Seattle Weekly, January 14, 2014 by Sound Publishing

JANUARY 14-20, 2015 I VOLUME 40 I NUMBER 2

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»15

news&comment 4

GODDEN’S LAST STAND?

BY ELLIS E. CONKLIN | Is the 11-year City Council vet retiring? Nonsense! Plus: the state legislature’s new session, and je suis Molly.

SO LONG, CHOP SUEY!

A graphic (in every sense) remembrance of the club’s colorful history, based on interviews with those who were there.

food&drink

15 SHUT UP AND EAT BY NICOLE SPRINKLE | Reminding

ourselves what’s really important about food and food culture. 15 | FOOD NEWS 15 | THE WEEKLY DISH

arts&culture 17 OUT OF TIME?

BY KELTON SEARS | Claymation artist Bruce Bickford struggles to complete his last great project. 17 | THE PICK LIST 20 | OPENING NIGHTS | Love in Vienna,

death in Rome.

23 FILM

OPENING THIS WEEK | Bradley Cooper

goes to war, bisexuals in Brooklyn, and a history of Chinese cuisine.

30 | THE WEEK AHEAD

odds&ends 31 | CLASSIFIEDS

»cover credits

ILLUSTRATION BY MAX CLOTFELTER

Arts Editor Brian Miller Music Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert

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Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Bianca Sewake, Alexa Teodoro News Intern Shawn Porter Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Roger Downey, Alyssa Dyksterhouse, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Terra Clarke Olsen, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael Stusser, Jacob Uitti

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news&comment

Going, Going, Godden?

Three Issues to Watch in the 2015 Legislative Session

The veteran Seattle City Councilmember faces a difficult electoral challenge. BY ELLIS E. CONKLIN

BY MATT DRISCOLL

O MORGEN SCHULER

SEATTLE WEEKLY • JAN UARY 14 — 20, 2015

here has been a fair amount of speculative whispering around City Hall in recent weeks that Jean Godden, at age 83 and having served 11 years on the City Council, will call it a career. Faced with fending off two young and very formidable opponents, some predict she’ll finish her third term this year, then retire to the comforts of her View Ridge home and write a book, stitching together a colorful compendium of the hundreds of news and gossip columns she penned beneath the P-I globe and later at The Seattle Times. Pure nonsense, Godden says to all this conjecture. During an interview last week at a downtown bagel shop, she uncorks a full-throated laugh and declares, “I’m running. There’s no doubt about that. I’m going to stick with it. I’m not a quitter.” If anyone harbors doubts of her intentions, note that Godden has raised nearly $32,000 (only councilmembers Sally Clark and Tom Rasmussen have more dough in their campaign breadbox), retained an effective fundraiser in McKenna Hartman, and reunited with campaign consultant and longtime chum Cathy Allen. The political landscape will surely shift in the months ahead, for the filing deadline is not until mid-May. But at this early juncture, Godden is clearly the most vulnerable council incumbent. Though well known among city voters, her 21 percent unfavorable rating is the highest on the council—tied with Kshama Sawant, according to an EMC poll taken in October. “She’s in trouble all right, but if anyone can pull it out, Jean will,” says a City Hall insider who has seen his share of council politicking over the past two-plus decades. Godden is no stranger to winning by the skin of her teeth. Four years ago, she barely survived her race against Seattle Department of Transportation planner Bobby Forch, winning by a 50.41 to 49.17 percent margin. Forch, by the way, was endorsed by councilmembers Nick Licata and Mike O’Brien. A well-respected, savvy lawmaker, Godden has forged a reputation as a strong advocate for funding city parks and working on behalf of women on income-inequality issues. Seldom does a day pass when Godden isn’t sporting a “No Wage Gap” button. She was also an early and enthusiastic supporter of the city’s paid-sickleave law, and remains, despite a myriad of setbacks, an outspoken backer of the deep-bore tunnel project to replace the Alaskan Way Viaduct. Still, Godden is running into some strong headwinds, and fully expects that her age will be used against her. “It will be done in subtle ways,” she says. “You know, they never talk about age when it’s a man. I mean, [California Gov.] Jerry Brown

Jean Godden says she isn’t backing down from a fight.

is 76.” With a chuckle, she adds, “I guess I’ll just say that I don’t remember Paul Revere’s ride.” With the emergence this year of district elections, Godden, for the first time, like most of her colleagues, will be compelled to compete on a far smaller political terrain. Godden and her rivals’ fate will be determined by the 54,000 registered voters in the newly created District 4, a swath of established neighborhoods like Laurelhurst, Ravenna, Wedgwood, Wallingford and Windermere—well-off suburban-esque enclaves where there is much unease about Seattle’s rapid growth and increasing density. Transit planner Rob Johnson will likely prove

Godden’s toughest foe. For more than a decade he’s served as the executive director of the Transportation Choices Coalition, an increasingly influential nonprofit that helped lead the charge for last year’s bus-funding measure and the 2008 campaign to expand Sound Transit to the Eastside. Tall and lanky, the fifth-generation Seattleite is 36, married, with three girls: twin 4-year-olds and a 16-month old. The family lives in Ravenna. “We need to make Seattle more affordable, and that means better transit,” says Johnson, noting that three of the five new light-rail stations soon to be completed are in the 4th District: Husky Stadium, University Avenue, and Roosevelt Avenue. “These are issues that Jean is not engaged in.” He entered the race in November, hired prominent Democratic strategist Christian Sinderman to oversee his campaign, and has raised about $15,000. He has also picked up some powerful support, including endorsements from King County Execu-

tive Dow Constantine, and King County councilmen Larry Phillips and Joe McDermott. Democratic Party activist Michael Maddux, who played a large role in passing last year’s permanent parks-district measure, has also joined the 4th District fray. A bright, thoughtful 33-year-old with a rich sense of political history, Maddux also has generational ties to Seattle: His great-grandfather on his mother’s side once owned a chain of Market Basket grocery stores. At a downtown coffee house, where Maddux arrived by bicycle, the Eastlake renter and single father of a 12-year-old daughter says that “Jean has been a great asset to our city, but the question now is what are the next steps we need to take. It’s about how we build an environmentally friendly city that is affordable. We need a stronger advocate [than Godden] on that.” Maddux—who has retained former Mayor Mike McGinn campaign manager John Wyble and raised nearly $3,000—continues, “This city is too expensive for too many. People and businesses are being pushed out, and right now, I don’t think Jean represents the best interests of where we are heading as a city.” Specifically, Maddux, a paralegal at a Seattle personal-injury law firm, points to Godden’s vote last year that helped shoot down a proposal to legalize and regulate homeless encampments. Asked about Johnson and Maddux, Godden replies tongue-in-cheek: “I seem to attract young males running against me. I’m sad that I didn’t have that magnetic quality when I was 30.” E

econklin@seattleweekly.com

communication breakdown » Possible Bertha “Failure” Irks City Council The Seattle City Council started the week with a bang, grilling officials from WSDOT over the unexpected discovery of an engineering report warning of a potential “catastrophic failure” during the digging of a pit to reach Bertha, the stuck deep-bore tunneling machine. Councilmembers voiced concerns with WSDOT’s failure to notify them of this warning. Here’s a sampling: “I used to be an engineer.

•

Engineers are not given to hyperbole.” —Kshama Sawant “The reaction should be a new process . . . creating more transparency with everyone.” —Mike O’Brien “Obviously there are problems in communication between SDOT and WSDOT.” —Tom Rasmussen

•

n Monday the state legislature gathered in Olympia for the start of what’s sure to be a grueling 105-day session. In theory at least, bills will be passed, progress made, and the will of Washington’s voters represented. Or at least that’s how it’s supposed to work. Forgive us for our skepticism. Rest assured, however, that the storylines coming out of Olympia over the next three months will be plentiful. Here’s a look at three that will likely prove particularly important: For the Kids No one subject will loom as large this legislative session as the state Supreme Court’s 2012 McCleary v. State of Washington ruling, which found that the state was failing to meet its “paramount duty” to fund public education. Lawmakers will need to do something this session, which means finding $3.35 billion in the 2015–17 budget cycle (not to mention another $4.48 billion in 2017–19). And it won’t be easy. Republicans, thanks to an improving economy, believe the money can be found in the state’s coffers, while Democrats generally believe new revenue will be required. Shocking, right? Which brings us to . . .

All About That Budget (No Taxes?)

High Time for MMJ Legislation

Taking McCleary into consideration, the governor’s office estimates a shortfall of roughly $3 billion, which is why Democrat Jay Inslee is proposing a capital-gains tax (among other things). Republicans, meanwhile, want to see new taxes as a “last resort,” and like to say that the state should “live within its means.” “We just passed the biggest budget in state history less than a year ago, and we have 10 percent more money now,” argues Sen. Michael Baumgartner (R-Spokane). Making matters even more contentious, on the first day of the session, the Majority Coalition Caucus-led Senate passed a rule that—if it holds up—will require a two-thirds majority on all “new” taxes. Clearly, whether it’s McCleary or a new transportation package, additional revenue will be hard to come by. Washington voters were ahead of the curve on the legalization of recreational marijuana use for adults. The bad news is the regulatory system for medical marijuana—legal in Washington since 1998—is all kinds of messed up, and has been for some time. Now, with a newly created, heavily regulated recreational market and a Wild West, anything-goes medical market fighting to hold on, something’s got to give. Patients, of course, worry about losing access and/or being forced into a heavily taxed recreational market that doesn’t fit their needs, while proponents of the Initiative 502-created legal-pot landscape worry about being undermined by a loosey-goosey “medical marijuana” system with little to no oversight. Will the legislature be able to remedy this conundrum in 2015? Stay tuned. E

mdriscoll@seattleweekly.com

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news&comment»

The Ghost of Molly Norris

What the Seattle cartoonist’s disappearance can teach us about Charlie Hebdo. BY MARK BAUMGARTEN

MOLLY NORRIS

Norris’ response to the 2010 fatwa.

remember her being scared. I was scared too. But we moved forward, continuing to publish Molly’s comics—as did Seattle Weekly—until September, when Norris disappeared. The FBI called it “going ghost.” On their advice, Norris gave up her name, her home, her job, and her friends. No one here at Seattle Weekly or at City Arts has heard from her since. Norris also gave up her narrative. And so we

have seen her cause picked up by right-wing pundits like Larry Kelley, the author of Lessons From Fallen Civilizations: Can a Bankrupt America Survive the Current Islamic Threat? Following Norris’ disappearance, Kelley started the Free Molly Norris Foundation to draw attention to Norris’ plight as the first American to be driven into hiding by radical Islam and to raise money for her—though he has yet to find a means to get the money to Norris. In the days since the Charlie Hebdo attacks, Kelley—who had no prior relationship with Norris—has made numerous media appearances to talk about the cartoonist-at-large. “We are no longer a free country if journalists can’t criticize a religion that, for example, believes apostates need to be killed,” he told Fox News, chastising the government for not providing Norris with financial support. It’s difficult to argue with that, and to his

credit, I agree with Kelley that the FBI should have given Norris more help. Yet I find myself unwilling to jump on board with Kelley and his fellow travelers and their rush to indict the entirety of the Islamic faith. I believe everyone should be allowed to speak freely, and I expect the governments of this world to defend that right by prosecuting those who would threaten it. But I am also concerned about the safety of our Muhammadan neighbors, and the gulf between the Muslim and non-Muslim worlds that appears to be widening as calls for freedom of speech become blurred with hateful speech that aims to denigrate the beliefs of a billion and a half people—the vast majority of whom are peaceful. Given the choice between a world intolerant of certain images and another intolerant of certain beliefs, I choose neither. And in this moment, that’s a complicated stance to hold. So what to tell all those news outlets searching for a soundbite? Perhaps at this moment of great upheaval, tremendous sadness, and understandable anger, it is best to refer back to Molly Norris. “Artists have to be not afraid when they create,” she told City Arts back in 2010. “You have to be responsible too with your freedom. It’s such a fine line.” E mbaumgarten@seattleweekly.com

City of Seattle

SEATTLE WE EKLY • JANUARY 14 — 20, 2015

hree voicemails were waiting for me when I walked into my Seattle Weekly office last Wednesday morning. I already knew who it was and what they wanted. And I knew that they would keep coming throughout the day. On the bus I had read the breaking news: 12 people killed at a weekly newspaper in Paris, apparently in response to the paper’s satirical depictions of the Muslim prophet Muhammad on its covers and in its pages. The gunmen were still at large. As the news unfolded half a world away, the U.S. media was on the hunt for a domestic angle to the horror, which is what led them to Seattle Weekly and to my voicemail. They were calling because four years ago Seattle Weekly counted among its contributors a woman named Molly Norris, a cartoonist whose quirky jabs at the modern world could be found in this paper every week and who would, for a few months in 2010, become the flashpoint for the media’s clash with radical Islam. Seattle Weekly was Norris’ best-known platform then, but not her only one. She also contributed regularly to City Arts, a monthly magazine here in Seattle where I served as executive editor during her time in the public eye. She also published a weekly comic on her website. Finding inspiration in the news of the day, she would dash off a humorous drawing—replete with bright colors, thick dark lines, and off-kilter type—and post it, expecting little more than some feedback, maybe a commission, perhaps a share. In the spring of 2010 she was inspired by Comedy Central’s decision to censor an episode of South Park for fear that the show’s depictions of the Prophet Muhammad would ignite a religious shitstorm. Seeing an injustice, Norris summoned her powers of adorable antagonism and drew up a poster declaring May 20 “Everybody Draw Mohammad Day.” Then she became the center of the shitstorm. The comic went viral. Supporters sharpened their pencils while detractors sharpened their knives. Facebook pages decrying her depiction of the Muslim prophet—forbidden by some Islamic texts—popped up, and on May 19 a high court in Pakistan blocked Facebook, perhaps in fear that “Everybody Draw Mohammad Day” would take off. The social-networking site remained offline in that country for two weeks. By that point, Norris had called off the day of drawing. “I didn’t mean for my satirical poster to be taken seriously,” Norris told City Arts’ Tim Appelo in mid-June 2010. “It became kind of an excuse for people to hate or be meanspirited. I’m not mean-spirited.” Norris’ intentions didn’t matter. On July 12, it was revealed that the comic artist had been the subject of a fatwa. According to his own interpretation of Islamic law, Yemeni-American cleric Anwar al-Awlaki told a magazine for radical Muslims, Norris’ “proper abode is hellfire.” I remember talking to Norris then. I

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food&drink

On the Controversy of Food Culture

FoodNews BY JASON PRICE

Nue Restaurant officially opened last Saturday at 1519 14th Ave. between Pike and Pine. Nue will focus on a diverse array of internationally influenced street food in a casual setting ideal for sharing. We profiled it in early October, and have been eagerly awaiting its opening.

How a friend with cancer made me appreciate my job more than ever. BY NICOLE SPRINKLE

ost of the people who want to cook for a living don’t really want to cook for a living, they want to be on TV, or they want to rule the world, I can’t tell anymore. People are too jacked up on food and cooking anyway. Please, everyone, just make yourself some nice pork chops for dinner and calm the hell down. —Gina DePalma, former pastry chef at Babbo Ristorante and Enoteca

Amaro Bistro celebrated its “official” grand opening on January 8. Owned by the proprietor of Pike Place Market fixture Il Bistro, the 3,400-square-foot space on Bothell Way will feature traditional and modern Italian classics, with an exhibition kitchen, a large bar, and space for 75 in the main dining room. Beer lovers should mark their calendars for March 28’s Washington Cask Beer Festival at the Seattle Center exhibition hall, offering more than 100 cask-conditioned beers on tap during two sessions, noon–4 p.m. and 6–10 p.m. Beers will be brewed and served in the traditional English method, which requires natural conditioning without artificially introduced CO2 and poured via a hand pump or by gravity. Tickets are $40 in advance, $45 at the door. E

I recently read this quote on a friend’s Facebook

A few months later, Hannah e-mailed. She was

coming to Seattle in just a couple weeks, but not for business or pleasure. She was coming to the Seattle Cancer Care Alliance for a double mastectomy—she had breast cancer. Afterward, she wrote, she’d be back home for rounds of chemo and radiation. She had a favor to ask me. Where should she and her partner have dinner in Seattle the night before her surgery? She said she was looking upon that meal as her “last supper,” assuming it would be many, many months before she felt well and strong again or had an appetite. She wanted to relish a meal as her healthy, pre-cancer-treatment self. She also had some tough criteria: Not only is she a vegetarian, but there were quite a few ingredients she couldn’t eat before the operation. And, the clincher, the establishment had to be open on the Sunday before her procedure. As a food writer, I constantly get requests from friends and acquaintances about where to eat. I always find it a challenging question unless I truly know the person well. But this was by far the toughest recommendation I’d ever made—and probably ever will. After I digested the terrible news, I started brainstorming. I’m not a vegetarian, but I know which vegetarian restaurants are the best, and which non-vegetarian restaurants offer good non-carnivorous alternatives. I also e-mailed a vegetarian colleague for suggestions. But just throwing my friend a list felt flimsy and unworthy of the task she’d entrusted to me.

» CONTINUED ON PAGE 16

TheWeeklyDish Roasted baby carrots with housemade paneer. BY NICOLE SPRINKLE

NICOLE SPRINKLE

back, one of my best friends from junior high friended me on Facebook. Hannah (not her real name) and her family moved away from my rural Maryland town at the start of high school, decades ago, and I haven’t seen her since. “Reconnecting,” I learned that she now lives out West, that she’s a lesbian who just married her partner, and that’s she’s a psychologist. The lesbian part, in particular, struck me since we’d both “dated” the same guy in middle school. While our friendship was brief, it had been deep—full of early teenage angst that we indulged by writing poetry and sharing our “works” with each other, through amateur photography, and by marathon Depeche Mode and The Cure listening sessions. We were moony teens, and we had intensely girl-crushed on each other. It was a charmed time. One day on Facebook, for a “Throwback Thursday,” Hannah posted a black-and-white photograph she’d taken of my mom and me on my 13th birthday. I hadn’t wanted a party; just for me, my mother, and Hannah to spend an afternoon at the Inner Harbor in Baltimore. We walked around, shopped, had dinner in Little Italy. It was a perfect day. The picture was such a surprise; I’d never seen it. My hair is all ’80s fluff, my smile guileless, my mother thin and pretty, beaming happily even though she’d just gone through a divorce. In fact, that’d been a very hard time for both me and my mom, and Hannah had been the friend who helped me get through my parents’ parting. I cried when I saw the picture.

morningfoodnews@gmail.com

I have a thing for carrots lately—maybe just because it’s winter and restaurants are finding imaginative, delicious ways to use them. Spur Gastropub is no exception. Theirs, however, come with a very inventive twist: along with Brussels sprouts, dollops of paneer shore up the sides. That’s right—the cheese you typically eat in tofu-like chunks in Indian food. In this preparation, however, the paneer is served creamy, much like ricotta or queso fresco. (Ricotta, however, is cooked twice while paneer is eaten fresh.) Its acidity, typically curdled with lemon juice or vinegar, balances the sweet carrots. All this is accented with a pancetta verjus because, well, chefs still tend to think everything tastes better with animal fat. E

SEATTLE WE EKLY • JANUARY 14 — 20, 2015

When I stumbled on her quote, I was thinking of something much more complicated than chef sensationalism, however. A few months

ILLUSTRATION BY DREW BARDANA

feed, and found it equal parts refreshing and offensive. Refreshing in that, yes, I’m sick of chefs who are more concerned with being on TV or opening a zillion restaurants than with cooking good food in their kitchens, and of this cult of personality that makes us give a shit about what a chef wears or what her house looks like or what he dreamed about last night. I also get peeved at people constantly taking photos of their food in restaurants; just eat and enjoy it! But as someone who makes her living writing about restaurants and chefs, and who does so because of an authentic love and admiration for food and the people who create it, DePalma’s tirade struck a nerve. Sure, I laughed at her sardonic declaration for everyone to calm down and make some “nice pork chops,” but the truth is, we as a society have come to care a lot about what we feed ourselves—and that’s hardly a bad thing. Those pork chops are something I grew up on, and they were generally overcooked, certainly not organic, and typically served with a mushy vegetable and an anemic salad. Now we have a slew of beautiful ingredients at our disposal and an army of cookbooks (and TV shows) to inspire us. DePalma’s own web site, ginadepalma.net, is about food—recipes, photographs, and her culinary musings. She’s certainly had a hand in perpetuating food zealotry. She was a columnist for many years at Serious Eats, and has her own cookbook, Dolce Italiano: Desserts from the Babbo Kitchen—which includes a foreword from Mario Batali, arguably the ultimate celebrity chef. DePalma had better hope we don’t just all go home and make ourselves pork chops. While DePalma stands by her quote, she also adds that the current fascination with food is surreal to her. “I’m Italian, and I grew up in a household where food was taken seriously but not self-consciously.” Having a good meal, she says, was as important as keeping the house clean. “I thought we were the norm, not the exception . . . so it’s strange for me that people are so amazed by good food.”

food&drink » FROM PAGE 15

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I needed to send her somewhere I truly loved; that I believed would feed her well and treat her with care. That would give her the glorious meal she was so intent on having. She clearly did not want to stay home and make herself a pork chop. Rather, she wanted to be catered to, to taste vividly, to experience the particular gratification one can get from a meal lovingly crafted by pros. My first thought was the vegetarian tasting menu at Canlis; it had the view, the cred, the dietary requirements—but wasn’t open Sundays. All the better, because it made me think more intently. Finally, it came to me. I told her, unequivocally, that she should go to Poppy on Capitol Hill. Not only do I love the Indianfarm-to-table-fusion style of the food, but it always seems as if it’s been plucked straight from the natural world: its scents and textures and tastes so thoroughly emblematic of each season, the expert use of their back garden herbs penetrating each thali in just the right measure. Since Hannah was coming in summer, I knew also that she could sit outside on the back deck surrounded by beautiful, heady-smelling plants and flowers and herbs, and that the kind and well-versed staff would add the right dose of contentment to her experience. We have so many wonderful restaurants in Seattle, but Poppy is the one place that manages to move even my most jaded New York friends. It’s where I almost always choose to go when I don’t have to be at a certain restaurant for work purposes. It’s as happy as its name. Off my recommendation went, and back came her reply: “My, Poppy looks perfect! So cheerful & yummy. And I love the Miró-esque mobile logo. I’m making reservations!” I didn’t receive an invitation to dinner, but was invited to join the care-community website her sister set up for her—a place for friends and family to get updates on Hannah’s surgery and post-healing. I signed up immediately, touched and grateful to be included. Through finding her a coveted meal, I’d joined her inner circle. She has since had the surgery, and I’ve been following her updates—from what she’s eating and reading to how she cried when she had to cut her trademark long, thick hair. I send hopeful comments (the kind that are always so damn hard to write). I have no idea if she ended up going to Poppy, and if so, whether she enjoyed it; I’m certainly not about to ask on a forum where each day she details whether she’s able to get out of bed or not. Regardless, I feel soothed about my recommendation, knowing it came from a place of profound care and responsibility—that through my own adulation of our culinary creators, I was maybe able to offer her an evening that excited her likely soon-to-be-weakened taste buds and soothed her pre-op anxiety. Such is the power a great chef can wield. I hope that when she’s better, she comes back and we can share a meal—maybe at Poppy, maybe somewhere else I’m newly excited about. And while the controversy about foodie culture continues, I’ll keep reminding myself why I do what I do. And if I too have been subconsciously harboring irritability with the foodworshipping culture we’re immersed in, I’m now a whole lot less wearied by it. E

nsprinkle@seattleweekly.com

arts&culture

Bruce Bickford vs. Time

Famed for the stop-motion movies he created for Frank Zappa in the ’70s, the artist hopes to finish his magnum opus for a new generation of fans. BY KELTON SEARS

THURSDAY, JAN. 15

Let’s back up a bit. For the sake of readers born

after the heyday of Frank Zappa, for whom Bickford created animated short films during the ’70s, or even born after Twin Peaks’ two seasons on TV, who is Bruce Bickford? A self-trained Seattle artist who enlisted in the Marines (including a stint in Vietnam) after graduating from high school in 1965, he found himself in L.A. by the early ’70s, trying to pitch his work to animation studios. Bickford recalls, “A lot of these places were impressed with my stuff, but they didn’t know how to use it. I even showed it to Disney, and they were aghast at how violent my stuff was. People

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Notaro returns to health.

KELTON SEARS

Tig Notaro

Bickford at a Des Moines store where he likes to draw.

think my stuff is too gnarly sometimes.” That was not a problem for Zappa, to whom Bickford was introduced by a mutual friend. Their half-dozen years of collaboration culminated in Zappa’s 1979 concert film Baby Snakes, shortly after which Bickford returned home to the Northwest. Since then, the somewhat reclusive artist has continued to work as his own unhurried pace. (Brett Ingram’s 2004 doc Monster Road, available on YouTube, provides an overview of his career.) Handcrafted claymation movies are notoriously laborious to produce, and it took Bickford eight years to complete the half-hour Prometheus’ Garden (1988, available on YouTube) and two decades to finish the 40-minute Cas’l (2010, excerpts of which are also online). Thanks to this meticulous work ethic, Bickford is never really done with his art. This seems to be both his blessing and his curse. As he tells me, “I got really into ancient Egypt when I was doing Vampire Picnic, because, well . . . it started because I got into pirates. Or, actually, I was working on a couple different stories before Vampire Picnic and then . . . ” He trails off, then shows me a drawing of “the Manticore,” one of many monsters from the latter project. Bickford enthusiastically digs out more illustrations from the many folders and boxes on his desk: “Here’s Napoleon and the Sphinx, and here’s Asmodeus the demon. The story is based in this area, but it goes back into the ancient history of Egypt.” How exactly Egypt fits into the story of Vampire Picnic, Bickford has yet to figure out. He thinks there may be a link between the ancient sun-worshippers of Egypt and a modern-day sun cult at Golden Gardens, which Bickford has devised for his story. Or at least that’s what I deduced, which Bickford seems to endorse when I tell him: “Ehhh . . . you know, actually, that might be the connection. I should write that down. Someone suggested that last night, too, at Vermillion.” If

the plot of Vampire Picnic is still being formulated, Bickford is certain that his Crowley Vampire Cult uses Egyptian artifacts in their rituals; and he knows that his protagonist will transport the reader from modern times to ancient Egypt via a supercomputer. He continues, “The main guy is trying to figure out why the vampires are kidnapping all these goth teenagers from around town.” In a dumpster, Bickford’s hero finds “this computer [that] reads your mind. It puts up these things . . . like information collages to try and figure out the relationships between the vampires of The Uplands and these ancient Egyptian cults. Or . . . well, it’s groping for the information.” When Bickford does hammer out the narrative,

he hopes to publish Vampire Picnic with Fantagraphics, then possibly shape it into a feature-length movie. He wants it to be filmed in a style he calls “Versatile Reality,” which would mix live-action with many different styles of animation. Until then, Bickford is a lot like his imaginary supercomputer— groping for information in the vast warehouse of his brain and endlessly collaging the results. He explains: “Look, I just want to be in the movie business, basically. I can be doing a lot of things. I could just be staying home working on my stuff. I could be doing more gallery shows, I have enough artwork . . . Do you want to look in the garage?” Bickford opens the door to reveal two huge rooms, jam-packed with rows and rows of clay humanoids, forested landscapes, giant monster heads, werewolves, and mutants. They’re stacked in dizzying rows, like science-lab specimens on trays. “Most of these things have not even been used in movies yet,” he tells me. “It just took a little while to figure out how to make them.” E

ksears@seattleweekly.com

VERMILLION 1508 11th Ave., 709-9797, vermillionseattle.com. 4 p.m.–midnight Tues.–Sun. Ends Feb. 7.

In showbiz, women take off their clothes for all kinds of reasons, most of them bad. The case of Notaro, long one of our favorite, most deadpan stand-up comics (and a Bumbershoot regular) is quite different—as serious, as they say, as cancer. Her appearance back in November was abruptly canceled owing to complications in her treatment for breast cancer. Last year’s tour became a must-see event—apart from the laughs, of course—because the comic was so frankly discussing her double mastectomy, even removing her top to show the audience her scars. Now most comedians—perhaps lazily—mine their personal lives for humor, but Notaro’s illness-related material feels particularly daring. She’s generally walled off her personal life from her stage presentation, the better to focus on extended narrative jokes that often end with an absurd twist. Her long signature gag about repeatedly meeting fallen ’90s diva Taylor Dayne has itself become an exercise in repetition; telling the joke, again, is like meeting Dayne, again. And yet we laugh, again. Notaro often seems intent on patterns and recurrences in her humor; she’s a student of the underlying inane structure to our daily lives. The tour halted last fall by a burst cyst and internal bleeding was called Boyish Girl Interrupted; now we can expect Notaro to resume nowhere near where she left off, because that would be too easy. (Tickets purchased for the November show are still valid.) The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. $25. 7 p.m. BRIAN MILLER

Dame Edna

Like Cher, or Landon Donovan, Dame Edna Everage seems to have been taking a valedictory lap for some time now. But after 60 (yes, 60) years as the pioneering mater familias of generations of drag performers (Divine, Dina Martina, Flip Wilson’s Geraldine, you name it), Barry Humphries’ comic persona—self-billed as “probably the most popular and gifted woman in the world today”—promises this stage tour, ending in April, really is her “Glorious Goodbye.” Dame Edna’s satirical target is celebrity culture, which she deflates simply by being more flamboyantly, joyfully immodest than anyone else. And by lacerating observations like this: “I’m also a close personal friend of Mel Gibson. He’s quite short.

SEATTLE WE EKLY • JANUARY 14 — 20, 2015

or the past four years, Bruce Bickford has been sitting on a small, grubby trampoline in his living room, drawing vampires on a wooden light box. His house in Sea-Tac, inherited from his father, overlooks a steep hill shrouded by trees. He points out his window at the distant foothills to explain where his newest project takes place. “Back in the hills there—I call them The Uplands in my stories—there’s this big cult. A vampire cult. There’s also this Aleister Crowley cult—he’s come back to start a new Golden Dawn cult with these genetically manipulated rattlesnakevampire people. But . . . the other vampires want to find this secret drug that will let them go out into the sunlight so they can have picnics . . . Arrgh, I might need to take an aspirin here real quick.” Stroking his long gray beard, Bickford shuffles over to his counter, covered in dusty doodads and knickknacks. The 67-year-old artist crushes two aspirins, funnels the powder into a cup, and fills it with a mixture of red and white grape juice. He slurps the potion through a straw, then coughs into his coat sleeve, which he’s patched with duct tape. “Anyways . . . I was just trying to put together a proposal, like a 40-page thing, for a friend of mine who knew Quentin Tarantino, to try and get Tarantino to turn it into a feature film. But, ehhh . . . I kept adding to it, and now it’s about 500 pages. I really gotta finish it—I just keep getting caught up in the details.” Portions of this sprawling, 500-pages-andgrowing movie proposal, a graphic novel titled Vampire Picnic, form a good chunk of Vermillion’s ongoing exhibition of the local legend’s recent work. The other half of the show includes scalemodel Twin Peaks replica sets, rendered in clay—a show Bickford says he didn’t even finish watching. “When they were airing it on TV, they kept showing the new [episodes] on different days week to week, so I couldn’t keep track of it,” he scoffs. “I got rid of my TV in the early ’90s anyway. I think David Lynch could use some of my help. I would love if he picked the graphic novel up for a movie, too, but he’s been really hard to get a hold of.” (Possibly fortuitously, following our chat, it was announced that Lynch—after a 25-year-hiatus—will be again filming some of Twin Peaks’ third season here in the Northwest.)

ThisWeek’s PickList

» CONTINUED ON PAGE 19 17

SEATTLE WEEKLY • JAN UARY 14 — 20, 2015

arts&culture» seem more pathetic to Ebba, who begins reevaluating the whole basis of their marriage. If not for the sake of their kids (played by actual siblings), what’s the point in staying together? This isn’t a fraught drama of the old Bergmanesque variety; it’s more a dark comedy of shame. Men reveal themselves as posturing fools here, while women sensibly wonder if they’re the only ones keeping our species alive. SIFF Film Center

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(Seattle Center), siff.net and nordicmuseum. org. $8–$12 individual, $55–$65 passes. 7 p.m.

BRIAN MILLER

FRIDAY, JAN. 16

Olivier Wevers

» FROM PAGE 17 I tower over him, of course. But then lying down you don’t notice differences in height.” (Through Sun.) The Moore, 1932 Second Ave., 877-784-

4849, stgpresents.com. $40–$85. 7:30 p.m. GAVIN BORCHERT

COURTESY STG

Is this the last of Edna?

Follow your instinct and embrace your surroundings. Take comfort in knowing this is where you belong.

Whim W’him’s artistic director has made a number of intriguing dances since he founded his company in 2009, but he’s also been a smart shopper, commissioning new works and staging existing ones by a variety of contemporary choreographers. For Threefold, Wevers will share the stage with Loni Landon (new year new you) and Penny Saunders (Soir Bleu, set to a new score by Paul Moore), two dancemakers new to Seattle audiences. Both work in the synthetic style that Wevers employs with his company, combining the flexibility and articulation of ballet with the liquid qualities of contact improvisation and

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Kongsli and Kuhnke in Force Majeure.

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Nordic Lights Film Festival

modern dance. Their two works join Wevers’ newest, We are not the same, a collaboration with New York composer Brian Lawlor that reconfigures a Brahms score, bringing a 19th-century sensibility into the 21st. (Through Sun.) Cornish Playhouse at Seattle Center, 201 Mercer St., 726-5011, whimwhim.org. $25–$30. 8 p.m. SANDRA KURTZ TUESDAY, JAN. 20

Nick Jaina

Jaina is what you might call a downer. As a songwriter, the longtime Portland balladeer has a penchant for excavating broken hearts and loneliness. Likewise, in his first book, Get It While Your Can (Perfect Day , $10), Jaina has decided to focus his attention on solving the riddle of suffering—his own personal suffering, at least. As in his songs, Jaina here manages to imbue life’s darker moments with a lightness, employing verbal prowess and deadpan humor. Between personal vignettes—as we follow the author on tour and to a meditation retreat—Jaina imparts some bona fide wisdom and provides one of the most eloquent exegeses of the love song you’ll ever read. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. Free. 7 p.m.

MARK BAUMGARTEN E

#SeekSunValley

SEATTLE WE EKLY • JANUARY 14 — 20, 2015

This weekend festival begins with the Norwegian sports doc The Optimists (repeating 10 a.m. Sat.), which may remind some of that singing chorus documentary Young@Heart from 2007, in which seniors belted out heavy-metal anthems. Here, in the small town of Hamar, women aged 66 to 98 vigorously set, block, and spike on the volleyball team, which ought to put our American penchant for power-walking and water aerobics in proper perspective. And if you need to feel any more slothful, director Gunhild Westhagen Magnor is bringing spry Anne-Grethe Westhagen to appear tonight. Other highlights in the fest, running through Sunday, include the familyfriendly Norwegian creature-com Ragnarok (4 p.m. Sat), about an archeologist searching for an ancient Viking treature trove. Then there’s a late chance to see the excellent Oscar-nominated Force Majeure (8 p.m. Sat.), from Sweden. Ruben Östlund’s sly, unsettling study of marital dissolution takes place in the French Alps (hence the name, changed from Turist), where a sleek, modern family is interrupted at lunch by what seems a catastrophic avalanche. The husband flees his wife and two children, then Ebba (Lisa Loven Kongsli) can’t let go of that fact. Copping to his cowardice only makes Tomas ( Johannes Kuhnke)

Stab him! Stundyte and Grimsley in Tosca.

January 30

THE NILE PROJECT

arts&culture» Stage

Musicians from 11 countries across the Nile Basin create the new sound of a shared Nile identity.

MEANY HALL ON THE UW CAMPUS | 206-543-4880 | UWWORLDSERIES.ORG

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“Women of the Nile” Seattle Asian Art Museum, Jan 28, 7PM Free admission with RSVP “Civic Engagement and the Management of Water Resources” Meany Hall, Jan 30, 6-7pm Ticket to performance required

LIVE @ BENAROYA HALL JANUARY 20 & 22

A DEPARTURE FROM THE EXPECTED

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SEATTLE WEEKLY • JAN UARY 14 — 20, 2015

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Opening Nights PMeasure for Measure CENTER THEATRE AT SEATTLE CENTER, 733-8222. $29–$43. RUNS WED.–SUN.; SEE SEATTLESHAKESPEARE.ORG FOR EXACT SCHEDULE. ENDS FEB. 1.

Sex! Politics! Religion! Measure for Measure bulges with dinner-party taboos and municipal dilemmas. This succinct yet itchy “unfestive comedy,” per my old Bevington edition in college, looks at the distortions and power abuses that result within a society that overregulates human affairs—literally. In this legalistic dystopia, marriage costs money; and by fornicating outside of marriage, you can lose your head—again, literally. The incarceration industry, drugs, prostitution, and other social ills proliferate amid the systemic suppression of biological drive. Director Desdemona Chiang contrasts her spirited cast with the hulking, hook-like columns, comfortless rock surfaces, and inquisitor’s office of Phillip Lienau’s set. Here, while the legitimate Duke of Vienna (David Anthony Lewis) pretends to be out of town, petit-tyrant Angelo (a subdued Bradford Farwell) sentences Claudio (Moses Yim) to death for fornicating with his girlfriend without the proper license (marriage). Claudio’s novitiate sister Isabella (Cindy Im) intercedes on Claudio’s behalf, but refuses Angelo’s quid pro quo demand of her chastity. Chiang doesn’t shy from dark comedy, so viewers squirm when Im’s desktop attempts to escape rape border on slapstick. On another disconcerting note, his ex-fiancée Marianna (an incandescent Aishe Keita) says of the reprobate Angelo that “best men are molded out of faults and . . . become much more the better for being a little bad.” Ugh—that’s like Ray Rice’s girlfriend defending him after her elevator assault. But hey, such unromantic truths are what make this a “problem play,” rich with human foibles. Fonts of more conventional humor include lowlifes Lucio (Tim Gouran), concave and jangling with the DTs, who heckles from the audience; natty pimp Pompey (Scott Ward Abernethy), who moonlights as executioner; and pillow-bellied constable Elbow (Harry Todd Jamieson) with his whoopee megaphone. When

Lucio and Pompey tell the Duke—returned to town in disguise—their low opinions of him, it’s a delicious situational drubbing. Measure for Measure has an unstable ending for a comedy, handled wonderfully by Chiang (with a smart line cut that provides a splitsecond of sitcom perfection). Lust and justice are perilous companions. Just ask Eliot Spitzer.

MARGARET FRIEDMAN

Tosca MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 389-7676, SEATTLEOPERA.ORG. $25 AND UP. ENDS JAN. 24.

Here’s a question: Does anyone actually like Tosca? Not Puccini’s 1900 opera, I mean, but its title character. At Seattle Opera’s Saturday-night performance, Ausrine Stundyte proved a courageous actress, adeptly playing up Tosca’s not-soattractive side—her coquettishness and jealousy— as well as her later heroism. The soprano’s one vocal issue was a vibrato that, curiously, sounded fully under control only in Act 2; before and after that, it could get a bit wide and wobbly. But in between, it was beautiful, embellishing rather than dominating her vocal lines; her big solo in this act, “Vissi d’arte,” was gorgeous—passionate and thoughtful, artful and emotionally direct. Singing her lover Cavaradossi, Stefano Secco’s voice has a fairly baritonal color, with little of the bright “ping” (squillo is the technical term) familiar in many tenors. This is an observation, not a complaint; richly easy on the ear, it lacked nothing in carrying or penetrating power, with an impressive effortlessness in his long, loud, and high (money is the technical term) notes. “Charm” is not a word often used to describe performances of the role of Scarpia, the blackhearted police chief who comes between the two, but it was enjoyable to hear how and when Greer Grimsley let his voice go a little “Italian”—adding just hints of the scoops, slides, and sobs traditionally associated with the idiom. (He’s most often heard at Seattle Opera as Wotan in Wagner’s Ring, which is the last place you’d want to hear that kind of effect.) He and Stundyte rightfully earned unexpected mid-act applause after the scene in which she stabs him—probably because it was so powerfully staged and sung, but maybe also because the audience was cheering the villain’s death English-panto-style. GAVIN BORCHERT E

stage@seattleweekly.com

Stage

(1/6) Springer & The Story Collider: Springer Storytellers: OPENINGS & EVENTS About Scienceself-effacing AETERNO Stories ELEMENTUM This unambitious,

rock opera tells “the tragic story of mankind’s final fall” through a troupe of “fire-dancers . . . aerial acrobats, (1/6) Matt Taibbi martial-arts experts, and fully armored knights engaged The Growth of ‘American in authentic medieval combat,” all set to heavy metal. Oh, is that all? Kirkland Performance Center, 350 Kirkland Injustice’ Ave., Kirkland, 425-893-9900, kpcenter.org. $30. 8 p.m. Fri., Jan. 16 & Sat., Jan. 17 & 24; 6 p.m. Sun., Jan. 25. Hill DAME EDNA (1/7) SEE THE First PICK LIST, PAGE 17. DIRTY DANCING Nobody puts this 1987 movie Public Realm Action Planclassic in a corner. But they did put it onstage. The Paramount, 911 Pine St., 877-STG-4TIX. $25 and up. Opens Tues., (1/7) Aaron Glass Jan. 20. Runs Tues.–Sun.; see stgpresents.org for exact schedule. Ends 1. andFeb. Barb Cranmer FAMILY AFFAIR Jennifer Jasper’sBanel “hilarious, twisted, with Feliks and ultimately relatable” cabaret on the theme of family. Edward Curtis and JewelBox Theater at the Rendezvous, 2322 Second Ave., jenniferjasperperforms.com. 7:30 p.m. Wed., Jan. 21. ‘The Making $10. of Modern 14/48: KAMIKAZE 360 The annual instant-theater Cinema’ festival—creating and performing plays from scratch in 48 hours—does it in the round this time. ACT, 700 Union (1/8) Alexandra Witze St., 292-7676, acttheatre.org. $10–$20. 8 & 10:30 p.m. Fri., Jan. 16–Sat., Jan. 17. Kanipe and Jeff FUSSY CLOUD PUPPET SLAM The ninth in this series Volcanic Legacies, of “cabaretstyle puppet show[s] for Lessons grown-ups.” Theatre Off Jackson, 409 Seventh Ave. S., 800-838-3006, brown papertickets.com. $10. 8 Music p.m. Fri., Jan. 16–Sat.,and Jan. 17. (1/10) Early Guild IAN SCHUELKE WANTS A TV SHOW The launch of Seattle Baroque Orchestra: this monthly stage variety show inspired by TV’s golden Aof‘Twelfth Night’Theatre Celebration age the genre. JewelBox at the Rendezvous, 2322 Second Ave.,Julie 800-838-3006, brownpapertickets. with Andrijeski com. $10. 7 p.m. Sat., Jan. 17. LETTERS TO THE EDITOR Book-It not only turns novels Music into theater,(1/12) but in thisTown case newspapers—namely, 90 The Jewish Transcript . Central Library, 1000 years ofThird Coast Percussion Fourth Ave., spl.org. Free. 12:30 p.m. Sun., Jan. 18. THE LOWER DEPTHS Theatre Machine’s new adapta(1/13) Daniel DiSalvo tion of MaximDebate: Gorky’s examination of the Russian underclass. theLAB@INScape, 815 Seattle Blvd. S., 800-838and Michael McCann 3006, brownpapertickets.com. $12–$18. Opens Fri., Jan. Powerplus of Mon., Public Unions’ 16. 8‘The p.m. Thurs.–Sat. Jan. 26. Ends Jan. 31.

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TOWN HALL

(1/14) Marin Katusa The Future of the Global Energy Trade CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(1/14) Steven Brill Fixing American Healthcare (1/15) NatureBridge presents ‘Return of the River’ Film Screening (1/19) Wes Moore How to Live a Meaningful Life

(1/21) Amir Aczel The Roots of Numbers (1/22) Andrew Keen The Internet’s Unseen Consequences (1/22) Seattle Neufeld Community & ParentMap: Dr. Gordon Neufeld Making Sense of Parent-Child Power Struggles (1/22) Joshua Davis Immigration, Robots, and DREAMers TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(1/23) Kimberly Parker: WWW.TOWNHALLSEATTLE.ORG ‘Lost in Sound: A One Woman Play’ (1/24) Saturday Family Concerts The Bushwick

present 11 short comedies. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. $15–$20. 7:30 p.m. Thurs., Jan. 15–Sat., Jan. 17, 3 p.m. Sun., Jan. 18. THE PIANO LESSON Family members clash in Depression-era Pittsburgh in August Wilson’s Pulitzerwinning play. Seattle Repertory Theatre, Seattle Center, 443-2222. $17-$102. Previews start Jan. 16, opens Jan. 21. 7:30 Wed.–Sun. plus some Wed., Sat., Sun. matinees; see seattlerep.org for exact schedule. Ends Feb. 8. THE SECRETARIES A black-comic satire of gender stereotypes set in an Oregon lumber mill. Theater Schmeater, 2125 Third Ave., 324-5801, schmeater.org. $22–$29. Preview Jan. 15, opens Jan. 16. 8 p.m. Thurs.– Sat. Ends Feb. 14. THE THREE SISTERS The Seagull Project essays more Chekhov. ACT, 700 Union St., 292-7676. $15–$25. Previews Jan. 20–21, opens Jan. 22. Runs Thurs.–Sun.; see acttheatre.org for exact schedule. Ends Feb. 8.

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CURRENT RUNS

THE 4TH GRADERS PRESENT AN UNNAMED LOVESUICIDE 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. 7:30 p.m. Thurs.–Sat. plus 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. 8 p.m. Thurs.–Sat., 5 p.m. Sun. Ends Jan. 18. MEASURE FOR MEASURE SEE REVIEW, PAGE 20.

• 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. 8 p.m. Thurs.–Fri. Ends Feb. 13. 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 Directed by L. Zane Jones for Civic Rep, this production of Tennessee Williams’ great warhorse strips away the Southern

accents, but the bigger problem is an abiding tentativeness among the central cast. While this staging is not devoid of charm, it fails to connect the dots of the play with a sense of tragic inevitability or heft. Frail and lovely, Blanche (Robin Jones) arrives in dainty vintage togs; sister Stella (Kelli Mohrbacher) confusingly sports a tattoo and ’50s-style cat-eye glasses; and Stanley (a terrific David Nail) looks pure Ballard: L-shaped sideburns and a bowling shirt. Big-throated and Archie Bunker-like, his is the performance I’ll remember. MARGARET FRIEDMAN 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. TEATRO ZINZANNI: HACIENDA HOLIDAY Showbiz couple Vivian Beaumount and Clifton Caswell (Christine Deaver and Kevin Kent) return to a swanky hotel to renew their vows making for a romantic finale as spicy as the Southwest-inspired menu. GAVIN BORCHERT Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/ seattle for exact schedule. Ends Jan. 31. THROUGH THE LOOKING-GLASS More Lewis Carroll from SPT’s Youth Program. Seattle Public Theater, 7312 W. Green Lake Dr. N., 524-1300, seattlepublictheater.org. Free. 7 p.m. Fri., 2 & 7 p.m. Sat. Ends Jan. 17. THE VELVETEEN RABBIT Toys come to life in this children’s classic. SecondStory Repertory, Redmond Town Center, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. 1 & 3 p.m. Sat.–Sun. Ends Jan. 25.

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Dance •

WHIM W’HIM SEE THE PICK LIST, PAGE 19.

Classical, Etc.

OPERA SEE REVIEW, PAGE 20. • SSEATTLE • EATTLE SYMPHONY Violinist Itzhak Perlman conducts

and plays Bach, Brahms, and Beethoven. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $60–$155. 7:30 p.m. Thurs., Jan. 15, noon Fri., Jan. 16. MUSIC OF ANGELIQUE POTEAT Chamber music by this very active young clarinetist/composer. Chapel Performance Space, 4649 Sunnyside Ave. N., wayward music.org. Donation. 8 p.m. Fri., Jan. 16.

•

OPERA The light comic • PUGET SOUND CONCERT L’amico Fritz might surprise you if you

touch of Mascagni’s only know the composer’s blood-and-thunder Cavalleria rusticana. Cross of Christ Lutheran Church, 411 156th Ave. N.E., Bellevue, 7 p.m. Fri., Jan. 16; Bethany Lutheran Church, 7400 Woodlawn Ave. N.E., 7 p.m. Sat., Jan. 17. $20. pugetsoundconcertopera.org. DIVERSE HARMONY It’s the 13th season for this pioneering queer/straight alliance youth choir. Broadway Performance Hall, 1625 Broadway, diverseharmony.org. $20–$30. 7:30 p.m. Fri., Jan. 16–Sat., Jan. 17. QUEEN CITY MUSICIANS From this fledgling early-music group, Handel’s Ode for St. Cecilia’s Day. First Lutheran Church of Richmond Beach, 18354 Eighth Ave. N.W., Shoreline, 7:30 p.m. Fri., Jan. 16; St. Stephen’s Episcopal Church, 4805 N.E. 45th St., 7:30 p.m. Sat., Jan. 17. $25. queencitymusicians.com. THE MET: LIVE IN HD This week, Renée Fleming sings the title role in Lehár’s The Merry Widow. See fathomevents. com for participating theaters. 10 a.m. Sat., Jan. 17; encored 6:30 p.m. Wed., Jan. 21. ENSEMBLE ELECTRA Chamber music by Bach, Vivaldi, and others. Queen Anne Christian Church, 1316 Third Ave. W., 726-6088, galleryconcerts.org. $15–$30. 7:30 p.m. Sat., Jan. 17, 3 p.m. Sun., Jan. 18. SEATTLE SYMPHONY Seth Krimsky plays Weber’s Bassoon Concerto; Ludovic Morlot also conducts rousers by Beethoven and Mozart. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $17–$81. 2 p.m. Sun., Jan. 18. MO SHENG: INK SOUND Byron AuYong’s commissioned piece for string quartet was written in response to the Frye’s exhibit of Pan Gongkai’s ink paintings. Frye Art Museum, 704 Terry Ave., 622-9250. Free, but reserve a seat at fryemuseum.org. 3:30 p.m. Sun., Jan. 18. SEATTLE SYMPHONY Pink Martini is the special guest band. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $69–$109. 7:30 p.m. Tues., Jan. 20 & Thurs., Jan. 22.

• •

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

LGBTQ Lesbian Gay Bisexual Transgender Questioning

CWUis 1 #

inWashington

for celebrating your own identity and is among the nation’s top 50-LGBTQ-friendly schools. CWU is the only four-year institution in the state to earn INSIGHT into Diversity’s prestigious Higher Education Excellence in Diversity Award. Campus Pride awarded CWU a five-star rating and placed it in the top 50 on the Best of the Best list, which highlights the most LGBTQfriendly universities. cwu.edu/diversity

SEATTLE WE EKLY • JANUARY 14 — 20, 2015

(1/20) Anya Kamenetz The Perils of Standardized Testing

ONE-ACT FESTIVAL The Northwest Actors Lab and BPA

SEATTLE WEEKLY

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Author Events

Openings & Events

BRILL The Time magazine writer talks about • STEVEN America’s Bitter Pill: Money, Politics, Backroom

• EXPO 92 Cairo’s annual arts/music festival, this year

his Deals, and the Fix to Fix Our Broken Healthcare System. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $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, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 4:30 p.m. Weds., Jan. 14. MARIN KATUSA He’s written The Colder War: How the Global Energy Trade Slipped from America’s Grasp. Town Hall, $5. 7 p.m. Weds., Jan. 14. JEANNE MATTHEWS Her thriller Where the Bones are Buried is set in Berlin. Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery.com. Noon, Weds., Jan. 14. JAMES PENNER He’s written Timothy Leary: The Harvard Years: Early Writings on LSD and Psilocybin with Richard Alpert, Huston Smith, Ralph Metzner, and Others. Elliott Bay Book Co., 1521 10th Ave., 6246600, elliottbaybook.com. 7 p.m. Weds., Jan. 14. LIN KAYMER Who is Mackie Spence? is her locally set new YA novel for girls. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7:30 p.m. Thurs., Jan. 15. TOD MARSHALL & DARA WIER Bugle and You Good Thing are their new poetry volumes, respectively, Elliott Bay, 7 p.m. Thurs., Jan. 15. GRAEME SIMSION He considers parenthood in his novel The Rosie Effect, sequel to The Rosie Project. Third Place Books, 17171 Bothell Way N.E., 3663333, thirdplacebooks.com. 7 p.m. Thurs., Jan. 15. ERIC ANDREWS-KATZ Balls and Chain is his new spy spoof. University Book Store, 7 p.m. Fri., Jan. 16. THOMAS PERRY A String of Beads is his latest crime novel. Seattle Mystery Bookshop, Noon, Fri., Jan. 16. JASON SCHMIDT A List of Things That Didn’t Kill Me is his humorous new memoir. Third Place, 6:30 p.m. Fri., Jan. 16. • DAVID SHIELDS & CALEB POWELL Apparently James Franco filmed a version of the extended dialogue that is I Think You’re Totally Wrong (Knopf, $25.95) by the two Seattle writers (Shields being the more prolific and renowned, Powell being his former UW student). Their book, subtitled “An Argument,” is the result of a four-day marathon bullshit session spent in a Skykomish cabin together, with topics ranging from parenthood to art, from 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. BRIAN MILLER Elliott Bay, 7 p.m. Fri., Jan. 16. CAROLYN KIZER MEMORIAL READING Her friends and fellow poets will include Willis Barnstone, Tess Gallagher, Garrett Hongo, and Carol Muske-Dukes. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. 4 p.m. Sun., Jan. 18. DAVID DOMKE In Kane Hall, Room 130, the UW professor and author gives a talk titled “Showdown in Birmingham, 1963: Police Dogs, Fire Hoses, and the Children’s Crusade.” UW Campus, $150 series, $40 individual. 7 p.m. Mon., Jan. 19. WES MOORE The Work: My Search for a Life That Matters is his second memoir. Town Hall, $5. 7:30 p.m. Mon., Jan. 19. Tokyo is burning, and Devilfish is • RON DAKRON kaiju , one of those fake-looking rubber laughing. He’s a monsters running amok—a giant blue manta ray, in this instance—and the very amusing narrator of Dakron’s Hello Devilfish! (Three Rooms Press, $15.95). Devilfish claims to be an enemy not just of Tokyo, where he gleefully topples power lines and elevated trains, munching on their passengers, but also of the novel itself. “Join us in plot-maiming fun!” he exclaims in Manglish, a comic lexicon made up of odd advertising slogans, poorly translated Japanese, LOL-speak, and I Can Has Cheezburger grammar. Destruction is this manta ray’s mantra. Yet the more his sting-tailed protagonist inveighs against Big Lit, Dakron begins to sneak in some structure and literary mischief. There’s even a love story in Hello Devilfish!, an abrupt transformation (hello, Doug!), and flourishes of humor that recall Mark Leyner. Here’s a creature intending not to enter the literary canon but to destroy the library. BRIAN MILLER Ravenna Third Place, 6500 20th Ave. N.E., 523-0210, ravennathirdplace.com. 7 p.m. Tues., Jan. 20. BY B R IA N M I LLE R

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

with the theme “Under Construction,” features art from Minh Nguyen, Al Bee, Christopher Ando, Max, and others. Cairo, 507 E. Mercer St., templeofcairo.com. 7-10 p.m. Thurs., Jan. 15. MELT A group show of local and international artists responding to issues pertaining to youth, childhood, and education. Opening reception, 6:30-8:30 p.m. Thurs., Jan. 15. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 935-2999, youngstownarts. org. 9 a.m.-9 p.m. Mon.-Sun. Ends March 15. ON CAPTURING TRANSIENT BODIES Patty Haller, Ingrid Lahti, Edward Lee, and Trung Pham set out to “capture what cannot be captured” in this painting exhibit. Opens Thurs., Jan 15. ArtsWest, 4711 California Ave. S.W., 938-0963, artswest.org. 1:307:30 p.m. Thurs.-Sat. Ends March 7. NATURE VS. NURTURE A group show themed around scenes that have a nurturing or naturing element. Opening reception 5-9 p.m. Thurs., Jan. 15. EAFA Gallery, 5701 Sixth Ave. S., eafa.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Feb. 28. TERMINAL A group show dealing with the subject of mortality and the effort to make space for beauty in the face of approaching death. Photographers include Richard Misrach, Sylvia Plachy, Eugene Richards, and a dozen more. Opening 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.

•

Ongoing

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

inspired by a chance encounter with a truck canopy in Spokane. Bent takes that form and adopts it into a “monolithic chamber of secrets.” Jack Straw New Media Gallery, 4261 Roosevelt Way N.E., 634-0919, jackstraw.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Feb. 6.

BAM BIENNIAL: KNOCK ON WOOD Again, there’s a

very materials-focused emphasis to this biannual group show. Clay and fiber art were featured in 2012 and 2010, respectively; now it’s the chisel-and-mallet set’s turn to display their creations. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts. org. $5-$10. 11 a.m.-6 p.m. Tues.-Sun. Ends March 29. ALIX BRODEUR A Shovel a Shovel features minimalist pottery. Pottery Northwest, 226 First Ave. N., 285-4421, potterynorthwest.com. 11 a.m.-5 p.m., Tues.-Fri. Ends Jan. 31. 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 and Malini Balakrishnan. Scenes and icons from Mumbai to New Delhi are represented via photography and sculpture. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $12–$19. Weds.-Sun. Ends Feb. 15. CROSS POLLINATION Gallery artists invite a guest to show a piece alongside their own works. 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. James Harris Gallery, 604 Second Ave, 903-6220, jamesharrisgallery.com. 11 a.m.-5 p.m. Sat. Ends Feb. 14. INCANTATION AND FOLLIES Incantation is group show with strong mystical influences. Mark Mitchell’s Follies features clothing inspired by pharmaceutical companies and the AIDS epidemnic. Roq La Rue, 532 First Ave S., 374-8977, roqlarue.com. Noon-5 p.m. Wed.-Sat. Ends Jan. 31.

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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

•

Watching the Watchers The group show Police at Work has suddenly become more topical than curator Paula Maratea— or the dozen BY BRIAN MILLER affiliated gallery artists—could’ve guessed. After the deaths-by-police of Michael Brown and Eric Garner in Ferguson, Mo., and Staten Island, N.Y. (respectively) and a national debate on police brutality, the January 8 opening might’ve seemed well-timed. But such shows take months to organize, and the roughly 70 photos on display here—most of them low-quality snaps taken with smartphones—obviously extend well into the past year. Still, some wrenching new context must be considered. Two NYPD cops were slain on December 20, and three French police officers died only last week. So the intention here— to watch, or document, those who are watching us—collides with an acute new sensitivity. After the 2010 police shooting of John T. Williams and the continued federal monitoring of our SPD’s use-of-force policies, we have good reason to be wary of the cops seen here. Most are in bored, unhurried poses, doing nothing important (or threatening). Some are in New York, a few in London; and some wear uniforms I don’t recognize. Confusing matters and diluting the show’s impact, there are images of firemen and museum guards. (“Don’t touch the art” isn’t a lifeand-death issue; and at the Henry’s current Ann Hamilton show, you’re allowed to touch much of it.) There’s a randomness to these images, not a specific indictment. None of Gallery 110’s

THEFUSSYEYE

SABE LEWELLYN

SEATTLE WEEKLY • JAN UARY 14 — 20, 2015

Showbox presents: Motion City Soundtrack, Tuesday Feb. 17, 7:30 pm, Showbox. They perfect their trademark blend of indie rock riffs, bittersweet melodies, driving synths, and droll-yet-earnest lyrics on Even If It Kills Me.

arts&culture» Literary & Visual Arts

artists are attacking the police, though Maratea has found and hung some inflammatory online texts—again, dating well back into 2014, before recent events—that now raise qualms. Then there are photos of the surveillance cameras so ubiquitous in Europe and so resisted here. If you read the letters to the editor of The Seattle Times, they (and red-light cams) threaten our precious American freedoms. But those same cameras, along with the bravery of French police, is how the Kouachi brothers were ultimately caught and prevented from further acts of violence. Again: This show isn’t anti-cop, but it’s become important in ways the artists couldn’t have envisioned. Gallery 110, 110 Third Ave. (Tashiro Kaplan Building), 624-9336, gallery 110.com. Noon–5 p.m. Wed.–Sat. Ends Jan. 24.

» Film

American Sniper OPENS FRI., JAN 16 AT CINERAMA, PACIFIC PLACE, ARK LODGE, AND OTHER THEATERS. RATED R. 132 MINUTES.

Appropriate Behavior OPENS FRI., JAN. 16 AT SUNDANCE CINEMAS. NOT RATED. 90 MINUTES.

Shirin (Akhavan) on the rebound.

PThe Search for General Tso RUNS FRI., JAN. 16–THURS., JAN. 22 AT GRAND ILLUSION. NOT RATED. 73 MINUTES.

PARKVILLE PICTURES/GRAVITAS VENTS.

Because Desiree Akhavan has been cast in a recurring role on the new season of Girls, her visibility and pop-culture credentials are about to be certified in a new way. And good for her. But this 30-yearold writer/director/actress had already staked out her position in the Voice of a Young Generation sweepstakes as creator of the web series The Slope and the indie feature Appropriate Behavior, a success at the 2014 Sundance Film Festival. Maybe Girls needs her more than she needs Girls. Now Appropriate Behavior opens for its regular run, after garnering a nomination for Best First Screenplay in the Independent Spirit Awards. (Which raises the question: Why is an actual teeny-tiny indie like this competing against obviously bigger films such as Birdman and Selma? The Spirit awards have always been kooky that way.) Akhavan plays Shirin, a Brooklynite trying to recover from a breakup with Maxine (Rebecca Henderson). A millennial named Maxine? All right, it’s sort of retro, so we’ll let it pass. We see Maxine mostly in flashback, which allows us to deduce that maybe these two weren’t particularly well-matched to begin with. Shirin tries to move on with a variety of bisexual encounters and a new job teaching filmmaking to a group of 5-year-olds. The film’s indie-hipster-Brooklyn world is easy enough to take, and Akhavan’s observations are amusing if not earthshaking. What seems most promising about Akhavan’s directing talent is her very specific eye. There’s no reason a scene in a lingerie store should be distinctive, but the interplay among Shirin, pal Crystal (a funny Halley Feiffer), and a touchy-

The conceit to this food doc—how one of the most popular Chinese dishes in America originated—is ultimately just a clever way into a much broader story of how Chinese immigrants used food to assimilate into American culture. History often reminds us of our past prejudices: the Japanese-American internments during WWII, slavery, anti-Semitism, etc. Yet the Chinese Exclusion Act of 1882, which prohibited the immigration of Chinese laborers and led to pervasive discrimination, is more often forgotten. Yet its consequences were key in pushing Chinese Americans toward the restaurant business, as most other jobs were off limits to them. The ingenuity of how they reinvented their native cuisine for a Western palate, initially serving limited items alongside American staples like hamburgers and steaks, is the backbone of this film. Director Ian Cheney, who had a hand in King Corn, interviews historians and other Chinesefood experts (far too many of them, though the collector of Chinese menus is fascinating), as well as longtime Chinese restauranteurs and their heirs. The latter makes for the better moments here—particularly in shots of those anachronistic, lonely Chinese restaurants situated on desolate small-town highways in middle America. Their owners’ remarks are enlightening, touching on everything from the craze for chop suey in the ’50s to Nixon’s famous trip to China in 1972 that suddenly put Chinese cuisine in vogue again. Mentions of dishes like shrimp in lobster sauce and chow mein will transport any child of the ’60s or ’70s to that one Chinese restaurant where their family ordered takeout, probably named something along the lines of Golden Palace (that’s the one my family frequented). While the question of where General Tso’s Chicken comes from does indeed get answered (taking Cheney all the way to China), the real mystery here is how a foreign cuisine came to be arguably the most beloved American comfort food. NICOLE SPRINKLE

She’s Beautiful When She’s Angry OPENS FRI., JAN. 16 AT SEVEN GABLES. NOT RATED. 92 MINUTES.

When is feminism going to have its Selma moment? The struggle for civil rights has been amply documented and dramatized; the Vietnam War protest movement has been well integrated into Hollywood tales (Born on the Fourth of July, Forrest Gump, etc.) and PBS programming; but second-wave feminism, the subject of this listless

An unidentified protestor during a Washington, D.C. rally.

wage inequality, the lack of subsidized child care, anti-abortion laws, and pervasive sex discrimination. Through archival footage and some fresh interviews, Dore mostly follows the movement’s minor players to whom she had access. (There’s a poignant 7 Up effect as miniskirted marchers become gray-haired grandmothers.) “We were used to licking envelopes,” says one woman of the secretarial jobs that prepared them to organize via mimeographed mailing lists and phone trees (the Internet of that era). Recalling the recent “10 Hours of Walking in NYC as a Woman” YouTube video, one ’60s activist is seen catcalling and wolf-whistling at men on Wall Street, to ironically reverse sexual harassment. That such issues are still with us is brought home by a passing old remark that “we all know that women are overworked and underpaid”—indeed, and now with the added bonus of work e-mail to answer after the kids are asleep. In general, however, Dore shies away from modern parallels and postscripts. She’s Beautiful simply celebrates the heroic past, blinders firmly in place. The film becomes a tedious procession of laudable figures recalling a noble cause; then it gets mired in the dull factionalism of race, sexual orientation, and class within the movement. To achieve his ends, Martin Luther King kept a lid on such divisions (as we see more in Robert Schenkkan’s LBJ plays than in the anodyne Selma). But that kind of charismatic and even imperious leadership is what wins political wars. In She’s Beautiful, Dore’s subjects can point with pride to a lot of “consciousness-raising”—there’s a phrase you don’t hear anymore—and Roe v. Wade, but those were only a few battles won. And when Dore cuts to Wendy Davis filibustering on the floor of the Texas legislature, it’s only a reminder of how some critical gains have been reversed. So when do we see a biopic of Gloria Steinem? Cast Emma Stone in the role, and millennial women might actually show up to watch. BRIAN MILLER E

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SEATTLE WE EKLY • JANUARY 14 — 20, 2015

There was a time when American Sniper would’ve been an ideal Oliver Stone project—a story of the battlefield and the homefront, of ideals and damage. Its subject is Chris Kyle, the sharpshooter whose action in four Iraq War tours reportedly made him the deadliest sniper in U.S. military history. A Texas rodeo rider before he joined the Navy SEALs, Kyle was nicknamed “Legend” by his fellow soldiers and the “Devil of Ramadi” by Iraqi fighters. His life had a lurid ending—a terrible irony that reframes his story in a larger context of troubled veterans and PTSD. Imagine Oliver Stone’s high-strung emotionalism and blunt-force style brought to bear on this scenario. Now imagine its opposite: That’s Clint Eastwood’s deliberately neutral take on the material, a measured directorial approach that is likely to disappoint those looking for either a patriotic tribute to the troops or a critique of war and its effects. Kyle is ably played by a hulked-up Bradley Cooper, who leaves out neurotic shadings in favor of a straightforward turn that seems fittingly non-complex. Cooper lets his body do the acting; every time Kyle returns from his various tours, he looks like a caged animal inside his home, as though he’s grown too large to be comfortable away from battle. Sienna Miller, as Kyle’s wife Taya, is good at both the early courtship and the later worry over her husband’s increasing aloofness. The film, scripted by Jason Hall from Kyle’s memoir, has some standard-issue military bonding and uneven dialogue. What really works is the way it’s structured around parallel sequences, nowhere more intensely than the repeated images of the sniper at his gun, scanning the world for insurgents. One such sequence is the film’s most unnerving: As Kyle idly looks through his gunsight at passersby on the street below, he talks to his wife on the phone, half a world away. They speak of her pregnancy and flirt a little, and throughout this pleasant banter his eye remains at the rifle’s scope. Eastwood cuts to the TV screen in her apartment, flashing the number of American dead in Iraq; he cuts to the view through the gunsight, as random Iraqi people pass under

the crosshairs. The conversation could be taking place in an Applebee’s, or a suburban backyard, but the finger stays on the trigger and the eye searches for threats. In other places in the film, Eastwood’s uninflected approach has a flattening effect. Here it creates one of the most chilling scenes in recent American film. ROBERT HORTON

new doc, failed to achieve its big goal: the Equal Rights Amendment. That narrative isn’t triumphant enough for the multiplex, yet director Mary Dore tries—partly by ending her story short of the ERA’s proposal and ratification failure—to spin as many happy outcomes as possible. And, sorry to say, I’m not buying all of them. The timeframe here is 1966–71, after the Pill, NOW, and Betty Friedan (heard in several old interview clips). “Women’s lib,” variously understood, has seized the national imagination as (mostly) young female boomers protest

VIRGINIA BLAISDELL/INT’L FILM CIRCUIT

Opening ThisWeek

WARNER BROS.

Kyle (Cooper) takes aim.

feely store manager culminates in a wonderfully odd, wordless exchange of awkward glances. And the whole movie is set within Shirin’s IranianAmerican community, complete with an overachieving older brother and unusual party customs. When Akhavan shows partygoers leaping over an open flame as part of a Persian ceremony, she veers close to My Big Fat Greek Wedding territory. Shirin’s still in the closet to her nicebut-traditional parents, so that hurdle gives the movie some conventional suspense. These storytelling devices long predate Akhavan’s immediate influences, whether we’re talking about Girls or ’70s-era Woody Allen. Despite the nudity and a scene involving a threesome (Shirin is tri-curious, apparently), Appropriate Behavior really isn’t as edgy as it might appear. ROBERT HORTON

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of this very influential 1982 doc, which uses old government A-bomb footage and educational films to create an effect both humorous and deeply discomfiting. (NR) Keystone Church, 5019 Keystone Pl. N., 632-6021, meaningfulmovies.org. Free. 7 p.m. Fri. BETTER OFF DEAD John Cusack stars as a lovelorn suicidal teen in this 1985 comedy. But, since he doesn’t succeed in offing himself, he instead opts to ski his way into the heart of a French exchange student. (PG) Central Cinema, 1411 21st Ave., 686-6684. $7-$9. 7 p.m. Fri.-Tues. & 3 p.m. Sat.-Sun. CINEMA ITALIAN STYLE The 1962 Italian road comedy Il Sorpasso was a huge hit at home but virtually unseen here. Why? It came out during the art-house epoch of Fellini and Antonioni, whose L’Eclisse gets a succinct critique from Bruno (Vittorio Gassman): “I couldn’t keep my eyes open!” Speeding into the picture in his Lancia convertible (equipped with a record player!), Bruno is open to everything in life. He flirts with every woman in sight; he drives like a maniac; he makes shady business deals on the fly; and he spontaneously befriends shy young law student Roberto (Jean-Louis Trintignant), dragging him along on a weekend road trip. Their picaresque circuit leads north from Rome, shuttered during August vacation, to various beach towns, restaurants, and clubs. Along the way we hear self-conscious Roberto’s interior monologues; he frets that he’s “too uptight,” the type who always looks before leaping. Meanwhile, Gassman reveals Bruno to be a man of depth and soul, not just some rogue. Dino Risi’s film is far slyer than its oddcouple construct. Nothing is wasted on Bruno, who opens Roberto’s eyes to life lived both high and low, where risk is inseparable from reward. (NR) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 6543121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m. Thursdays through March 19. DAZED AND CONFUSED It’s 1976 all over again in Richard Linklater’s 1993 pot-hazed high-school confidential. Yet beneath the cannabis clouds there’s surprising insight into the inner lives of slackers, stoners, and jocks. Throughout, Linklater’s laid-back observational style reveals all the longing, languor, and half-understood notions of self that define what it means to be 18. And you can’t beat Aerosmith’s “Sweet Emotion.” Keep your (red) eyes peeled for Parker Posey, Ben Affleck, and Matthew McConaughey, whose muscle-car Romeo memorably declares, “That’s what I like about these high school girls: I keep getting older; they stay the same age.” Somehow Linklater, now in line to win an Oscar for Boyhood, almost makes that seem poignant. (R) B.R.M. SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff.net. $7-$12. 11:55 p.m. Sat. & Sun.

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HAPPY HOUR

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FOR THE WORLD IS HOLLOW AND I HAVE TOUCHED THE SKY Described as “a stoner rock

musical,” created by Curran Foster, this is either a film adaptation or a live stage show intended to help fund such adaptation. (NR) Central Cinema, 1411 21st Ave., 686-6684. $5-$10. 4:30 p.m. Mon. KING KONG The classic creature movie from 1933 is accompanied by a discussion on race (hmmm) with three smart panelists leading the gathering: Jason Lamb, Brian McDonald, and Kris Kristensen. (R) B.R.M. Central Cinema, $10-$12. 8 p.m. Thurs. ROCK OUT WITH YOUR VCR OUT Curators from Scarecrow offer up their favorite video oddities from the Reagan era and beyond. (NR) Grand Illusion, $5-$9. 9 p.m. Sat. 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, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5-$9. $5-$9. 1 p.m. Sat.

SEATTLE WEEKLY • JAN UARY 14 — 20, 2015

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E VE NT S

MUSIC

THE CORNER/ THE PHILADEL• SHOP AROUND Two classic screen comedies from 1940 PHIA STORY

are screened. The first stars Margaret Sullavan and James Stewart as unwitting future lovers, directed by Ernst Lubitsch from a clever Hungarian play. The second is George Cukor’s excellent screwball farce, a three-way romantic contest among Stewart, Katharine Hepburn, and Cary Grant. You can’t go wrong here. (NR) Grand Illusion, $5-$9. See grandillusioncinema.org for showtimes, running Fri.-Thurs. A TALE OF WINTER Eric Rohmer’s 1992 film is a comedy of manners based on the most transparent of plot contrivances. Félicié (Charlotte Véry) falls in love with a wonderfully handsome man, a charismatic cook with Gallic charms and a smooth bottom. They scamper along a beach, they copulate, they muss each other’s

PR O M O

hair. They are demonstrably in love. This all happens in a brief introductory montage. Then Félicié and Charles part, with kisses, high hopes, and promises to correspond faithfully. Several months later, having received not a single letter, Félicié realizes she gave him the wrong address. It’s the kind of thing that could happen to anyone—she simply told him the wrong city. As if you told your sweetheart that you lived in Puyallup, when really you lived in Yelm. Five years later, Félicié has had a daughter by the vanished Charles, and while she has taken up with not one but two men, she continues to carry a torch for her darling disappeared chef. She announces to both of her lovers that she doesn’t love them, at least not much, but proceeds to move in with one, and continues to exert a powerful hold over the other, a librarian who likes to talk about Catholicism and Pascal. There is a flimsy handful of charm in the film; Félicié’s deadpan young daughter is an engaging sort whose sincerity is a beacon in a fog of manufactured feeling. Félicié herself is entirely grating. Her self-absorption—in this she is a typical Rohmer heroine—knows no bounds. Her grand emotion, her beautiful lost romance, is wearying and false. Credit where credit is due, however: Rohmer seems to know full well that his characters, with their endless pseudo-intellectual blathering, are nitwits. He finds them perversely charming, even vaguely heroic. The viewer may not. (NR) MARY BRENNAN Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum. org. $6-$11. 8 p.m. Fri. 3 & 7 p.m. Sat.-Sun. THE THING Stalked by a shape-shifting, DNAinfiltrating alien on their Antarctic base, Kurt Russell and company dissolve into mutual suspicion and distrust. The beast could be inside any of them, so you have to shoot your pal—or incinerate him with a flame thrower—without hesitation to save your own skin. John Carpenter’s 1982 The Thing is a reverse guyson-a-mission flick, where unit cohesion falters and leader turns against crew. It’s morning in America, and utter darkness at the South Pole. (R) B.R.M. Central Cinema, $7-$9. 9:30 p.m. Fri.-Tues.

AR T S AND E NT E R TAI NM

•

Ongoing

BIG EYES The pancake-eyed-waif portraits of Walter and

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 New York Times critic who calls them out) is a film I want to see. Because of Waltz’s lupine charm, Walter’s decision to slap his name on Margaret’s art doesn’t seem so implausible. (“People don’t buy lady art,” he says, and it’s true during this sexist Mad Men era.) 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, Oak Tree, 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). Birdman serves so many heady moments it qualifies as a bona fide happening. It has a few stumbles, but the result is truly fun to watch. And Keaton—the former Batman, of course—is a splendidly weathered, human presence. Ironically or not, he keeps the film grounded. (R) ROBERT HORTON Sundance, Pacific Place, others

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• BOYHOOD Richard Linklater’s Boyhood was shot

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SHOWTIM ES

• GONE GIRL What’s exceptional about Gillian Flynn’s

adaptation of her 2012 novel, directed with acid fidelity by David Fincher, is that Gone Girl doesn’t like most of its characters. Nick Dunne (Ben Affleck) soon falls under suspicion of murdering his missing wife Amy (Rosamund Pike). The small-town Missouri police investigation (led by Kim Dickens) goes entirely against Nick for the first hour. He behaves like an oaf and does most everything to make himself the prime suspect, despite wise counsel from his sister (Carrie Coon) and lawyer (a surprisingly effective, enjoyable Tyler Perry). Second hour, still no body, but flashbacks turn us against the absent Amy. The movie poster and tabloidTV plot suggest a standard I-didn’t-kill-my-wife tale, but matrimony is what’s being murdered here. Gone Girl is all about manipulation—Fincher’s stock in trade, really, which helps make the film such cynical, mean-spirited fun. (R) B.R.M. Crest 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 code-breaker 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. 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, Lincoln Square, Thornton Place, Cinebarre, Kirkland, Lynwood (Bainbridge), others INHERENT VICE Why Thonas Pynchon would go back to 1970 with his late (2009) hippie detective spoof 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 Paul Thomas Anderson to plumb? Doc Sportello (Joaquin Phoenix) is a mutton-chopped gumshoe operating near the L.A. beach, salt air and cannabis fumes constantly in his lungs, vaguely pursuing a missing-person case in which the real-estate developer in question. His “old lady” Shasta (Katherine Waterston) turned him onto the case, which sends him stumbling 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 Bjornsen: police detective, part-time actor, and Doc’s possible doppelgänger. Both Bigfood and Doc are confronting the MacGuffin that is the Golden Fang: possibly a conspiracy, possibly a paranoid stoner misunderstanding. Don’t expect any mysteries to be solved here; Doc is a P.I. who collects very little hard evidence, yet he persists, unperturbed by the absence of such facts. 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. (R) B.R.M. Guild 45th, Meridian, Thornton Place, Oak Tree, 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 familiar 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. The singing tends toward the Broadwaybrassy, although Blunt and Corden—working in a more casual style—are completely charming. A bit of the 1987 show’s subversive message still peeks through, making this an unusual blockbuster to unleash at Christmastime. (PG) R.H. Majestic Bay, Pacific Place, SIFF Cinema Uptown, Thornton Place, others

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» CONTINUED ON PAGE 26

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DAZED AND CONFUSED

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in the director’s native Texas in short bursts over a 12-year period—Linklater knew the shape of the film, but would tweak its script as time marched on, incorporating topical issues and reacting to his performers. This means that unlike most movies, which remake the world and impose an order on it, Boyhood reacts to the world. Protagonist Mason (Ellar Coltrane), tracked from first grade to high-school graduation, is learning that life does not fit into the pleasing rise and fall of a threeact structure, but is doled out in unpredictable fits and starts. Linklater doesn’t reject melodrama so much as politely declines it, opting instead for little grace notes and revealing encounters. Patricia Arquette and Ethan Hawke are terrific as the parents, and Linklater’s daughter Lorelei is distinctive as Mason’s older sister. Other folks come and go, like people do. As we reach the final stages, there’s definitely a sense of rounding off the story, and a few appropriate nods toward lessons learned—the movie’s not as shapeless as it might seem. Let’s also appreciate how Linklater calls for us to reimagine how we might treat movies and childhood: less judgment, less organization, more daydreaming. (R) R.H. Admiral CITIZENFOUR Fugitive leaker Edward Snowden has invited documentary filmmaker Laura Poitras (The Oath) and The Guardian journalist Glenn Greenwald into his Hong Kong hotel room. In this absorbing character study, they debate how and when to spill the information he took from his job at the National Security Agency. Clicking the SEND button carries as much weight as Bob Woodward meeting Deep Throat in All the President’s Men. This straightforward documentary may be smaller-scaled than a political thriller, but it has similar suspense: Everybody in the room realizes the stakes—and the dangers—of exposing a whistleblower to public scrutiny. One man’s whistleblower is another man’s traitor, a debate that Poitras doesn’t pause to consider, so confident is she of Snowden’s cause. Having this access to Snowden in the exact hours he went from being a nonentity with top-secret clearance to a hero/pariah is a rare chance to see a now-historical character in the moment of truth. By the end of the film, we get a scene that suggests that Snowden is not alone in his whistleblowing status—a tantalizing hint (scribbled by Greenwald on pieces of paper) of another story to come. (NR) R.H. Crest 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). There was the same kind of underlying criminal inevitability to Miller’s 2005 Capote, where the surprise lay in how a talented, frivolous writer created his unlikely masterpiece. Here, I’m sorry to say, there’s no such consolation. 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, uppertoothed smile, Carrell’s du Pont remains a mystery, but not an interesting mystery. Yet even if Miller can’t find a satisfying dénouement for Foxcatcher, 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, Meridian, Lincoln Square, Oak Tree, others A GIRL WALKS HOME ALONE AT NIGHT This debut feature by Ana Lily Amirpour 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 in this black-and-white, Farsi-language vampire movie. Sheila 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 blackand-white gloom, she has a great vampire vibe. Her soulmate also moves through the nocturnal city: 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? (NR) R.H. SIFF Cinema Uptown

arts&culture» Film » FROM PAGE 25 SELMA A lot of Selma is 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. Director Ava DuVernay keeps her focus on the events surrounding the march to Selma, 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. This very American story has a curiously Brit-dominated cast, including David Oyelowo as Martin Luther King, Jr. and Carmen Ejogo as his wife Coretta. 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. (PG-13) R.H. SIFF Cinema Uptown, Sundance, Ark Lodge, Majestic Bay, Kirkland, Bainbridge, others WILD Though I have reservations about the fulsome emotional blasts of director Jean-Marc Vallée (lDallas Buyers Club), and though the adaptation by Nick Hornby (About a Boy) 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

2033 6th Avenue (206) 441-9729 jazzalley.com 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 1,100 miles on the Pacific Crest Trail from California to Oregon, even without disavowing all her past actions. Wild is essentially a memory trip, presented non-sequentially, as Cheryl plods north. In the movie’s second half, more maudlin than its smart start, Wild is all about mommy. Yet don’t mistake Wild for an easy, conventional healing narrative (though healing does of course come at the end). Rather, it’s more a coming-to-terms account. (R) B.R.M. Guild 45th, SIFF Cinema Uptown, Kirkland, Lincoln Square, others BY B R IA N M I LLE R

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LYNNE, CARLA, GRACE TUES, JAN 27 - WED, JAN 28

Allstar power jazz piano, sax and vocal trio.

SEATTLE WEEKLY • JAN UARY 14 — 20, 2015

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

Tuesday’s

Wednesday’s

arts&culture» Music

Heavy Metal Balls

A pinball machine is the ultimate high score for a band; the Seattle Pinball Museum is too, for fans of the game.

BY DAVE LAKE

Ride the lightning: the Metallica pinball game.

than 50 games on two floors, plus a handful of vintage arcade games like Missile Command, Asteroids, and Pac-Man. The initial agreement with Storefronts granted three months of free rent, eventually extended to 10; when that period ended, the Martins decided they were having too much fun to stop. They officially took over the lease and have been in that location ever since, with their presence helping to improve the vacancy rate on their block of Maynard Avenue. On the afternoon I was there, street parking was in demand and the multicultural neighborhood was bustling with energy and foot traffic. The SPM boasts not only the recent Metallica game, but the best assortment of rock-&-roll pinball machines in Seattle. They’ve got AC/ DC, Guns N’ Roses, the Rolling Stones (the 2011 Stern version, not the 1979 Bally original), The Who’s Tommy, and Capt. Fantastic, based on Elton John’s “Pinball Wizard” character from that film. There’s no KISS machine, but Martin tells me they’re restoring one, which will hit the floor when it’s ready. The only artist-related games missing that I know of are Ted Nugent, Elvis Presley, and Dolly Parton.

The Metallica game was released in 2013, but for a few minutes while playing it, I am transported to an alternate-universe time warp, somewhere between today and 1986, where teenage me and present-day me commingle in front of this electronic marvel. That’s the magic of these rock-&-roll pinball machines: They offer a blend of the contemporary and the nostalgic that is distinct and unduplicated in other art forms. Despite the evolution of pinball technology over the decades, the playing experience remains virtually unchanged, as does the distinction of having a game built around your band. “I have a lot of relationships in the music business,” Jody Dankberg, Stern Pinball’s director of marketing, told Game Informer recently. “And it’s really hard to find a band who doesn’t want their own pinball machine. All of these guys are super-rich, so they’re not doing it for the dollars, they’re doing it for the trophy of having a pinball machine. J.J. Abrams, when we made Star Trek, said, ‘You know when you have your own pinball machine, you’ve really made it.’ ” E

music@seattleweekly.com

SEATTLE WE EKLY • JANUARY 14 — 20, 2015

The SPM is not an arcade. For starters, none of its games take quarters. The entrance fee of $13 allows unlimited play, with all machines set to free. They’re arranged chronologically; a sign above each tells you more about its unique features, the year it was made, and its fun rating as tracked by the Internet Pinball Machine Database (think IMDb for pinball instead of movies). The SPM opened five years ago in the International District, an early participant in the Storefronts Project, an organization that provides free rent to artists and their businesses in highvacancy neighborhoods. Owner Cindy Martin says it started as a lark: “It was my husband’s idea. It was a dream of his to have a place to gather for pinball. He thought that the idea might be crazy, but he pitched it anyway.” The museum opened with 10 pinball machines on a single floor; today it boasts more

PHOTOS BY KAIA D’ALBORA

o my mind, the highest achievement in the music biz is not being inducted into the Rock and Roll Hall of Fame or appearing on the cover of Rolling Stone. It isn’t winning a lifetime-achievement Grammy or getting a diamond certification from the RIAA. These are admirable accomplishments, no doubt, but they pale in comparison to joining music’s most exclusive club, one that just a handful of artists and bands have had the honor of experiencing over the years: scoring a brand-name pinball machine. I fell in love with pinball in middle school, about the time I became obsessed with Metallica’s Master of Puppets. A latchkey kid, I walked home from school most days wearing headphones, a heavy-metal cassette in my Walkman. I frequented Mar Vista Bowl’s tiny arcade, just one block from my house, pumping pocketfuls of quarters into the era’s popular video games: Paperboy, Track & Field, Marble Madness. But eventually they grew boring, and I turned my attention to the opposite end of the alley where the half-dozen or so pinball machines resided. It was a different vibe entirely: Frequented by more adults than teens, there was the added challenge of playing while trying to avoid the smoke billowing from the cigarette hanging off the glass of the machine next to yours. Unlike video games, pinball was a more visceral experience. Success could be enhanced by force and finesse. It was a Metallica mosh pit in miniature. The sounds were loud, the pace frenzied, the game play physical. Flash-forward 30 years, and Metallica is a pinball machine. Released by Stern Pinball Company in 2013, Metallica, the game, mashes up cartoonish imagery of the band with some of its iconic themes—coffins, serpents, and skulls—complemented by a soundtrack of a dozen of its heaviest songs blaring from the speakers, with bonuses granted for illuminating F-U-E-L targets, knocking down cross-shaped grave markers, and getting an electric-chair-strapped character to “ride the lightning.” I stopped in to play it recently at the Seattle Pinball Museum; within a few minutes, my teenage years officially came full circle as James Hetfield’s gravelly voice announced “Multi-ball!”

arts&culture» Music

El Corazon www.elcorazonseattle.com

CONVEYER

FRIDAY JANUARY 16TH

TUESDAY JANUARY 20TH

SEATTLE WEEKLY • JAN UARY 14 — 20, 2015

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 10TH ANNIVERSARY SHOW!

EL CORAZON’S “PUNK ROCK FURY”

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 7:00PM / Show at 8:00 21+. $10 ADV / $15 DOS

SUNDAY JANUARY 18TH CHAINBANGERS DISC GOLF SHOP PRESENTS:

IPL @ THE EL INDOOR PUTTING LEAGUE 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)

E V E N T S

SUNDAY JANUARY 18TH

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. $8 ADV / $10 DOS

U P C O M I N G

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

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

THURSDAY JANUARY 15TH

QN I G H T C L U B

with Meridian, Give & Take, Jenny’s Last Stand, Twisted Heroes, Plus Guests Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

THE RAMONAS

THE UK’S ORIGINAL ALL GIRL TRIBUTE TO THE RAMONES

with Split Skins, Plus Guests Lounge Show. Doors at 8:00PM / Show at 8:30 21+. $6 ADV / $8 DOS

WEDNESDAY JANUARY 21ST

ALCAEUS

with Tides Of Malice, Thread The Sky, Plus Guests Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

THURSDAY JANUARY 22ND

GRAYSON ERHARD

with Morning Bear, Megasapien, Common Law Cabin, Foreign Sons Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

JUST ANNOUNCED 2/8 LOUNGE - Q DOT 2/13 - SUPER GEEK LEAGUE 2/27 LOUNGE - BLACK PUSSY 3/7 EARLY - FALLUJAH 3/7 LATE - EDDIE SPAGHETTI (SUPERSUCKERS) 3/7 LOUNGE - THE DREAMING 3/10 - SET IT OFF 3/29 LOUNGE - HEAVYWEIGHT UP & COMING 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 / WATAIN1/28 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 HOME 2/5 LOUNGE - RAW FABRICS 2/6 - THE DICKIES 2/7 - JUCIFER 2/10 - BEHEMOTH / CANNIBAL CORPSE 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

TH URSD AYS

MIGUEL MIGS + MARQUES W YATT ANTHONY ATTALL A + WEISS ANJUNADEEP TOUR GOLDROOM HUXLE Y

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

AUTOGR AF BRENMAR + PROMNITE SALVA + GIRL UNIT SWEATER BEATS + POMO

01/14/15 02/11/15 02/18/15 02/25/15

ICON FRID AYS

SATURD AYS

EEKKOO KILL FRENZY ARCTIC MOON

W ED N ESD AYS

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

DJ YUP TINA T J AY C E E O H

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

01/16/15 01/23/15 02/20/15

FLIGHT

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

FACILITIES

2/21

SIMPLE MOBILE NOTHING TOUR

WALE

1/23 with AUDIO PUSH, BIZZY CROOK

9PM

GUITAR IN THE SPACE AGE! TOUR

9PM

ANDY GRAMMER ALEX & SIERRA 2/24

with PARADISE FEARS

8PM

BILL FRISELL MARCHFOURTH

1/31 COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

2222 2ND AVENUE • SEATTLE

206-441-5449

9PM

AUGUST BURNS RED

with MISS MAY I + NORTHLANE + FIT FOR A KING + ERRA 2/16

7PM

COMMIT THIS TO MEMORY 10-YEAR ANNIVERSARY TOUR

MOTION CITY SOUNDTRACK

2/17

MARCHING BAND 2/28

SHOWBOX AND KISW METAL SHOP PRESENT

COAL CHAMBER with FILTER + COMBICHRIST

+ AMERICAN HEAD CHARGE

3/11

with WILLIAM BECKETT, BRICK + MORTAR

KARL DENSON’S TINY UNIVERSE BROWNOUT

2/19

Opener: Somi

Christian McBride

SWEEPSTAKES! See below.

with

3/14 9PM

COLD WAR KIDS 2/20

with ELLIOT MOSS

9PM

7PM

MXPX + FIVE IRON FRENZY

7:30 PM

RUN DMC REMIXED

Bebel Gilberto

8:30 PM

with SUCCESS

8PM

SHPONGLE with PHUTUREPRIMITIVE

3/22

9PM

SHOWBOX SODO Vijay Iyer Trio

STEEL

1/17

with SKELATOR

9PM

3/7

8PM

4/18

KIP MOORE 1/31

Taylor Eigsti · Becca Stevens · Lucky Peterson · Joe McBride · Kurt Elling Freda Payne · Lou Donaldson · Devin Phillips · Lee Konitz · Julian Lage Frank Catalano · Cyrille Aimée · Hal Galper · Ron Carter · Bobby Torres Billy Childs · Luis Conte · Benny Green · Nicholas Payton · Hailey Niswanger

with CANAAN SMITH

NEPTUNE THEATRE

with special guest WOVENWAR

KALIN AND MYLES

7:30 PM

CHRIS HARDWICK 8PM & 10:30 PM

JOSHUA RADIN 3/1

with ANDREW BELLE + CAREY BROTHERS

amtrak.cascades.com

Tickets Available at portlandjazzfestival.org or call 503.228.5299 SWEEPSTAKES! Enter to win festival tickets, Amtrak Cascades train travel and hotel.

Visit www.kplu.org and search “giveaways” to enter.

7:45 PM

NEPTUNE THEATRE

FUNCOMFORTABLE TOUR

1/16 – LATE SHOW ADDED

IN FLAMES + ALL THAT REMAINS

SHOWBOXPRESENTS.COM

7:30 PM

SEATTLE WE EKLY • JANUARY 14 — 20, 2015

PANTHER

FEBRUARY 18 –MARCH 1

arts&culture» Music

TheWeekAhead Wednesday, Jan. 14 SEAN WATKINS is a busy man. After a seven-year

hiatus, the singer/guitarist is once again performing with Nickel Creek, the bluegrass band he formed at age 12. He released Fiction Family Reunion in 2013 with Switchfoot’s Jon Foreman as part of the indie-folk group Fiction Family, and he’s also a member of Works Progress Administration, a supergroup that includes his sister and Nickel Creek bandmate, Sara. On top of all that, Watkins found time to release All I Do Is Lie, his fourth solo album, last June. All I Do loses a lot of the twang on Nickel Creek’s latest, A Dotted Line, but keeps the album’s acoustic earnestness. With Lauren Shera. The Triple Door, 216 Union St., 838-4333, the tripledoor.net. 7:30 p.m. $20 adv./$25 DOS. All ages.

Thursday, Jan. 15

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

THE TRIPLE DOOR presents

An evening with

Jill Cohn and Hereward SEATTLE WEEKLY • JAN UARY 14 — 20, 2015

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

DOORS OPEN AT 6PM /SHOW AT 7:30

$10 discount reserved Tickets available online: www.thetripledoor.net $17 Day of Show available at box office

THE TRIPLE DOOR 216 Union Street, Seattle www.thetripledoor.net

Black Beehive, the latest from BIG HEAD TODD & THE MONSTERS, bridges the gap between rock and blues perfectly. The Colorado quartet took what it learned working with blues legends like B.B. King, Charlie Musselwhite, and Hubert Sumlin on its previous release, 100 Years of Robert Johnson (under the name Big Head Blues Club), and combined it with the rock sensibilities it mastered over the course of a nearly 30-year career. Sumlin is mentioned in “Hubert’s Dream,” and the title track is a touching tribute to soul singer Amy Winehouse. The band’s appreciation of both rock and blues makes for another strong release in a much-respected discography. The Showbox, 1426 First Ave., 628-3151, showboxpresents.com. 7:30 p.m. $32.50 adv./$35 DOS. 21 and over. It seems as though singer/songwriter ESMÉ PATTERSON, formerly of Denver folk band Paper Bird, always has something up her sleeve. On her latest full-length, Woman to Woman, she put an unexpected spin on classics like Elvis Costello’s “Alison,” the Beach Boys’ “Caroline, No,” and The Band’s “Evangeline” by responding to them from their subject’s point of view. For a recent week-long residency in Portland, Patterson challenged herself to write a tune about each of the seven seas and premiere a new song each night. With a seemingly endless batch of ideas, there’s really no telling what Patterson will come up with next. With Fruition. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $10. 21 and over.

Friday, Jan. 16

It’s almost unbelievable how much local booker Mamma Casserole and punk shop Singles Going Steady have packed into one night for GARAGELAND FEST. After a preshow happy hour, the night, split between two venues, kicks off with Loud Eyes (at Lo-Fi) and The Crush (at Victory Lounge). The Knast, the Moonspinners, The Gods Themselves, and Killer Ghost will take the stage before the night ends with L.A. alt-rockers Paul Collins Beat (Lo-Fi) and local grungewave act Bad Motivators (Victory Lounge). There will also be DJ and unplugged sets throughout the night and record vendors on hand. Rest up—this is going to be a long night. Also with Acapulco Lips, Bread & Butter, Rich Hands. The Lo-Fi, 429 Eastlake Ave. E., 254-2824, thelofi.net. 5 p.m. $12. 21 and over. Victory Lounge, 433 Eastlake Ave. E., 382-4467, facebook.com/ VictoryLoungeSEA. 8 p.m. $7. 21 and over. Skate Like a Girl is a kick-ass organization that uses skateboarding and skate-related programs, including the Youth Employment Skateboarding program, to uplift people and communities along the West Coast, so it’s a given that GIRLS THAT SHRED: A BENEFIT FOR SKATE LIKE A GIRL will feature a lineup of equally kick-ass ladies (and the men who back them up). Rapper Katie Kate is on hand, on the heels of the dark, hypnotizing Nation, as is ’60s pop quartet Tangerine and rock supergroup Thunderpussy, who can command the stage like no other. Make sure to catch post-punk trio Peeping Tomboys, as this is its last show before breaking up. Vera Project, 305 Warren Ave. N., 956-8372, thevera project.org. 7 p.m. $10 adv/$15 DOS. All ages.

Saturday, Jan. 17

Back in 2012, a Volvo commercial featuring a haunting rendition of “Li’l Red Riding Hood,” originally by Sam the Sham & the Pharaohs, seemed to be playing every time you changed the channel. The singer on that eerie clip was Portland’s own LAURA GIBSON, whose

memorable voice carries through to her latest fulllength, La Grande. She kicks her vintage feel up a few notches with songs like “The Rushing Dark” and “Red Moon,” both of which sound like they’re being played on a gramophone. According to a Facebook post, this show is a break from the studio for Gibson, so expect to hear some new tunes. With Valley Maker. Fremont Abbey, 4272 Fremont Ave. N., 414-8325, fremontabbey. org. 8 p.m. $10 adv./$13 door. All ages.

Sunday, Jan. 18

After the four-part Revenue Retrievin’ and the six-part The Block Brochure, Bay Area-based rapper E-40 (born Earl Stevens) is back with another series: Sharp on All 4 Corners. Corner 1 and Corner 2 were released in December. The amount of material (28 songs total) may seem like too much for one artist to handle, but E-40 doesn’t let quantity trump quality on either album. In true hip-hop fashion, there are plenty of songs about his lavish lifestyle, but in others, like “Three Jobs,” he talks about his life before fame, too. The second half of the Corners project is set for release later this year. With Nacho Picasso, Cool Nutz, DJ Swervewon. The Showbox, 1426 First Ave., 628-3151, showboxpresents. com. 9 p.m. $25–$27 adv./$30 DOS. All ages.

Monday, Jan. 19

Any way you look at it, PATTI SMITH is a legend. As a musician, the “Godmother of Punk” made waves in 1978 with “Because the Night” (co-penned by Bruce Springsteen), from her third album with The Patti Smith Group, Easter, and has gone on to release eight albums since then, most recently Banga in 2012. As a writer, Smith has produced an extensive collection of prose and poetry, and her memoir, Just Kids, in which she discusses her friendship with photographer Robert Mapplethorpe, won the National Book Award for Nonfiction in 2010. Smith’s artwork has also been exhibited in galleries and museums around the world. Is there anything she can’t do? The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org/moore. 8:30 p.m. $27.50 and up. All ages.

Tuesday, Jan. 20

Henry Steinway, more commonly known as RL GRIME, is another artist for whom we have YouTube to thank. In 2012, the trap and hip-hop producer uploaded a remix of Avicii’s “Levels” under the name Clockwork. EDM heavyweight Steve Aoki took Grime, a member of the Los Angeles-based WeDidIt collective, under his wing, and he’s been working ever since, remixing songs by everyone from Beastie Boys and Kanye West to Rihanna and Chief Keef. Each track on Grime’s debut full-length, Void, which features Boys Noize, Big Sean, Djemba Djemba, and How to Dress Well, is just massive. “Scylla” is a personal favorite. With Lunice, Tommy Kruise. The Neptune, 1303 N.E. 45th St.. 682-1414, stgpresents.org/neptune. Repeats Thursday. 9 p.m. $21.50 adv./$25 DOS. Music truly is universal, and in a sense, that makes the lyrics optional. Chicago instrumental metal trio RUSSIAN CIRCLES knows this, and for the past decade has let its music do the talking. On its latest album, Memorial, guitarist Mike Sullivan, drummer Dave Turncrantz, and bass player Brian Cook (formerly of Seattle outfit These Arms Are Snakes) express a wide range of experiences with nary a word—except for the title track, which features hazy vocals from Chelsea Wolfe. Songs like “Deficit” are fairly straightforward metal, while others, like “Ethel,” are lighter and more atmospheric. Either way, Memorial is captivating. With Mamifer. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $20 adv. 21 and over. Too many actors to count have made the foray into music at one point or another, many most likely banking on name recognition rather than actual talent to draw crowds. But WOODEN WISDOM, the duo of DJ/label rep/tour manager/film consultant Zach Cowie and The Lord of the Rings actor Elijah Wood—who, no joke, performs as DJ Frodo—are naturals behind the turntables. The pair focuses its vinyl-heavy sets on disco and house tunes from the ’70s and ’80s, so while the music they play may not be familiar to everyone, it gets the crowd on its feet, Hobbit fan or not. Q Nightclub, 1426 Broadway, 4329306, qnightclub.com. 9 p.m. $14. 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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Multi-Media Advertising Consultant SEATTLE

CALENDAR ASSISTANT Seattle Weekly

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

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

Employment Computer/Technology Software Engineer, Core Storage Twitter, Inc. seeks Software Engineer, Core Storage in Seattle: Build the nextgeneration distributed storage systems that hold data used by millions of people as they connect, explore, and interact with information and one another. Build highly-available, high-performance, redundant, scalable distributed storage systems. Req’s: MS(or equiv.)+2 yrs. exp. OR BS(or equiv.)+5 yrs. exp. Submit resume w/ref. to Req.# SK210(SW) at: ATTN: Mercedes Sperling, Twitter, Inc., 1355 Market St., Suite 900, San Francisco, CA 94103. Software Engineers sought by Zulily, Inc. in Seattle, WA. Write simple & sustainabl code. Reqs MS in CS, Comp Engrng, rltd + 1 yr exp, OR BS in Comp Sci, Comp Engrng, rltd + 3 yrs exp. Exp w/Scrum, XP or othr agile methdolgies. Exp playing tech leadrshp role in buildng cmplx distribtd syss that hav been succesfuly delivrd to cust. Exp comuctng w/biz usrs, other engrng teams, & sr mgt to collect reqs, describe prod ftres, tech dsgns, & prod stratgy. Exp w/data anlys/mining in lrge-scale db envirs. Exp w/HTML/CSS/Javascript. Exp wrkng in ecommerce envir. Fmlr w/db techs, incl 1 or more of: MySQL or Oracle. Perm US wrk authy. Aply online @ www.jobpostingtoday.com ref #2071

Employment General 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! Vice Pres, Aquaculture sought by Icicle Seafoods, Inc. for Seattle ofc. Full prft & lss resp for global farmd fish ops. Resp for the prftblity of the hatchrs and prod, as well as regltory affrs & risk mangmnt activites. Up to 40% emplyr paid dom and int’l trvl reqd. 10+ yrs relvnt exp reqd, such as int’l aquaculture prod. Reply to: Req # 14-0288. 4019 21st Ave W, Seattle, WA 98199 or CorporateJobs@ IcicleSeafoods.com

hreast@soundpublishing.com

DONT SETTLE FOR SEASONAL WORK YEAR-ROUND We are looking for motivated, independent, individuals who don’t mind talking to people. No sales involved just short conversations face to face with home owners. Work outdoors around your own schedule. Earn $500-$750 per week/ top reps make $1200+ Allowances for Cell phone, travel, medical compensation can be earned Company provides all market areas, apparel & training. Vehicle, DL, Cell phone & Internet access req. Email resume to recruiting@evergreentlc.com or apply online at www.tlc4homesnw.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! Inbound Supply Chain Manager sought by Zulily in Seattle, WA. Req MS in Lgstcs, Biz Admin, Supply Chain Mgmt or rltd + 5 yrs exp. Req 5 yrs exp flflmt ctr, supply chain or engrg oprtns envir; exp w/ hgh lvl SQL & Excel modlng; 3 yrs SQL exp; exp w/ prcs mappng & cntnuous impv; know of stats & supply chain oprtns in an e-commerce, B2C envir; exp wrkng crssfnctnlly & acrss mult locs. Req perm US wrk auth & ablty to trvl to othr locs. Aply @ www.jobpostingtoday.com ref#1986 Project Wastewater Conveyance Engineer- Tetra Tech Inc. (Seattle, Washington)Must have proof of legal authorization to work in U.S. Please apply online at www.tetratech.com. For full information about the job opportunities including the full job description, related occupation, education and experience requirements please refer to the internet posting at www.tetratech.com under REQ#IWR00000009 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

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SPEAK UP FOR A CHILD! Be a Volunteer Court Appointed Special Advocate Children in Dependency/CPS Cases. Children in High Conflict Family Law Cases.

YOU can be a voice for a child! Volunteer * Donate Tell a Friend 206.296.1120 beacasa@kingcounty.gov 206.748.9700 admin@familylawcasa.org

SEATTLE WE EKLY • JANUARY 14 — 20, 2015

1 BR APT HOME $700 incl private entrance, cable, water, sewer and garbage. Background check and $400 deposit. Auburn 253-906-0410.

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Find it, rent it, buy it, sell it...Call classifieds today (206) 467-4364

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

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SEATTLE WEEKLY • JAN UARY 14 — 20, 2015

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