett Renton • Seattle • Tacoma Financial aid available for those who qualify. Programs and schedules vary by campus. For useful consumer information, please visit us at www.everest.edu/disclosures.

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EVENTS

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

NEWSLETTER

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DINING

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EVENTS

MUSIC

A weekly calendar of the city’s best offerings.

PROMOTIONS

filtering the best of

SEATTLE WEEKLY • JAN UARY 7 — 13, 2015

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