Seattle Weekly, September 16, 2015 by Sound Publishing

SEPTEMBER 16-22, 2015 I VOLUME 40 I NUMBER 37

FALL ARTS

SEATTLEWEEKLY.COM I FREE

FEATURING PAT GRANEY’S GIRL GODS THE ROOTS OF NW HIP-HOP MUST-SEE THEATER WAYNE HORVITZ ON RICHARD HUGO PAUL ALLEN’S NEW GALLERY AND DAVID SHIELDS’ EXPLOSIVE NEW WAR BOOK. & PLUS OUR JAM-PACKED CALENDAR.

Strike-Through

How teachers’ unions are rewriting the education game plan. By Sara Bernard Page 7

Cooking for Techies 13 things a chef at a local tech firm learned on the job. By Alex Gallo-Brown Page 48

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

BELLEVUE SQUARE

2 Bellevue Square LRA 9-15 One Page.indd 2

9/15/15 4:12 PM

inside» September 16-22, 2015 VOLUME 40 | NUMBER 37 » SEATTLEWEEKLY.COM

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BACK TO SCHOOL

BY SARA BERNARD | It’s a perfect storm of education turmoil, from the teachers’ strike to the Supremes’ decision on charter schools. Here’s our update.Plus: City Council candidates strive to out-nice each other; and should the city’s pension fund go green?

13 FALL ARTS 2015

BY SW STAFF & CONTRIBUTORS

The new season begins with Paul Allen’s money, Richard Hugo’s legacy, the roots of Macklemore, the latest from Pat Graney, and David Shields’ photographic war against The New York Times. Plus our full calendar of events, from movies to opera, through the holidays, starts on page 27.

arts&culture

34 THE PICK LIST

39 FILM

OPENING THIS WEEK | Johnny Depp

as Boston mobster, Lily Tomlin as salty grandmother, Romain Duris in drag, and a raunchy rom-com we can actually endorse. 41 | FILM CALENDAR

BY MICHAEL HECK | Pop bands’ eternal

breast-beating question: Are we sellouts for making music people like? Plus: the bedroom as muse, the amp as identity. 47 | THE WEEK AHEAD

food&drink 48 TECH CHEF

BY ALEX GALLO-BROWN | A South Lake Union cafeteria worker tells all! 48 | FOOD NEWS/THE WEEKLY DISH

5 50 54 55

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CHATTERBOX BEER PAGES HIGHER GROUND CLASSIFIEDS

»cover credits

ILLUSTRATION BY BARRY BLANKENSHIP

Seattle’s Jazz Festival

Editor-in-Chief Mark Baumgarten EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears Editorial Operations Manager Gavin Borchert Staff Writers Sara Bernard, Ellis E. Conklin, Casey Jaywork Editorial Interns Alana Al-Hatlani, Jennifer Karami, Daniel Roth Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Alyssa Dyksterhouse, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Marcus Harrison Green, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Terra Clarke Olsen, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael A. Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Jose Trujillo Graphic Designers Nate Bullis, Brennan Moring Photo Intern Christopher Zeuthen ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Senior Multimedia Consultant Krickette Wozniak Multimedia Consultants Julia Cook, Rose Monahan, Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich Publisher Bob Baranski

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JAZZ FESTIVAL

206-623-0500 COPYRIGHT © 2015 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERI ODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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“Seattle’s 10-year plan to end homelessness launched in 2005 has been a dismal failure. Seattle can learn some important lessons from Utah.”

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A BETTER WAY

Last week, Ellis E. Conklin reported on Utah’s successful “Housing First” initiative, which gives homeless people apartments without requiring that they remain alcohol- or drug-free. With Seattle’s homeless population now the fourth largest in the nation and the city having spent $40.8 million in 2014 to address homelessness, Conklin explored what lessons ultraconservative Utah might lend our city. Readers had their own thoughts.

QUIT YER BUMBER-BITCHING

Kelton Sears, meanwhile, took stock of Bumbershoot 2015, which was under scrutiny due to higher ticket prices and new management. Festival runners argue that audiences demand top-tier talent like Kanye West while expecting low ticket prices. Sears noted that the struggling festival sold 80,000 tickets, a number that ensures Bumbershoot will be back next year. Readers, too, were generally (but not universally) positive on the evolving event.

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SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

Thanks for the article about Utah’s success creating housing for chronically homeless. I have been I went for all three days and thought the ticket homeless in Seattle for eight years, due to mental price was definitely worth it (compare to Lolla, illness. The biggest problem I have seen is that Bottle Rock, Outside Lands). Thought local artthe mental-health care sysists like Raz Simone killed it tem is not trying to help the and national/international guys Send your thoughts on mentally ill, they are instead like Hozier and Weeknd were this week’s issue to trying to be profitable. The terrific. The challenge for the letters@seattleweekly.com city is to strike the right balance facilities where I received treatment hired minimally between discovery, local, and big qualified, inexperienced staff, draw, and there is certainly room and the only treatment available was taking pills to improve on getting the right balance. But that didn’t work and had dangerous potential side overall this year seemed to be well received by effects. There were no psychiatrists, no therapy. those who went, and was an improvement over Housing programs often require years of checksome of the past years. ing in by phone to remain eligible; many homeR Silvers, via seattleweekly.com less are too busy trying to survive day-to-day to meet these or other lengthy and difficult eligibilI am one of those old folks that remember the ity requirements. $4 tickets. I am also a person that has paid the higher prices more recently. I don’t have a probMark Thomas, via e-mail lem paying a $75 price for a full day of entertainment that I WANT to see, or new acts that grab Where the HELL is the money going? Seattle my attention. If I see five shows, music, comedy, spends enough money on the homeless to buy etc., that is $15 a show. Pretty sweet deal, if you every homeless person their own used travel ask me. $100+ was just too much for me to pay. trailer—with a roof, a shower, a toilet, a bed, and They can’t make everyone happy. a kitchen—but all the City can produce is a list of churches where the homeless can pitch tents. jinxedagain, via seattleweekly.com ElKitePics, via seattleweekly.com In 2004 I saw the Pixies headline, and in 2005 This needs to be a national program—every state, I saw the original lineup of the Stooges headline. Both legendary groups. Both times I paid every town should have this capacity. People around $20 for a single-day pass. It’s greed pure should not be moving around looking for help— and simple. There’s no other reason for the astrohelp should exist. Another way to reduce jail nomical ticket prices. and emergency-room costs, for those who can only see the value of cash savings vs. having any Crawlin Aun Backstrom, via Facebook humanitarian impulses. Suzette Sommer, via Facebook If they really sold 80,000 tickets, I will eat my hat. There was a shocking lack of people there both Sunday and Monday—a testament to the Seattle’s 10-year plan to end homelessness borderline-criminal ticket prices. launched in 2005 has been a dismal failure. Seattle can learn some important lessons from Utah. Hutch84, via seattleweekly.com E It’s more compassionate and financially makes sense to give people a home . . . $50/month or Comments have been edited for length and 30% of income . . . brilliant! clarity. Comments criticizing Kanye West (there were many) were omitted altogether. Kathy Slattengren, via seattleweekly.com

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news&comment

Strike-Through

How teachers’ unions are rewriting the education game plan. BY SARA BERNARD

with the 2012 decision that condemned it for systematically underfunding public schools. It’s a mess. But for a lot of educators, it’s pivotal. Despite plenty of frustration to go around, today’s mayhem does seem to have reached a fever pitch— and right now, teachers’ unions have the high note.

students as well as proposals concerning compensation for paraprofessionals and workloads for office professionals. Prior to striking a deal, the district had upped its teacher-salary offer several times (the latest is a 14 percent increase, including a cost-of-living increase, over three years), and reduced the additional instructional time it proposed from 30 minutes to 20 minutes in the third year of the contract. The final deal will likely include those concessions and then some. The union’s wide support was also evident at the City Council (councilmembers Nick Licata, John Okamoto, and Kshama Sawant expressed their support for teachers’ right to strike in a letter to the district; Sawant organized a community meeting to support the SEA; and the Council declared this week Seattle Educators Week); from most candidates running for School Board; and in the community. On Monday, a Facebook event called on residents to unsubscribe from The Seattle Times, given what the event’s creator called the paper’s “pathetic coverage of the Seattle teachers strike. [ . . . ] Join parents & supporters as we cancel our subscriptions on the same day.” Then, on a larger scale, there are the courts: Both the McCleary decision and the decision that could cripple the state’s charter schools have the support of the Washington Education Association—a plaintiff in both cases. The WEA argues that charter schools “siphon” public funds from traditional public schools; and with a teaching force that’s largely non-union, charter schools have been seen by many labor activists as a means to weaken teachers’ unions overall. Regarding the funding charge, charter supporters argue that that’s not the case. There are

sbernard@seattleweekly.com

SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

“I think the union has finally found its stride with the membership in a way it hadn’t previously,” said Laura Lehni, a history teacher at Washington Middle School and member of the SEA’s bargaining team, as passersby on South Jackson Street honked and cheered for the striking teachers last week. “The people you see out here on the lines, you probably wouldn’t have seen in years past. Now we’re seeing that educators have had enough. We’re not going to bend over for the district any more.” And now that the SEA has “some great leadership” working in tandem with leaders at the Washington Education Association and the National Education Association, said Lehni, that sense of empowerment is palpable. Seattle’s teachers are exhausted, “and when the district says, ‘We’re gonna add just a little bit more to your plate, just one more thing, just one extra thing,’ ” she said, “it’s now at a point where we’re fighting for respect. I think that’s where unions have really come into place.” The place the union now holds is a powerful one. Lengthy negotiations between the SEA and the school district culminated in an all-night session Monday night and a tentative deal Tuesday morning, though details of that agreement were not available at press time. Prior to Tuesday, the district had already made significant concessions to teachers. It agreed to SEA’s request for a guaranteed 30 minutes of recess for all elementary

SARA BERNARD

n one block of the Central District last Thursday: dozens of teachers wearing bright-red Seattle Education Association T-shirts, hoisting “On Strike” and “Fair Contract Now” signs, singing and chanting and playing conga drums as passing cars honked their horns. On another: an equally passionate gathering of teachers, students, and parents at Summit Sierra—one of Seattle’s first-ever public charter schools—wearing bright-blue “Keep Our Schools Open” T-shirts, toting hand-drawn “Don’t Close My School” and “I <3 My School” signs, and frequently breaking into a raucous refrain: “SAVE OUR SCHOOLS! SAVE OUR SCHOOLS!” Which is, more or less, what everyone is saying. From the teachers’ union to the Seattle Public School District, from the Washington State Charter Schools Association to the state Supreme Court: Save. Our. Schools. It’s been a tumultuous few weeks for public education, to say the very least, and the news is giving us whiplash. Rallies, picket lines, 14-hour bargaining days, and monumental Supreme Court decisions are all making national headlines as some of the most fraught and long-standing debates in public education descend en masse on the state of Washington. The Seattle teachers’ union went on strike over contract issues for the first time in three decades, delaying the start of the new school year by more than a week; the state Supreme Court ruled Washington’s nascent charter-school law unconstitutional, effectively pulling public funding from the nine charters around the state that just opened their doors; and the state legislature is getting penalized $100,000 per day until it passes an education budget in line

Seattle teachers picket in front of Washington Middle School last week.

other entities without elected boards that receive public funding, such as the state’s tribal schools and the Running Start program—a program that allows 11th and 12th graders to get credit for community-college courses—plus a slew of other complexities in the charter law that could still be debated in court. On Friday, the Supreme Court was asked to reconsider its ruling, and Thomas Franta, CEO of the Washington State Charter Schools Association, said his group aims to do everything it can, including fundraise, to keep the state’s charters open this school year and beyond. “We think that within the current state budget there are ample opportunities to fund public charter schools with public dollars,” he said. Public charter schools, for Franta, provide “an opportunity to let great educators educate. They have a meaningful say in what they’re doing in their day, and they use that to the advantage of the students they serve.” Although that language sounds a lot like what Seattle teachers are asking for right now—having a meaningful say—his association remains “totally agnostic” when it comes to teachers’ unions and their relationship to good teaching. In his experience as a charter-school authorizer in New York state, he said, the presence of a teachers’ union “wasn’t the difference-maker” when it came to great schools. “It was: Was the focus rightly on the kids where it belongs? Were the resources going to the classroom?” Aubree Gomez, a math teacher at Summit Sierra who was at Thursday’s pro-charter rally, taught in Seattle public schools for two and a half years before coming to Summit. She was an SEA member while a Seattle public-school teacher, she said, but it doesn’t feel like a teachers’ union would be necessary here. “I don’t know why we would need one, per se,” she said through the din of charter-school students and supporters cheering and clapping. “We all feel equally heard. I feel more heard than I’ve ever felt in the past.” Which, again, sounds a lot like what Seattle teachers are asking for. “I think people have turned to charter schools because public schools haven’t been able to support the needs of their kids,” said the SEA’s Lehni. But that could be in part because “the district has dug in its heels on certain issues,” she said. For instance: “We’ve seen ourselves be out of compliance on special education. We’re not serving our students on a numbers level—last year I had 34 kids in one class.” As Lehni noted, some of what’s at issue in the contract negotiation is in the hands of the state (in fact, as part of its ruling holding the legislature in contempt over the McCleary decision, the Supreme Court said that it should be the state’s responsibility to adequately fund school employees’ salaries, not districts’). “But at the same time, the district needs to provide for us here and now,” Lehni said. “We’ve offered a lot, and we’re expecting a lot, but that’s because we’ve done a lot. It’s time.” E

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(9/15) John Markoff with Todd Bishop The Robot Revolution’s Economic Effects TOWN HALL CIVICS SCIENCE ARTS & CULTURE COMMUNITY

No More Mr. Nice Guys?

(9/16) Elliott Bay Book Company Brené Brown

The race to replace Jean Godden is showing signs of life, one barb at a time. BY ELLIS E. CONKLIN

(9/16) Sustainable Path presents Renee Lertzman The Myth of Climate Change Apathy (9/17) Carver Clark Gayton Slavery’s Lasting Scars

COURTESY OF THE CANDIDATES

Her defeat still fresh, Godden explains, without elaboration, “I have problems with both of them. I don’t know who I prefer.” Politically, there is little difference between the

two. Both true-blue liberals, Johnson is a few shades lighter. For example, while both have endorsed the so-called “Grand Bargain” for housing, forcing developers to build affordable units into all new multifamily and mixed-use developments, Maddux, unlike the non-committal Johnson, supports a linkage fee (a per-square-foot tax on new development used to fund affordable housing), and, unlike Johnson, is more enthusiastic about having “an open and honest discussion about rent control.”

Both, however, are strong environmentalists, bullish on density, and gung-ho about building more bike- and bus-only lanes. Johnson, 37, is a smooth operator, a preppy policy wonk to his core, tall, thin as a sapling, cerebral. He’s got a big toothy grin and is partial to Dockers and well-pressed shirts. He chooses his words carefully. Maddux, 34, is grittier, more passionate, and prefers blue jeans. He does not choose his words carefully. “I’ll poke the bear,” he says with a mischievous grin. Christian Sinderman, the political strategist whom Johnson hired to advise his campaign, observes, “These guys are pretty similar. They’re both urbanists. They’re both progressive. It’s really stylistic differences. Rob is more quiet, more of a listener. He’s more collaborative. Mike’s a bit more of a bomb-thrower.” John Wyble, who guided Mike McGinn’s unsuccessful race for a second mayoral term in 2013 and is now working for Maddux, largely agrees. “Rob is more incremental. Michael is a little bolder,” he says. Both contenders agree that their priorities are different. Maddux, a gay single dad who rents a two-bedroom apartment in Eastlake and has raised nearly $40,000, wants to invest more in LBGT services and entirely revamp the “regressive tax system.” He’s all for a millionaire’s and capital-gains tax. Johnson, a Ravenna homeowner and father of three who has collected $90,000 for his campaign, is focused squarely on transit. In a recent

Johnson, left, and Maddux (with his daughter in the background).

interview, he talked about better and more reliable east-to-west bus routes, the forthcoming debate over dedicated lanes for streetcars, and how the light-rail stations on Capitol Hill and at Husky Stadium, scheduled to open sometime next year, is cause to believe our “transit future is bright.” Maddux says Johnson is too consumed with making transit the cornerstone of his campaign. “But then, Rob is a transit guy.” Johnson thinks Maddux is too preoccupied “with the work he’s done for parks and for the LBGT community.” Recounts Maddux: “I grew up in a very poor family in Marysville and then Everett. When I was 14, I was kicked out of the house [by my stepfather] when I came out. I’ve been an activist since I was 18, when I started working with homeless youth. I believe in giving back to the community.” Says Johnson: “One of our differences is experience. I have more experience working with the city to get things done.” Maddux’s path to victory is difficult. Nearly 56

percent of the district’s electorate rent, but many of them are students in the U District and cannot be counted on to vote. He’s banking hard that a far larger general-election turnout will bring out many younger voters, a demographic that heavily supported him in the primary. But as pollster Ben Anderstone explained, “Rob Johnson has appeal to more urban voters because of his transit experience and his appeal to moderate homeowners and the business community. Maddux will benefit from a higher turnout, but the problem is that Godden and [Tony] Provine [president of the Ravenna-Bryant Community Association] drew voters in precincts where Johnson outperformed Maddux.” In other words, Godden and Provine supporters are more likely to cast their ballot for Johnson. Needless to say, Maddux was happy to learn that Godden has no immediate plans to endorse, for if she does, it’s almost certain she’ll back Johnson, the more centrist challenger. Johnson, unsurprisingly, says he’ll probably give Godden another call again soon. It will be interesting to see just how cordial this race remains in the days ahead. E

econklin@seattleweekly.com

(9/17) Town Hall Seattle and Ignite! Seattle present Ignite! Seattle 28 (9/18) Paul Shoemaker with Eleuthera Lisch Your Roadmap to Creating Social Change in the PNW (9/19) Stephanie Clifford The American Obsession with Status (9/19) Town Hall Seattle and Seattle Channel present City Council Debate: District 5 Debora Juarez & Sandy Brown (9/21) Town Hall Seattle and Seattle Channel present City Council Debate: District 7 Sally Bagshaw & Deborah Zech-Artis (9/21) Jane McGonigal Gaming Your Way to Better Health (9/22) Pedro Domingos Finding Technology’s ‘Master Algorithm’ (9/23) Casey Schwartz Saving Psychoanalysis in a Neuroscience World (9/24) J. Kenji Lopez-Alt with Scott Heimendinger The Science Behind Better Cooking (9/24) Seattle Arts & Lectures: An Evening with Saul Williams (9/25) Philip Howard with Mark Donovan The Building Blocks of a New Internet (9/25) Kassé Mady Diabaté Malian Vocal Legend, and Guardian of West Africa’s Ancient Griot Culture TOWN HALL

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SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

t first blush, this would appear to be the most cordial of all the City Council races. Why, Rob Johnson and Michael Maddux have even carpooled together to a few campaign events. Just listen to them: “My hope,” says Johnson, “is that we continue to make this campaign congenial. We generally like each other.” “I genuinely like Rob,” says Maddux. “We just have different priorities.” But of course the contest to represent District 4, which encompasses the U District, Ravenna, Eastlake, and most of Wallingford, is not all goodness and light. The mutual admiration society is showing signs of wear. Maddux, the hard-charging Democratic Party and parks activist, is displeased that Johnson was the beneficiary of more than $74,000 in independent expenditures from conservative lobbying groups that swelled his campaign coffers a few weeks before the primary. Johnson, the director of the nonprofit advocacy group Transportation Choices Coalition (who has a penchant for constantly calling himself “a transit guy”), received $44,000 from the Seattle Metropolitan Chamber of Commerce’s political arm, the Civil Alliance for a Sound Economy (CASE); $20,000 from the Washington Restaurant & Lodging Association, which two years ago sued to block the city of SeaTac’s $15 minimum-wage law; and $10,000 from the Rental Housing Association. “That’s his problem. I wouldn’t have taken it,” says Maddux. “And they never would have given to me, anyway. I don’t know what impact this is going to have, but I have no inclination to go negative”—that is, other than to add bitingly, “He’s the progressive candidate that is being backed by conservative groups. I’m the progressive candidate who is not.” Johnson says the contribution only proves that he has the ability to work with all groups and can “build coalitions.” Meanwhile, Jean Godden, the vanquished Council incumbent who finished third behind both of them in the August 4 primary, told Seattle Weekly last week that she has no plans at this time to endorse either one. Each has asked for her support, though Johnson has done so more often and urgently than Maddux, offers Godden, who finished with 19.7 percent of the primary vote. Johnson collected 32.8 percent, Maddux 24.6 percent.

(9/17) Town Hall Seattle and Seattle Channel present City Council Debate: District 1 Lisa Herbold & Shannon Braddock

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news&comment»

Hot Stocks (But Not)

Investments that warm the planet are cooling Seattle’s stock portfolio. BY CASEY JAYWORK

KIMON BERLIN/FLICKR

Stranded on the plains: Coal companies are having trouble moving their product.

This was the upshot of Bernhardt’s presenta-

tion to the Retirement System Board, based on a new report released by his employer, the Mercer Group, an investment consulting firm. It’s no tree-

hugger’s manifesto: The report is for hard-nosed investors who want to maximize profit. It models several different scenarios for climate change through 2050, depending on how quickly world leaders are able to rein in carbon emissions. According to the report, “The average annual returns from the coal sub-sector could fall by anywhere between 18 percent and 74 percent over the next 35 years.” In other words, investments in coal will lose Seattle retirees money. Or, more precisely, have already lost them money. Since 2011, coal stocks have been bleeding value, and a side-by-side comparison shows that fossil-fuel-free stocks have recently begun to outperform the stock market overall (though they’re also statistically riskier). “One hates to say I told you so,” says Bill McKibben, co-founder of the climate change advocacy group 350.org, “but if the pension board had listened to scientists three years ago . . . they would have avoided the tanking of the coal market, which has been the single worst performer of any industry group over the last period.” That could change, of course, particularly if plans to build a coal export mega-terminal near Bellingham proceed. But in the long run, coal will likely plummet in value as regulators respond to the world’s climate crisis and other fuels—like arguably less-dirty natural gas from fracking— enter the energy market. A study published earlier this year estimates that to avoid catastrophic global warming (that is, an average global temperature increase greater than 2 degrees Celsius), 80 percent of existing coal reserves must stay in the ground, unused. The writing on the wall for coal stock may be enough to push the Retirement System Board to begin divesting, something they’ve hesitated to do in the past. Their overriding legal responsibility as supervisors of the city’s retirement fund is to ensure it remains solvent. Lynn Fitz-Hugh, a Seattle activist with McKibben’s 350.org group, described the Board this way: “What they basi-

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The stakes of the Retirement System Board’s

decision are pretty low in terms of actual dollars. Only $7.4 million (or 0.3 percent) of SCERS’ $2.3 billion investment fund is in coal. But a little money can establish a big precedent. “Like so much inside politics,” says Licata, “often it’s not necessarily the size of the ask. It’s the precedent of saying yes.” Once the SCERS board is willing to dip its toes into the water of coal divestment, he says, it will be that much easier to push them— and, crucially, other investment funds—to dive into divestment from other fossil fuels. “Divestment by key institutions like the pension board robs this industry of its legitimacy,” says McKibben, “and helps ever more people understand why its business plan is incompatible with the physics of climate change.” Bernhardt agrees. “[The] stigmatization of coal could . . . push policymakers or creditors, potentially, who are trying to lend to coal companies; they might say, ‘There’s all this divestment pressure, we don’t want to lend to you now.’ ” It seems ironic to Licata that investment consultants like Mercer are now poised to transform the American stock market for public investments. “This is a new playground for investment advisors to move into,” he says. “That’s the nature of capitalism, that they’re always looking for basically where you can make a profit. They make a profit by selling guns and shooting other capitalists. “But the irony is that capitalism has gotten us into this problem, but we could also use it to help us mitigate the problem.” E cjaywork@seattleweekly.com

The next SCERS investment committee meeting will be held at noon, Thurs., Sept. 24 at City Hall.

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SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

eattle’s pension fund will divest from coal—maybe. “There’s always a lot of maybes,” says City Councilmember Nick Licata. “That’s the problem.” Licata, who chairs the Seattle City Employee Retirement System (SCERS) Board of Administrators, is trying to wheedle the board into dropping its investments in the dirtiest kind of fossil fuel. He’s joined in this mini-crusade by local environmentalists and, more surprising, by investment professionals. “The financial argument for divestment is, I think, growing in strength, and it’s based on stranded assets,” said investment consultant Alex Bernhardt at last week’s Retirement System Board meeting. When valuing energy stocks, Wall Street counts oil and coal that’s still in the ground as assets, as if those fossil fuels were sitting in a warehouse somewhere waiting to be sold. But as government regulators crack down on carbon emissions, those fuels risk becoming “stranded” underground, causing balance sheets—and stocks—to shrink overnight. Over the past year and a half, four major coal companies have declared bankruptcy, and just last month the Obama administration passed tough new rules targeting carbon emissions that could cause many coal-fired power plants to shut down. Without those plants, the value of American coal comes into a serious question. (This market dynamic is also a big factor in coal companies’ keen interest in shipping coal through downtown Seattle and onward to China.) “[These companies] have reserves of these raw fossil-fuel materials, and those are credited on their balance sheet as an asset,” says Bernhardt. “If they become devalued, then the company’s finances are challenged.”

cally said was, ‘We’re concerned about climate change, we hear what you guys are saying, but our reading of fiduciary responsibility is we can’t just do this [just] because it’s the right thing to do. We have to protect the pension.’ ” The Board’s own investment consultant, NEPC, has repeatedly advised against divestment because it would make their stock portfolio less diverse and therefore riskier. Licata says this is because they’re biased to prefer measurable, shortterm results, which can block them from seeing the bigger picture of long-term market trends— especially bubbles like the “carbon bubble” that some investors have argued will eventually pop. “Sometimes it has seemed like NEPC has ignored studies, cherry-picked evidence, and created a narrative against divestment,” he recently blogged. “I think what’s holding the board back is . . . a reluctance to embrace something that’s new and not quite understood,” says Licata. “It’s an excessive amount of caution . . . [that’s] not really necessary, given what the preponderance of evidence is.” In addition to the Mercer report, the Board got some more political cover for divestment at the beginning of this month when the California legislature voted to divest the state’s two public pension funds from thermal coal and to indemnify their board members against lawsuits from pensioners if they do divest. Part of the rationale for not divesting the SCERS fund was that no other pension fund was doing it. Now that argument is kaput.

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

Take a trip to the Louvre without leaving Seattle

Samuel F. B. Morse, best known for his invention of the electromagnetic telegraph and Morse code, began his career as a portrait painter. See his monumental work at the Seattle Art Museum in Samuel F. B. Morse’s Gallery of the Louvre and the Art of Invention. On view in the American Galleries through January 10, 2016. seattleartmuseum.org/morse Samuel F. B. Morse’s Gallery of the Louvre and the Art of Invention is organized by and with support from the Terra Foundation for American Art. Corporate Sponsor U.S. Trust & Bank of America

Generous Support American Art Endowment

Gallery of the Louvre, 1831–33, Samuel F. B. Morse, American, 1791-1872, oil on canvas, 73 ¾ x 108 in. (187.3 x 274.3 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1992.51, Photography © Terra Foundation for American Art, Chicago.

FALLARTSGUIDE

An Introduction to the New Season

he kids are in school (maybe), the weather has turned (not really), and it’s time to trade summer frivolity for autumnal culture (no, the Seahawks don’t count). Does that mean all sober and highbrow? No, it does not. Though you’ll find plenty of traditional opera, ballet, and symphony fare in our comprehensive

calendar of events, along with the big museum shows, there’s a populist current running through the new season. MOHAI has a show chronicling our city’s hip-hop heritage, which runs much further back than Macklemore. Also in the pages ahead, we look at the long but ever-evolving choreography career of Pat Graney, who gathers no moss. Our Margaret Friedman takes off her drama critic’s hat and confesses her stage temptations. A brand-new gallery is about to open in SLU, courtesy of Paul Allen; and author David Shields is dissecting the latest war images from the pages of The New York Times. Meanwhile, composer

AVI LOUD

Wayne Horvitz has put a fresh musical spin on the literary legacy of the late Richard Hugo, The rapper Sol, as portrayed in MOHAI’s hip-hop history show.

and the Seattle Symphony and St. Helens String Quartet are likewise taking Americana in new directions. If anything, the arts scene wakes invigorated from a long summer nap. – Brian Miller, Arts Editor

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SATURDAY, SEPT 19, 8PM

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First Free Methodist Church, Seattle EPIC STORIES

Two new local recordings find strength in a reluctance to be tied down.

BEETHOVEN Coriolan Overture STRAVINSKY Orpheus SAINT-SAËNS The Assassination of the Duke of Guise DVORÁK Selections from Legends, Op. 59

Geoffrey Larson, Music Director

By Gavin Borchert

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ver since medieval composers combined sacred Latin texts and French secular ones in the same motet, or those of the renaissance built Masses above bass lines borrowed from snatches of folksong, “crossover” (to use the most simplistic term) has been an oft-used compositional strategy, the mixing of “high” and “low” (to use the most vulgar terms). In fact, it would be difficult to name a period in music history that didn’t freely indulge; creators as disparate as Haydn and Ives, Grieg and Bartok infused their work with the color and flavor of vernacular music. So that’s not where the novelty lies in two recent local recordings, Wayne Horvitz’s Some Places Are Forever Afternoon (Songlines) and the St. Helens String Quartet’s American Dreams (Navona Records). The difference is in the artists’ attitude. For centuries, this approach was generally seen as an infusion, the blend of separate, even opposed, worlds. But these recordings succeed, I think, simply because the composers decline to believe that these are separate worlds— and from their heartfelt evocation of a sense of place. It’s not a graft of style A onto style B; this is just what America sounds like. (Richard Hugo, the late Northwest poet who inspired Horvitz’s record, also provides insight as to how to make this approach work; of this more later.) The catalyst for American Dreams, the St. Helens’ debut album, was Peter Schickele’s groundbreaking 1983 string quartet of that name, which pointed the way toward this holistic embrace of multiple influences. The first and last of Schickele’s five movements, “Opening Diptych” and “Closing Diptych,” seem to nod to an earlier “American” quartet: Dvorak’s, from 1893, famously inspired by summers the composer spent in Iowa, where Schickele was born in 1935.

Above, Horvitz in rehearsal. Below, the late poet Hugo.

The pentatonic opening tunes of both quartets, their roots in the same state, seem to echo each other. But in the diptych’s second panel, the cello takes over with a bluesy pizzicato line; pitch-bending reveals the instrument as a not-too-distant cousin of Jimi Hendrix’s guitar. The three center movements offer surface hints of big band, birdsong, and bluegrass fiddle tunes. Other works on American Dreams were written especially for the St. Helens by three composers they met through their residency at Cornish College: Janice Giteck, Bern Herbolsheimer, and Ken Benshoof. These, too, either draw on folksong or capture its straightforwardness, displaying a sophistication and wealth of imagination without extraneous complication. Benshoof ’s Swing Low spins motives from the hymn into eight brief inventions, “obviously harkening back to the roots of the spiritual at its heart,” says violist Michael Lieberman. With the same economy of means, Herbolsheimer confected his arresting and tuneful Botanas (“snacks” in Spanish), each based on a traditional Mayan melody. Both of Giteck’s gorgeous pieces, Where Can One Live Safely, Then? In Surrender and Ricercare (Dream Upon Arrival), open with a suggestion of the serene, glassy timbres of a renaissance viol consort. Surrender works up an impassioned climax in just three minutes—high whistles in the top violin line make it a kind of modern take on Samuel Barber’s Adagio for Strings (and it’d make a worthy replacement for that chestnut). For Ricercar, Giteck brings in a taste of Aaron Copland’s wide-spaced “prairie” style; its coda is quietly hopeful, aspirational rather than anguished. This aspirational quality might provide a key to the disc as a whole. For cellist Paige Stockley, what

ties these works together is “their beauty and ability to elevate the listener.” She adds, “I was thrilled to find for the album art a photo of a pioneer woman reaching to the future over a Midwestern river. It is exactly the mood I was trying to convey, everything that the American dream speaks to . . . that newness, that hope, those dreams of a new start.” (Like Schickele, she points out, Benshoof and Herbolsheimer are also from the heartland, born in Nebraska and Montana.) “The word that instantly pops into my head is evocative,” says Lieberman. “I don’t feel at a distance, I don’t feel like I’m listening to an academic or intellectual exercise when I listen/ play their pieces . . . the wonderful thing is how reflective the music is of the personalities of the composers we’d gotten to know over the years.”

the music is written out, some improvised. The adhesive force on Afternoon is Horvitz’s own conviction and imagination. Hugo traveled the region often, seeking just such triggers; and in planning his suite, Horvitz and his daughter Nica (whose photos adorn the album booklet) retraced the poet’s route, staying in, for example, a Montana cabin Hugo himself frequented. Noting that Hugo always had his car radio on, Horvitz says that “music was, clearly, a visceral pleasure for him . . . I find compelling his obvious reverence for music as a kind of gold standard when it comes to discerning the importance of the conscious and the intuitive; how much of each, how they interact with each other.” In addition to serendipitously providing subject matter, for Hugo the idea of travel, of exploration, links up directly with his compositional method: “I believe Hugo, like some novelists I know, and certainly some composers, including myself, was inclined to begin somewhere and see where it led him,” says Horvitz. In The Triggering Town, Hugo admits as much; he cites Auden’s quotation of a character in an E.M. Forster novel who says “How do I know what I think until I see what I’ve said?” Back we come to the idea of musical improvisation, of the “adhesive force” that (if you’re good at it) binds your travels from idea to idea, idiom to idiom, into a convincing whole.

It’s even harder to separate out the stylistic

strands that intertwine in Horvitz’s music. (“Progressively inclined acoustic jazz and ultra-modern classicism,” reads the press-release description. Sure, why not?) Some Places Are Forever Afternoon comprises 12 instrumentals for seven players, each

NAVONA RECORDS

St. Helens’ vintage album photo.

Wait. The mountains are never closer. What is this land? We lost too many last night in the storm and those who remain are the worst, the ones we hesitated to take when we started back at the river. Though who knows? In a later line, the poem’s narrator asks a question that could apply to any art-making endeavor: “Even if we fail, wasn’t it worth the trip?” E

gborchert@seattleweekly.com

ST. HELENS STRING QUARTET Jack Straw Studios, 4261 Roosevelt Way N.E. Free. 7 p.m. Wed., Sept. 16; and Steve Jensen Gallery, 1424 10th Ave. $10. 6:30 p.m. Thurs., Sept. 17. WAYNE HORVITZ Cornish College, 710 E. Roy St., cornish.edu. $14–$28. 8 p.m. Sat., Oct. 10; and Steve Cox Memorial Park, 1321 S.W. 102nd St., earshot.org. Free. 6 p.m. Sun., Oct. 11. SONIC EVOLUTION Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $25–$52. 7:30 p.m. Thurs., Oct. 29.

SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

linked to a poem by Hugo (1923–1982). Born in White Center, trained at the UW, and later settling in Missoula, Hugo’s writing is steeped in Northwesternness. “I loved the language, the era, the places” in his work, Horvitz says; “it’s a bygone era of drinking and fishing and writing.” He knew, though, after falling for Hugo’s poems, that he wouldn’t take the most obvious path: setting them as song lyrics. But what makes them “inherently ‘musical,’ ” as Horvitz describes them? “Partly the imagery,” he explains, “but mostly the way the lines flowed, how they sounded when they are read out loud (I had heard some recordings of Hugo reading his poems). I could feel that lines followed other lines due to their shape and cadence, as well as the narrative. Later I read Hugo’s book about writing, culled from various lectures to students, and my suspicions were confirmed.” The Triggering Town is that book, and passages jump out that seem to describe not only what Horvitz hears in Hugo’s poems, but what I hear in Horvitz’s music: “Depend on rhythm, tonality, and the music of language to hold things together,” advises Hugo. “You must assume that the next thing you put down belongs not for reasons of logic, good sense, or narrative development, but because you put it there. You, the same person who said that, also said this. The adhesive force is your way of writing.” That’s Horvitz’s music all over—and also describes the way the composers on American Dreams avoid what might otherwise come off as pastiche, a musical buffet arbitrarily sampled. Never mind that this bit recalls gospel, that one German expressionism, and these a blues bar at closing time—or, for that matter, that some of

One collaborator with Horvitz in just such exploration, for more than 30 years, has been Bainbridge guitarist Bill Frisell; he’ll be the soloist in Horvitz’s new commission from the Seattle Symphony for its annual “Sonic Evolution” concert, a tribute to Seattle artists past and present. Horvitz returned to Afternoon, released in July, as a thematic source for his 15-minute Those Who Remain. Here again, personal relationships inform the music; he describes it as “essentially a concerto for Bill, except his part is improvised, but it relates to the orchestra like a concerto.” One clear difference between these projects: The optimism the St. Helens hears in American Dreams is rare in the Hugo poems Horvitz drew upon. The title Those Who Remain comes from Hugo’s “Three Stops to Ten Sleep,” in which, as Horvitz describes it, the poet “evokes a group of pioneers heading west, and their steady decline from to hope to despair”:

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

HOLLYWOOD NIGHTS • NOW PLAYING THRU JANUARY 31, 2016

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Built to Last

IMAGES BY ALEC MILLER

The deep process of choreographer Pat Graney. By Sandra Kurtz

(2000)—revived at On the Boards as Triptych in 2010—is grounded in invented rituals and references to personal journeys. Graney has collaborated with visual artists for many years, and those relationships have produced some remarkable images. (Who can forget the sand cascading onstage in Tattoo? Or the giant alligator in Sleep? Or the tableau vivant modeled on Caravaggio in Faith?) In 2005’s The Vivian Girls, based on the work of Henry Darger, his eerie little girls are projected on a backdrop while the stage is stacked with giant models of his books, almost becoming a jungle gym for Graney’s dancers. Even more elaborate, House of Mind (2008) filled a vacant City Light repair shop with a labyrinth of halls and rooms, leading the audience through vignettes drawn from personal history (e.g., a child’s bedroom) or an imaginary landscape (a hallway lined with reports written by her detective father), ending in a kind of Alice in Wonderland apartment. Graney’s female cast enacted the daily life of a family: cooking, relaxing, eating a meal, but also clambering up the walls to walk on a ledge overhead.

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Girl Gods now digs further into family relationships. Graney says that while House of Mind was about memory and forgetting, Girl Gods is about rage. She asks rhetorically, “How do women deal with rage? They stuff it under the rug.” In Girl Gods, that anger is expressed in a collection of solos—dancers in little black dresses, flailing on the ground—that alternate with scenes of domestic life where irritation lies just under the skin. Simple tasks, like stuffing a chicken or getting undressed, keep getting harder, the frustration compounding. Her dancers interviewed their mothers as part of the rehearsal process, asking about “women’s work” and socially prescribed gender roles. While Graney is frustrated that today’s young women are again fighting for the same rights their mothers thought they’d secured, she sees Girl Gods as part of the path toward what she calls “rebooting feminism.” Graney now sees herself as more an installation artist than just a choreographer. Accordingly, Girl Gods is full of details—teapots full of sand, tiny chairs, baby dolls—that evoke a dream world or memory-scape. In a field where many dancemakers are finished after just a few works, Graney’s career is all about the process of building. E

dance@seattleweekly.com

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SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

eattle has a tendency to produce choreographers who aren’t like anyone who came before them. Merce Cunningham and Mark Morris are probably the best known, but Pat Graney isn’t far behind. She’s been making dances since the 1970s; and in the dance world, where generations fly by like gnats, that’s a very long time. Coming to Seattle in 1979, Graney landed in a dance community that was full of activity, with all kinds of newcomers bringing the energy of the dance boom with them. She found her cohort in the experimentalists who established On the Boards, which has offered a home for her work ever since. Like most young artists, she tried on multiple ideas, but some of her early interests still thread through her current work. Her primary values include language (both spoken and gestural communication), ritual activities, a keen eye for design, and a fondness for the unusual. You’ll see these all reflected in Girl Gods, which premieres next month. Early on, interested in the works of Gertrude Stein, Graney began to develop a kind of movement equivalent to her non sequitur texts. Although she Graney in the ’90s. has made works that put the dancing in front, they don’t often showcase conventional dance vocabulary. In Colleen Ann (1986), she combined Irish step dance with American Sign Language to tell a story of accident and loss. In Jesus Loves the Little Cowgirls (1986), she applied the pattern-making tools of postmodern dance to movements drawn from college drill teams. And in pieces like Seven/Uneven (1987) and Movement Meditation Practice (1996), she drew material from gymnastics and martial arts, exploring their physical virtuosity outside their traditional arenas. She seems to like showing us new possibilities for movement—See, this is dance, too. Alongside the exploration of external skills, though, Graney investigates more internal territory, excavating memory and emotion as a form of research. The dance mainstream mostly turned away from the psychologically based dramas of the postwar period, when Martha Graham and company brought Freud and Jung to the stage. But Graney has, in a circuitous way, picked up some of those explorations and incorporated them as research for her works. That long preparatory process includes extensive self-reflection for her dancers as well as herself. “I just feel like I’m opening the channel and we’re all making this work,” she remarked in a 2010 interview. We don’t see most of that process in the finished product, but we feel it underlying the work. The mysterious resonance of works like Faith (1991), Sleep (1995), and Tattoo

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Spit & Spin A new MOHAI show argues there’s so much more to local hip-hop than Macklemore. By Kelton Sears

AVI LOUD

Top, Nacho Picasso and Jarv Dee perform on the 95 Slide rooftop, 2014; bottom, a graffiti panel created by Specs Wizard.

efore Macklemore popped tags, before Shabazz Palaces got off the spaceship, and before Sir Mix-A-Lot professed his butt-lust, Seattle hiphop history began with a group called the Emerald Street Boys. Formed in 1981, two years after “Rapper’s Delight” made its local radio debut,

they started building a fan base thanks to the wild house shows in “The Valley” (Madison Valley in today’s real-estate parlance). Taking cues from the innovative New York sound-system parties being developed by Afrika Bambaataa, the Emerald Street Boys put their own, artier spin on that New York scene.

“They would hook up multiple TVs throughout the whole house and simultaneously play hip-hop videos they had recorded,” says Aaron Walker-Loud. “This is when they were teens— these were crazy, unsupervised house parties being held on a semi-regular basis.” Later, Walker-Loud explains, the Emerald Street Boys dance-battled MC Kool Moe Dee during a Seattle tour stop—and, if the crowd reaction was any indication, defeated him. (The Boys’ DJ “Nasty” Nes Rodriguez also founded and hosted the West Coast’s first exclusively hip-hop radio show, FreshTracks on KKFX.) Most casual Blue Scholars or Moor Gang fans might not know how deep this city’s hip-hop lineage truly runs, but married curators WalkerLoud and Jazmyn Scott are hoping to change that with The Legacy of Seattle Hip-Hop, which opens Saturday at the Museum of History & Industry. Both have deep personal knowledge of the local scene. (In fact, Scott’s father was that local DJ who first played “Rapper’s Delight.”) They’ve compiled a massive treasure trove for this interactive show, which spans more than 30 years of history. The exhibit frankly celebrates the unique values of Seattle hip-hop. “One of the things that has been a running theme . . . is community,” says Scott. “It’s not necessarily about becoming really famous and getting huge notoriety, it’s more about a pride in being from Seattle and repping Seattle. There are all types of people here that do all different kinds of hip-hop, but that’s a continuing theme no matter who we talk to.” Two artifacts in the show illustrate just how seemingly different, but united, the Seattle hiphop community is. First is Macklemore’s giant furry coat, made famous by the “Thrift Shop” video. Nearby is Raz Simone’s giant furry coat— featuring two dead foxes sewn onto the collar—from the “Hometown” video. Both rappers celebrate their Seattle roots in their music and both tackle social-justice issues in their lyrics, but the relationship between the two is a bit murkier. (Raz Simone openly criticized Macklemore in this year’s “Macklemore and Chief Keef.”) “Both of the jackets are so ugly and furry and big,” Scott laughs. “To see them both side by side, think about who they belong to, the context in which they were worn, the dialogue that’s happening right now—I hope it creates dialogue between the people who see it and the people who they belong to.”

“It’s interesting to have these two MCs who are in the heated middle of this conversation,” adds Walker-Loud . “We’re not trying to create a Don King orchestrated beef, though.” Mostly, the curators just want people to have fun, and maybe get their hands a little dirty in the interactive exhibits. Walker-Loud is excited about a mixing station featuring unreleased music from two of Seattle’s most celebrated producers—Jake One and Vitamin D. Museumgoers will be able to manipulate the individual song components and learn how all the pieces form a hip-hop beat. Interested parties can also learn how to break-dance on a dance floor from an instructional video produced by Seattle’s most famous B-boy crew, Massive Monkees, who recently joined Macklemore for his MTV VMAopening performance of “Downtown.” Walker-Loud explains, “A lot of what has happened here in Seattle is the result of a decision people made through these community centers and educational centers to mentor and teach future generations how to break-dance, how to DJ, how to rap, how to produce. Like The Pharmacy, Vitamin D’s facility: He’s mentored MCs and producers there for over a decade, just offering his wisdom and help.” He also cites Massive Monkees’ outreach and education at their Beacon Hill studio. “We want to continue that spirit with this show.” It’s a spirit that should be evident during this Saturday’s opening festivities, which will feature a public graffiti wall (with artist Specs Wizard) and upcoming young MCs and producers including Nya J, Romaro Franceswa, and Upendo Moore (this last still in high school). “They are really going to help illustrate where the future is moving,” says Walker-Moore. Scott says her hope is that “The show isn’t going to be something you just look at that’s real museum-y. You are going to be involved. People who don’t know a lot about hip-hop are going to get a chance to learn how to do some of these core elements that make up this culture—how to write rhymes, how to produce, how to dance. Who knows what that will inspire moving forward?” E

ksears@seattleweekly.com

MUSEUM OF HISTORY & INDUSTRY 860 Terry Ave. N., 324-1126, mohai.org. $5–$17. 10 a.m.–5 p.m. daily (open to 8 p.m. Thursdays). Runs Sept. 19–May 1.

SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

Faculty Piano Recital

Cristina Valdés

Tuesday, November 3

Performing works for solo piano, including music by Steve Reich, György Ligeti, and a new work by UW faculty composer Richard Karpen. 7:30 pm Meany Theater Tickets: $20 general / $10 students & seniors

UW Music and DXARTS Present

Music of Today: Ensemble Dal Niente

Friday, October 30: Chicago-based collective performs works by UW faculty composers. 7:30 pm Meany Theater - Tickets: $15 general / $10 students & seniors

Music of Today: DXARTS Friday, November 20:

Groundbreaking new works and modern classics by faculty and guest composers. 7:30 pm Meany Theater - Tickets: $15 general / $10 students & seniors

Faculty Cello Recital

Sæunn Thorsteinsdóttir

Monday, November 16

Presenting UW Music’s newly appointed faculty artist performing works by Beethoven, Britten, and Rachmaninoff with pianist Elizabeth Joy Roe. 7:30 pm Meany Theater Tickets: $20 general / $10 students & seniors

FRESH · MODERN · INNOVATIVE

ArtsUW TICKET OFFICE: 206.543.4880

1397508

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

MORE AT: WWW.MUSIC.WASHINGTON.EDU

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ECA SPECIAL ENGAGEMENT:

War Porn

THE ROCKY HORROR PICTURE SHOW

David Shields asks why we’re so addicted to glossy combat photography.

Friday, October 30 | Doors@9 pm | Show@10 pm $20, $15 & $15 | Party pack included

Pull up your fishnets, starch your gold shorts, and get ready to become a creature of the night for the strangest, sexiest film — and a live cast! Rated R. Under 17 requires an accompanying parent or adult guardian.

By Brian Miller

THE PRINCESS BRIDE QUOTE-ALONG Saturday, November 28 | 12 Noon $20, $15 & $15 | Youth/Student $15

In partnership with SIFF, the beloved swashbuckling fairytale is presented on our state-of-the art film system. The film event will include quote-along subtitles for all the best lines, free inflatable swords, and Rodents of Unusual Size! OZIER MUHAMMAD/THE NEW YORK TIMES/REDUX

Familiar scenes from Iraq in 2003.

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America's hottest new vocal group, comprised of a former cast of Jersey Boys, has an electrifying HOLIDAY SHOW featuring an evening of classic hits from the American radio songbook along with all the great holiday standards. This modern-day Rat Pack will have the audience on their feet!

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gallery—this would make a provocative show— devoid of any context but beauty. Is that the right term, beauty? Shields writes in his intro that “Behind these sublime, destructive, illuminated images are hundreds of thousands of unobserved, anonymous war deaths; this book is witness to a graveyard of horrendous beauty.” And there’s a long tradition of glorifying combat and aestheticizing war; Shields reels off such examples knowledgeably in person—Homer, the Greek playwrights, European painting, the Civil War photographs of Matthew Brady, Robert Capa in Spain and Normandy, and Hollywood. All produce great images, though the truthfulness varies. Yet Shields came to believe that “The Times had taken it to an absurd level. They so glamorize war [without] the horror and the trauma. The photographs are like huge kisses to the U.S. government.” In the same breath, Shields admits that the terms of front-line access have changed since the Vietnam era of Don McCullin or Larry Burrows. Combat photographers today are mostly embedded and approved by the U.S. military; their color images are more polished, and they’re digitally transmitted near-instantly back to newspapers that can measure their popularity online. There’s a financial interest for the Times—and all publishers, and all broadcasters—to produce the sexiest, grabbiest images possible. For such reasons, “The Times is not going to run photos of bloody corpses every day,” Shields concedes. “But

» CONTINUED ON PAGE 22

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SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

f you are buying those pictures, you’re a fool,” says David Shields about his forthcoming book, a kind of photo essay/ polemic bearing the ironic title War Is Beautiful. He calls it “a coffee-table book as IED that explodes in your hand.” To be published in November (powerHouse, $40), its subtitle is “The New York Times Pictorial Guide to the Glamour of Armed Conflict,” which makes Shields’ argument—and disappointment—with the Times more clear. Chatting about the newspaper at Zoka Coffee in Wallingford, he sounds like a man who had to end an unhealthy romance. “I had to cut it off as troops started pulling back from Iraq and Afghanistan,” he says of his Times subscription, for decades a daily ritual. The son of two journalists, he recalls, “My parents would have the Times delivered to us in L.A.”—a rarity in the ’70s. “It was this printed truth.” For liberal intellectuals like Shields, a UW professor and prolific writer (Reality Hunger, Black Planet, etc.), the Times validates a certain kind of informed worldview. The paper covers what’s important, and you feel smart for reading it. That all started to change for Shields as our two post-9/11 wars dragged on. Of the Times’ eye-catching daily color war photos, he recalls. “I found myself loving and hating these images. Gimme my war porn! We all gobble up these images. We’re all complicit.” Once a fan of the paper, “I deconstructed my own fandom.” That process started (with assistants) in the UW microfiche archives, where Shields collected some 8,000 front-page images of war, beginning with the first Persian Gulf War in 1991. He began devising 10 categories to group the images, “constructed to make an argument. Almost all are from 2001 onward.” A first edit yielded 700, which he then culled to 64, with his introductory essay and literary citations for each section (Love, Movie, Nature, Father, etc.). All the credits and original captions are left to the end of the 112page book, so one first views them as in an art

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War Porn » FROM PAGE 21

A Reader’s Guide

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“It’s so movie-like it’s preposterous.”

they’ve forgotten an incredibly great tradition of war photography.” The reasons, he argues, go back to the Times’ founding by German-Jewish owners (the OchsSulzberger family) and their timid coverage of the Holocaust for fear of being “too Jewish of a paper. They’ve hugely overcorrected. The Times pretends to be neutral and least somewhat objective. A huge part of it is wanting access to the highest levels of government power.” Put differently: To join the establishment, one must show some obeisance to the establishment. Of course, Roger Ailes would never worry that FOX News is too Republican, one reason Shields didn’t go after such obvious war drums and jingoism for his critique. Instead, “This is shooting fish in the ocean. As someone who is GermanJewish, I can talk about this,” says Shields of his “lover’s quarrel” with the Times. Pointing to a 2008 photo of Senator Barack Obama and General David Petraeus in a helicopter, he says, “This image is doing so much ideological work.” By implication, an election will come and the continuity of U.S. power will be maintained—even if the funny-named guy with the big ears wins. Flipping to another page, we see a glowering Palestinian teen in a blue St. Louis Rams jersey with an orange-burning van behind him. “It could not be any more perfect. Of such well-composed images, indebted to art-history tropes and movies like Apocalypse Now, Shields asks rhetorically, “How do we get led into war? This is one of the many ways. We get seduced. The Times has essentially been shilling for war.” What paper does he read today? “Mainly The

Guardian. In a way I’m arguing for a more European model of newspapers” in which partisanship is acknowledged. Shields still seems bitter about the discredited Judith Miller Times stories about Saddam’s WMDs, and he’s dismissive of columnist Thomas L. Friedman and (now retired) war correspondent John F. Burns. “An absolute disaster,” he calls such war coverage, rife with narrative clichés and borrowed visual templates. If, for Shields, a writer’s duty is “to dismantle one’s own cherished beliefs,” that responsibility extends to the newspaper reader, too. In this regard, he writes, blame goes far beyond the Times photo desk: “The paper of record promotes its institutional power as protector/curator of death-dealing democracy. Who is culpable? We all are; our collective psyche and memory are inscribed in these photographs.” E

bmiller@seattleweekly.com

RICHARD HUGO HOUSE 1634 11th Ave., 322-7030, hugohouse.org. $5. 7 p.m. Fri., Nov. 13.

FALLARTSGUIDE

Brains and Paint

Paul Allen’s free new arts space is coming to SLU. By Brian Miller

BEN HEYWOOD PHOTO BY VULCAN/ BRIAN MILLER

Heywood and his new gallery.

veying the local arts scene to get a feel for his audience: “I’ve been in Seattle for a couple months now. I’ve had a very intensive schooling period. I’ve seen as much as I can—SAM, the Frye, the Henry. I’ve been down to Georgetown [and] some of the other smaller local galleries. I’m trying to meet as many people as possible. We want this space to be as responsive as it can be to the local and regional scene.” Heywood is aware that Allen’s exhibition space follows the similar, now-closed examples of Western Bridge (owned by Ben and Ruth True) and the Wright Exhibition Space (courtesy of Bagley and Virginia). In the same pricey SLU neighborhood, there’s also the past interdisciplinary example of Consolidated Works (1997– 2006), which had Vulcan as its landlord. So, I ask Heywood, do we feel confident that Pivot won’t be replaced by a coffee shop in a few years? “This is a permanent institution. I wouldn’t have moved halfway across the country . . . to run a Starbucks,” he laughs. “I have a wife and two kids. They’re actually staying in Minneapolis for the next nine months [for school]. They’ll be joining me in the early summer of next year.” Back in Minneapolis, the Soap Factory didn’t actually make soap under Heywood’s leadership. It’s a hybrid art/performance space—imagine On the Boards grafted with the old Lawrimore Project—that provides some clues about his future plans. “We’re trying to look at contemporary art in the widest possible cultural sense—theater, performance, spoken word, social-practice work,” he says. Late hours and free admission should help draw busy Amazon workers, and Heywood speaks of giving “people an immediate excuse and opportunity to come and visit the space” even if it’s just for “the five or 10 minutes they get for their lunch breaks.” And might those workers one day see some of Allen’s private collection? In a rare chat with Newsweek three years ago, the secretive billionaire mentioned holdings including Rodin, Turner, Klimt, Monet, and. Heywood says, “Yep. We’re not going to be restricting ourselves. There’s no one really standing over us saying, ‘You can’t exhibit that.’ We have a very wide-open opportunity.” E

bmiller@seattleweekly.com

September 24-27 Schack Art Center

2921 Hoyt Ave. / Downtown Everett 425.259.5050 / schack.org

Glass pumpkin patch Make a blown glass pumpkin Activities for kids Beer & brat night, ages 21+

Made possible in part by the City of Everett Hotel/Motel Fund

Can you and your fellow submariners find the clues, solve the puzzles, and escape the depths in 1 hour? Reservations are required. For more information go to www.puzzlebreak.us

SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

ith Paul Allen as your patron, like a Medici or Carnegie, running Seattle’s newest planned art venue ought to be an exercise in blue-sky spending, right? That’s the question I put to Ben Heywood, the British-born curator whom Allen’s Vulcan, Inc. recently plucked from his dozen-year perch at The Soap Factory in Minneapolis. He’s got the art-world connections and Allen’s got the money, so could we soon be seeing some loaner Picassos at Pivot Art + Culture? “I would say that if we’re gonna talk about blue sky for Pivot,” replies Heywood, “it’s in the way that we approach the exhibition and mediation of contemporary art. My background as director and curator is in small- to mediumscale nonprofits. I’m interested in things that are relevant and accessible to wide audiences. How much things or how little things cost is not hugely interesting or relevant to me.” Budget aside, Pivot has the advantage of controlling its own destiny—unlike the more temporary MadArt and Aktionsart spaces that occupy prime real estate nearby. The Seattle Storefronts program also fills a few shop windows in spaces soon to be taken. SLU has sprouted so fast, largely owing to Allen’s foresight and Amazon’s demand, that nobody planned for an arts institution until now. Pivot will enjoy a prominent location near the corner of Mercer and Westlake, housed within the new Allen Institute for Brain Science (which is moving from Fremont this month). With about 3,500 square feet of exhibition space, it’ll be set off from the squat blue-glass office tower by the historic terra-cotta façade preserved from the old McKay auto dealership. “It’s a really, really exciting space,” says Heywood. “We occupy the Ford dealership façade. The Lincoln dealership façade that is on the corner of the building will be [leased] to someone else. We’re the longer façade. We have one large gallery . . . and one smaller gallery. It’s a slightly elongated double cube. It’s very much a shop front. We’ll get a lot of traffic. The trolley stops at the light right outside our window. We have a great opportunity to show things off. “We’re supposed to be moving in at the end of the month,” Heywood continues. We’re looking to open the first show on the first of December.” Who will come? Busy Amazon workers? Grayhaired art buyers? Heywood says he’s been sur-

FALLARTSGUIDE

CHOOSE YOUR OWN SERIES

What I Want to See Onstage This Fall

Our chief drama critic lets her fangirl favorites fly.

Pick Four or More Save 10%

By Margaret Friedman

28 Events to Choose from Fall Highlights Below

SANKAI JUKU / Oct 1-3

ETHEL & ROBERT MIRABAL / Oct 8

JONATHAN BISS / Oct 20

JOHN CORNICELLO

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

DANISH STRING QUARTET / Nov 4

Bloom as Zuzanna the absinthe fairy in Bohemia.

YOUSSOU N’DOUR / Nov 8

AKRAM KHAN COMPANY / Nov 12-14

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

here appear to be no particular themes or trends in this coming season’s theater menu, but the hint of autumn chill stirs my appetite for stageworlds both odd and familiar. In no particular order, here’s a rough and by no means exhaustive map of some of my intended destinations: Bohemia There’s nothing like a glossy, fascination-filled ad campaign to stir the loins of the dramatic wanderluster. For their new musical cabaret, Mark Siano and Opal Peachey invested in beguiling costumes and whimsical promo photography to bewitch the audience even before it walks in the door. Stylistically inspired by Czech poster artist Alphonse Mucha and the dawn of Art Nouveau’s commercial age in late-19th-century Prague, the pretty side of

Bohemia seems very pretty (tapering typeface, wrought-iron romance, idealized females, and fiery black-suited chaps), but the “ugly” side is all the rage. Absinthe, “the green fairy” (Isobella Bloom), visits creatively blocked composer Antonin Dvořák (Siano), along with the ghost of Frédéric Chopin (Peachey) and others. With aerialism, original songs, and potentially ghoulish goulash, this sounds like Café Nordo’s most esoteric and thematically compelling extravaganza yet. (Café Nordo, cafenordo.com, ends Sept. 27) Sound Azeotrope’s past productions have been varied and powerful, so I expect to be imaginatively transported not just to presentday Martha’s Vineyard, where Don Nguyen’s world premiere takes place, but also to the borderland between hearing and deafness, as the philosophical drama straddles the auditory

divide. Like Tribes, a family dramedy which stole hearts examining the politics of sign language, it sounds like Sound will vibrate with the ethical dilemma of what is lost when “special needs” are overcome—in this case by cochlear implants. I’m not normally a fan of parallel stories in different time periods, but trust director Desdemona Chiang to amplify the paired drama of Alexander Graham Bell’s invention of a hearing device 130 years earlier. (ACT Theatre, azotheatre.org, ends Oct. 4)

tor Wilson Milam and his large, talented New Century Theatre Company cast intend to frame the denialist drama of abuse; in lesser hands I’d worry about the stolid ensemble piece descending into a muddle of bathos. But here there’s every reason to hope that playwright David Eldridge will impart at least some of the misanthropic precision of Harold Pinter to the material. Maybe even a touch of compassion—though it will probably have to come from outside the family. (12th Avenue Arts, wearenctc.org, Oct. 28–Nov. 21)

RICHARD NGUYEN SLONIKER

Top, Cheyenna Clearbrook and Ryan Schlecht in Sound; right, Anna Kasabyan (Daphna) and Ian Bond (as her brother) in Bad Jews.

STEVEN STERNE

Fall at Seattle Arts & Lectures…

Bad Jews SPT’s choice to produce Joshua

Harmon’s uncomfortable comedy makes sense— cramped Manhattan apartment, three cousins fighting over an heirloom MacGuffin (in this case a chai, or Jewish pendant signifying life), and all those thorny questions about the preservation or jettisoning of traditions that bind people through archaic logic. Naturally, an outsider drops in to observe the dirty laundry. Last winter I saw a superb production of this play that hit all the roving comedic marks, but it’s a risky piece because the ethnic humor is so execution-dependent. Director Shana Bestock will have to make smart decisions regarding audience sympathy or hatred for the exquisitely irritating female lead role of Daphna. (And Daphna’s hair, which is kind of a character in itself.) (Seattle Public Theater, seattlepublictheater.org, Oct. 2–25) The Art of Bad Men German soldiers enjoying a Molière play at their Minnesota POW camp in 1945 may sound a bit tired, so popular has been the trope of art boosting stunted spirits (e.g., Shakespeare in prisons, miners taking up camel-hair brushes). Nonetheless, I admire playwright Vincent Delaney’s keen nose for political tension, so look forward to seeing this flowering of a project that started with interviews of former POWs a decade ago. Also curious to see how MAP Theatre will configure the camp in the amorphous performance space at theLAB@Inscape. Bad Men director Kelly Kitchens—recently voted Best Director in our Best of Seattle Reader Poll—created a terrifically memorable “world” with SPT’s small space in Slow Girl. (Inscape Arts, map-theatre.com, Sept. 25–Oct. 17) E

stage@seattleweekly.com

Saul

Williams

9.24

Elizabeth

James McBride 11.9 & the Good Lord Bird Band

Gilbert 10.6

Anthony

Drew

And more!

Barrymore 11.7 Linda

Pastan

11.10

Doerr 11.18

SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

Mr. Burns, a post-electric play And now for travel to the future, which, given that there has been an apocalyptic chapter between here and there, looks a lot like the past but without sepia charms. In Anne Washburn’s poignant “storytelling for survival” play, human survivors of catastrophe painstakingly reconstruct an episode of The Simpsons (“Cape Feare,” to be precise). Without electricity (and hence without all things digital), they must rely only on their humanity, flawed memory, and community to “power through” to the next level. This play, which premiered in 2012 at Washington, D.C.’s Woolly Mammoth, was widely lauded for its ingenuity and compassion. Best of all, the act of storytelling itself is the hero. (ACT Theatre, acttheatre.org, Oct. 16–Nov. 15) Mother Courage and Her Children What would the season be without a nod to senseless wars and religious conflicts? Seattle Shakespeare takes on Brecht’s antiwar parable about a profiteering parent who loses all her offspring while opportunistically attempting to maximize their interests. It’s the ultimate O. Henry irony, and I can’t wait to see how they link it to contemporary conflict—Sunni/Shi’a, Palestinian/Jewish, Hindu/Muslim, Christian/Muslim, etc. Though a powerful piece when written in 1941 (about the Thirty Years’ War between 17th-century Protestants and Catholics), it can only gain resonance in today’s sectarian context—Syria being the most prominent of several current examples. (Center Theatre at Seattle Center, seattleshakespeare. org, Oct. 27–Nov. 22) Festen With Europe in tatters, I wonder if this stage version of the acclaimed 1998 Danish film The Celebration, about the disintegration of a family through allegations of incest, will allegorize the fall of the House of Maastricht. Did Father Germany molest troubled son Greece? Is Mother France an enabler in her indifference to impropriety (and maybe even an accomplice in the predations)? Of course, I have no idea how direc-

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

GENIUS /

GENIUS / 21 CENTURY / SEATTLE September 26, 2015–January 10, 2016

Genius / 21 Century / Seattle is a Raynier Institute & Foundation exhibition organized by the Frye Art Museum and curated by Jo-Anne Birnie Danzker and Erika Dalya Massaquoi. The exhibition is funded by the Frye Foundation and the Raynier Institute & Foundation through the Frye Art Museum | Artist Trust Consortium. Generous support was provided by The Hugh and Jane Ferguson Foundation, Seattle Office of Arts & Culture, 4Culture/King County Lodging Tax, Douglas Smith and Stephanie Ellis-Smith, Riddell Williams P.S., Nitze-Stagen, and Frye Art Museum members and donors. Seasonal support provided by ArtsFund. Print media sponsorship provided by The Stranger. Broadcast media sponsorship provided by KUOW 94.9 FM.

Jim Woodring. Still from Frank in the 3rd Dimension, 2015. Pen drawings by Jim Woodring, 3D conversions by Charles Barnard. 3D digital video. Courtesy of the artist and Fantagraphics Books.

Always Free | fryemuseum.org

FALLARTSCALENDAR By Alana Al-Hatlani, Jennifer Karami, Sandra Kurtz, Daniel Roth, and SW Staff

Dance

the work by New Girl head writer Kim Rosenstock. 12th Ave Arts, washingtonensemble.org

SEPTEMBER

25–OCT. 17 THE ART OF BAD MEN

• 16–19 WHIM W’HIM Olivier

Vincent Delaney’s new WWII POW camp drama is based on interviews with actual prisoners—German ones, from a camp in Minnesota. theLAB@Inscape, map-theatre.com

Wevers invites guests to make new dances in Choreographic Shindig. Erickson Theatre Off Broadway, whimwhim.org • 17–19 OVEREXPOSED Lou Henry Hoover and Kitten LaRue continue to mix the personal and the professional in their newest work, answering the question “What does the fabulous burlesque pair do after they get married and dance backup for Lady Gaga and Tony Bennett?” SANDRA KURTZ West Hall, kittenandlou.com 18–19 ENTROPY Dance comes to Velocity Dance Center, facebook. com/Entropyperformance 19 DUWAMISH FESTIVAL Study of Time and Motion is performed outdoors. duwamishrevealed.com 24 IAN FALCONER talks about his designs for Pacific Northwest Ballet’s upcoming Nutcracker. McCaw Hall, pnb.org

• 25–OCT. 18 A VIEW FROM THE BRIDGE Arthur Miller’s

1955 drama involves a dark family secret, a love affair, and jealousy that alter a working-class longshoreman’s life. Braden Abraham directs. Seattle Repertory Theatre, seattlerep.org 26–27 SAYS YOU! The popular NPR show is taped live. Town Hall, townhallseattle.org • 27 LEWIS BLACK The ever-angry monologuist and playwright recently lent his ranting voice to Inside Out. The Pantages, Tacoma, broadwaycenter.org. 30 & OCT. 21 THE GREAT SOUL OF RUSSIA TWO takes on NATIONAL GALLERY OF ART

• 24–27 FALL KICK-OFF + BIG BANG! One of Velocity’s most high-

energy weekends of dance and performance. Each night brings together some of Seattle’s most gifted and charismatic artists to celebrate the talent and innovation of the Pacific Northwest’s contemporary-dance scene. Velocity Dance Theatre, velocitydancecenter.org

• 24–NOV. 12 LINCOLN CENTER AT THE MOVIES The New York–

based presenter offers a trio of dance events: San Francisco Ballet performs Helgi Thomason’s Romeo and Juliet in September; Alvin Ailey American Dance Theater is seen in a mixed bill including its iconic Revelations in October; and Ballet Hispanico presents Club Havana in November. SK Thornton Place and other theaters, fathomevents.com • 25–OCT. 4 SEE THE MUSIC A triple bill of repertory works from Pacific Northwest Ballet: George Balanchine’s Prodigal Son, Tide Harmonic by Christopher Wheeldon, and Jerome Robbins’ hilarious The Concert. McCaw Hall, pnb.org 30–OCT. 3 LILY VERLAINE

OCTOBER

1–3 SANKAI JUKU performs at

Meany Hall, uwworldseries.org

• 1–4 PAT GRANEY COMPANY

They dance her Girl Gods. SEE PROFILE, PAGE 17. On the Boards, ontheboards.org.

• 7–11 GRAND RAPIDS BALLET

Patricia Barker retired from a long career at PNB in 2006, but didn’t go far from the studio, stepping up as the artistic director of Michigan’s largest ballet company. She’s bringing her ensemble to Seattle with two programs, including Olivier Wevers’ version of A Midsummer Night’s Dream. SK Cornish Playhouse, brownpapertickets.com • 9–11 MADE IN SEATTLE This Velocity program offers crucial support to choreographers who are ready to make the next big step—studio space, mentorship, and assistance with production. Talent is great, but it needs help sometimes. This time out it’s Anna Conner and Babette deLafayette (along with John Marc Powell)

who are getting the boost. SK Velocity Dance Center 10 CARMONA FLAMENCO appears at Café Solstice. (Also Nov. 14, Dec. 12.) fanw.org 15–17 EMILY JOHNSON The choreographer visits for a residency, and her Shore is performed. On the Boards • 15–20 OPENING DOORS: CELEBRATING 50 YEARS OF DANCE AT THE UW The dance

program is marking a big birthday with a big bunch of events, from master classes and lectures to alumni films and choreography, all anchored by its Chamber Dance Company’s annual showcase of dance history. This year it’s a sampling from 100 years of modern dance—artistic director Hannah Wiley says she was thinking of lifting off in a hot-air balloon from the Paris Exposition (and Loie Fuller’s debut) and touching down to see the highlights from Martha Graham to Mikhail Fokine, Doug Elkins to Shapiro and Smith. SK Meany Hall, dance.washington.edu 16–17 MEN IN DANCE It’s their adjudicated showcase. Velocity Dance Center 23–25 KARIN STEVENS DANCE COMPANY comes to Velocity

Dance Center.

23–NOV. 1 GHOST GAME IX: DEAD GODS Aerial

performances inspired by Mesopotamian, Norse, Greek, and other mythologies. Youngstown Cultural Arts Center, cabiri.org 29 SHAPING SOUND It’s a mashup of dance and music genres by the crew from So You Think You Can Dance and All the Right Moves. The Paramount 30–NOV. 1 RIVERDANCE The traditional Irish dance-turned-global phenomenon returns. The Paramount • 31–NOV. 14 KT NIEHOFF

Throughout her career, choreographer Niehoff has been making works that aim to bring people together

in a social setting. This revival of A Glimmer of Hope or Skin or Light lands the audience in the middle of a elaborate club environment, where spectacular showgirls stroll through the crowd. They’re a catalyst for action of all sorts: some crafted in advance and some made on the spot, all of it full of excitement. SK ACT Theatre, acttheatre.org

NOVEMBER

• 6–15 EMERGENCE PNB’s mixed-

repertory program is an excellent snapshot of the company, with a ballet based in the neoclassical tradition (Kiyon Gaines’ Sum Stravinsky), a soon-to-be classic of contemporary ballet (Crystal Pite’s fierce Emergence), a work that unites early modern dance with current styles (Jessica Lang’s The Calling), and a wild card—a premiere by company member Price Suddarth. SK McCaw Hall 8 LA REVUE DE CUISINE With Music of Remembrance, Olivier Wevers and Whim W’Him perform this jazz ballet, set in a kitchen with characters including a whisk, a pot, and a dishcloth. Benaroya Hall, musicofremembrance.org • 12–14 AKRAM KHAN This fusion artist mixes the dances of his Indian heritage with contemporary styles from his home in the UK. On first viewing, it’s the kinetic results that catch your attention, especially the rhythmic complexity. But deeper than that is the cultural mix Khan has been designing, looking for more spiritual connections between those human communities. SK Meany Hall, uwworldseries.org 13 GLOBAL DANCE PARTY

Talented local performers celebrate through dance and music. The Moore, stgpresents.org 13–15 INNER GALACTIC Maya Soto’s dance hybrid promises “performance incorporating, music, spoken word, and theater . . . inspired by space travel, the writing of Carl

Sagan, the life cycle of stars, and a general love of sci-fi/fantasy storytelling.” Velocity Dance Center

19–21 FINDLAY//SANDSMARK

The Norwegian company considers the perishability of memory and videotape in biograph, last year was pretty//sh*tty. On the Boards 19–21 LOST IN SPACE! A sci-fithemed burlesque show from the Atomic Bombshells. The Triple Door

20–21 CORNISH DANCE THEATER

Come see what the students have to offer. Cornish Playhouse, cornish.edu

• 20–22 MARK MORRIS DANCE GROUP Morris may have left his

enfant terrible stage far stage far behind, but he still travels his own path, making dances grounded in the musicality of choreographers like George Balanchine and Doris Humphrey. This mixed-rep program includes work familiar to Seattle audiences (Cargo, a mysterious vision of an imaginary culture, and the witty A Wooden Tree) as well as a contrasting pair of local premieres: Whelm and The, set to Bach’s Brandenburg Concerto no. 1. But whatever the repertory, Morris’ appearance is always a landmark in the dance season. SK The Moore

• 27–DEC. 28 THE NUTCRACKER

After 31 years, PNB is finally ditching the ’83 Sendak/Stowell version in favor of George Balanchine’s 1954 choreography. McCaw Hall

DECEMBER

• 3–6 DEGENERATE ART ENSEMBLE brings together

music, theater, and dance, unearthing images from the unconscious and the imagination. Predator Songstress is the result of recent excavations into the concept of power and the subversion of authority, both filtered through the portrait of a woman. SK On the Boards

4–5 CORNISH NEW MOVES

Students perform at Velocity Dance Center, cornish.edu 6–8 CREATIVE DOMAIN Paul

Taylor is profiled in this documentary, part of the Next Dance Cinema series. Northwest Film Forum, nwfilmforum.org.

• 10–28 LAND OF SWEETS: THE BURLESQUE NUTCRACKER A

bawdy makeover of the Christmas classic featuring Lily Verlaine and pals. The Triple Door 11–13 NEXT FEST It’s all progressive, supposedly. Velocity Dance Center 18–20 BUTTCRACKER With a name like that, don’t pretend you’re not interested. Velocity Dance Center

Stage SEPTEMBER

THROUGH OCT. 11 BLOOMSDAY

Set in a Dublin haunted by James Joyce’s Ulysses, this new romance by Steven Dietz follows two lovers across three decades. ACT Theatre, acttheatre.org 20–26 ANNIE The long-running musical takes another victory lap through Seattle. The Paramount, stgpresents.org 22–OCT. 18 WHAT WE TALK ABOUT WHEN WE TALK ABOUT LOVE Jane Jones

attempts to condense and adapt Raymond Carver’s classic 1981 story collection in this Book-It Repertory Theatre production. Seattle Center Armory, book-it.org 23–OCT. 24 DRACULA A new adaptation of Bram Stoker’s vampire classic. Taproot Theatre, taproot theatre.org 25–OCT. 10 BRASS The first chapter in Louis Broome and John Longenbaugh’s England-set, steampunk-tinged serial. Theater Schmeater, battleground productions.org

• 25–OCT. 12 99 WAYS TO FUCK A SWAN A sexually charged romantic

comedy exploring the roots of desire and love. Washington Ensemble Theatre performs

OCTOBER

1–25 WATERFALL This new musical

love story, set in the 1930s and based on the Thai novel Behind the Painting, will debut on Broadway next year. The 5th Avenue Theatre, 5thavenue.org 1–30 LISTENING GLASS Seattle Immersive Theatre invites you to 2724 Sixth Ave. S. to watch a realistic-as-possible police interrogation. seattleimmersivetheatre.org 2–25 BAD JEWS Joshua Harmon’s comedy about three varying degrees of faith, as cousins debate who’s the better . . . you get the idea. Seattle Public Theater, seattlepublictheater.org 8–24 MOLLY SWEENEY A blind Irish woman regains her sight in Brian Friel’s drama. 4th floor, Center House, Seattle Center, ktoproductions.net 10 FELT-A-CON A day of puppetry activities, ending in a Fussy Cloud Puppet Slam performance at 8. Theatre Off Jackson, theatreoff jackson.org • 11 KATHY GRIFFIN Don’t pretend you’re too good for her downand-dirty brand of Hollywood dish. Snoqualmie Casino, snocasino.com • 16–NOV. 15 MR. BURNS, A POST-ELECTRIC PLAY A

dark, post-apocalyptic comedy from Anne Washburn, riffing on our favorite villain from The Simpsons. ACT Theatre

17 CAMERON ESPOSITO

Stand-up comedy and storytelling centered around LGBTQ topics. The Neptune, stgpresents.org

22–NOV. 15 MY MAÑANA COMES Elizabeth Irwin sets her

dramedy in the kitchen of a posh New York restaurant, where the staff dreams of better tomorrows. ArtsWest, artswest.org

23 WHOSE LIVE ANYWAY?

Improvised comedy from the cast of Whose Line Is It Anyway?, featuring some of the original games from the show. The Moore

23–NOV. 15 LITTLE SHOP OF HORRORS The Ashman/Menken

musical, featuring the giant man-eating plant from space, is a proven crowd-pleaser. SecondStory Repertory, second storyrep.org

SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

reprises her popular wine-themed Burlesco Divino. The Triple Door, thetripledoor.net

Cézanne’s Still Life with Milk Jug and Fruit, part of SAM’s Intimate Impressionism show, opening October 1.

Chekhov: The Wood Demon and The Seventh Siege, staged by The Seagull Project. ACT Theatre

» CONTINUED ON PAGE 28 27

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• 23–NOV. 22 BUYER AND CELLAR In Jonathan Tolins’

acclaimed one-man show, an aspiring actor is hired to run the private mall in Barbra Streisand’s Malibu basement. Scott Drummond plays all the roles, including Babs. Seattle Repertory Theatre • 24 MARGARET CHO The feminist comedian and renaissance woman brings her live show to Seattle. The Moore

P R OMO TION S

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

27–NOV. 22 MOTHER COURAGE AND HER CHILDREN Seattle

H A P P Y H O UR

Shakespeare takes on Brecht’s antiwar parable. Center Theatre at Seattle Center, seattleshakespeare.org • 28–NOV. 21 FESTEN Playwright David Eldridge’s adaptation of the searing 1998 Danish movie The Celebration, staged by New Century Theatre Company. Wilson Milam directs the talented ensemble. 12th Avenue Arts, wearenctc.org

A R T S A ND ENTER TA INMEN T

NOVEMBER

• 3–8 Idina Menzel stars in IF/THEN,

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performances, exhibitions,

openings and special events.

a musical about a woman getting a fresh start in NYC at 40, part of Menzel’s seven-city tour of her acclaimed Broadway hit. The Paramount • 5–JAN. 31 MY FAIR LADY The enduringly popular and hit-filled 1956 Lerner and Loewe musical is directed by our homegrown Tonyand Pulitzer-winning Brian Yorkey, who must love the thing. The casting of Eliza is still a big secret. Village Theatre, villagetheatre.org 6–13 QUIXOTE Playwright Octavio Solis’ new adaptation of Cervantes. Cornish Playhouse at Seattle Center, cornish.edu 13–DEC. 13 COME FROM AWAY

A new musical based on the true story of 38 planes diverted to Newfoundland by the 9/11 attacks. Somehow an international community forms at the tiny Canadian airport owing to the unexpected detour. Created by Irene Sankoff and David Hein; Christopher Ashley directs. Seattle Repertory Theatre

24–JAN. 3 THE SOUND OF MUSIC Maria and the von Trapp

family return in the Rodgers and Hammerstein classic. (Coincidentally, the beloved movie adaptation is celebrating its 50th anniversary.) The 5th Avenue Theatre

CALL FOR

ARTISTS

• 25–DEC. 13 THE VAUDEVILLIANS Jinkx

Monsoon and Major Scales reprise their hit holiday show from last year. Seattle Repertory Theatre

• 27–DEC. 30 A CHRISTMAS CAROL The classic Charles

DEADLINE: NOVEMBER 16

THE 2016 ANNUAL WASHINGTON STATE JURIED ART COMPETITION Open to all Washington State artists

enter: CallForEntry.org info: CVGShow.com 360.551.7526

Over $10,000 in sponsored in part by:

Dickens holiday tale, an ACT tradition since before there was an Internet! John Langs directs. Scrooge casting still pending, but expect your past favorites. ACT Theatre

DECEMBER

• 2–JAN. 3 EMMA Jane Austen’s

comic romance gets the stage treatment from Book-It Repertory Theatre. Seattle Center Armory

• 3–20 HAM FOR THE HOLIDAYS: WHO’S AFRAID OF VIRGINIA HAM? Polly Platt and Lisa Koch

enlist all your local stage faves

for a full-Yuletide assault on Albee and other hallowed icons. ACT Theatre 3–27 WONDERFUL LIFE Frank Capra’s holiday favorite (to play again at the Grand Illusion) is reconceived as a one-man show—from George Bailey’s perspective, of course—by Helen Pafumi and Jason Lott. ArtsWest 4–20 SHE LOVES ME Seattle Musical Theatre stages the popular retail-themed musical rom-com. Magnuson Park, seattlemusicaltheatre.org 5–6 THE WASHINGTONIANS

perform Songs We Know with their band The King Counties. Presented by Showtunes Theatre Company. Benaroya Hall, showtunestheatre.org

11–13 BEAUTY AND THE BEAST

Disney’s Broadway musical love story comes to Seattle. The Paramount

14 MYTHBUSTERS—JAMIE & ADAM UNLEASHED Onstage

experiments, behind-the scenes stories, and audience participation from TV’s mad scientists. The Paramount

Classical,Etc. SEPTEMBER

• 16–17 ST. HELENS STRING QUARTET Performances to mark

the release of their debut CD, American Dreams. Various venues, sthelensquartet.com SEE ARTICLE, PAGE 14.

• 19 SEATTLE SYMPHONY OPENING NIGHT CONCERT & GALA Ludovic Morlot opens

his fifth season as music director with American music and two works by Saint-Saëns, including the Fifth Piano Concerto played by Jean-Yves Thibaudet, beginning a year-long residency. Benaroya Hall, seattlesymphony.org

24–26 SEATTLE SYMPHONY

Answer: Beethoven 4, Mahler 1. (Question: What was the final score of the Beethoven-Mahler game?) Benaroya Hall • 25–26 STEVE PETERS This composer’s new Canções Profundas for improvising ensemble explores family history and the Azorean diaspora. Chapel Performance Space, waywardmusic.org 26 PUGET SOUND CONCERT OPERA You know the heroine

of Donizetti’s 1830 opera Anna Bolena as Anne Boleyn, the wife who lost her head over Henry VIII. Music Center of the Northwest, pugetsoundconcertopera.org 26 JORGE CABALLERO This Peruvian guitarist/composer opens the Seattle Classic Guitar Society’s season. Benaroya Recital Hall 26 BYRD ENSEMBLE Tudor choral music, including a 500th-b-day nod to composer John Sheppard. St. Mark’s Cathedral, byrd ensemble.com • 27 BYRON SCHENKMAN AND FRIENDS Chamber-scaled

harpsichord concertos by Handel and Haydn. Benaroya Recital Hall, byronschenkman.com

30 BOLLYWOOD MASALA ORCHESTRA Music and dance in

the Indian film tradition. Benaroya Hall, seattlesymphony.org 30 TOWN MUSIC Town Hall’s Joshua Roman-curated music series opens with Johnny Gandelsman playing Bach’s solo sonatas and partitas. Town Hall, townhallseattle.org

OCTOBER

2 FIRST FRIDAY SALONS Informal

recitals in the cozy new space at Resonance in Bellevue, resonance. events. (Also Dec. 4.) • 2–4 THE ESOTERICS Contemporary choral music by Aaron Jay Kernis; the winners of the ensemble’s composition competition; and director Eric Banks. Various venues, theesoterics.org 3 THE MET: LIVE IN HD Metropolitan Opera performances at a movie theater near you. Verdi’s thundering melodrama Il trovatore opens the series. Various venues, metopera.org 3 CHORAL ARTS Composer David Lang transformed a Hans Christian Anderson tale into a tragic oratorio in The little match girl passion. St. Joseph Parish, choral-arts.org • 3–4 CLARINETTISSIMO Sean Osborn’s annual celebration of the instrument. Seattle Pacific University, osbornmusic.com 4 MUSIC WORKS NORTHWEST

Chamber music for flute, mezzosoprano, and piano. Resonance, resonance.events • 8 ETHEL This new-music string quartet is joined by Native American flutist Robert Mirabal. Meany Hall, uwworldseries.org 8–10 SEATTLE SINGS! Three days, 34 choirs. Whew. St. Mark’s Cathedral, seattlesings.org • 10 WAYNE HORVITZ A live performance of the 12 instrumentals, inspired by poet Richard Hugo, on his Some Places Are Forever Afternoon CD. SEE ARTICLE, PAGE 14. PONCHO Concert Hall, Cornish College, cornish.edu 11 AUBURN SYMPHONY

Anticipating Halloween with Night on Bald Mountain and Danse macabre. Auburn Performing Arts Center, auburnsymphony.org 11 SEATTLE SYMPHONY A oneoff with Lang Lang playing Grieg’s Piano Concerto. (Don’t hesitate getting tix: It’s a likely sell-out.) Benaroya Hall • 12 ANDRAS SCHIFF A bittersweet autumn program: the final piano sonatas of Haydn, Beethoven, Mozart, and Schubert. Benaroya Hall, seattlesymphony.org 12 IWO FLUTE QUARTET More than four flutes, actually, on this concert headed by Cornish faculty member Paul Taub. PONCHO Concert Hall, Cornish College • 16 BREAKTHROUGH In live performance and on film, violinist Quinton Morris recreates the life of African/French composer Joseph Boulogne. Seattle Art Museum 16–18 SEATTLE SYMPHONY AllGershwin, including Rhapsody in Blue. Benaroya Hall • 17 SEATTLE MODERN ORCHESTRA Varèse, Feldman,

and a premiere from Orlando Jacinto Garcia. Chapel Performance Space, seattlemodernorchestra.org • 17 THE MET: LIVE IN HD Verdi considered retiring after Aida, but he couldn’t resist tackling Shakespeare, giving his Otello a towering tenor role. Various venues, metopera.org • 17–30 SEATTLE OPERA Bizet confected a fairly standard soprano/tenor/baritone love triangle in The Pearl Fishers, but after hearing their duet, you may end up rooting for the two guys. McCaw Hall, seattleopera.org 20 JONATHAN BISS From this pianist, Schoenberg’s groundbreaking Six Little Pieces, op. 19, plus Mozart and Schumann. Meany Hall, uwworldseries.org

CALENDAR • 22 & 25 SEATTLE SYMPHONY A whole lotta C major from Stra-vinsky, Beethoven, and Mozart (the “Jupiter” Symphony). Benaroya Hall • 22–25 PÉNÉLOPE Gabriel Fauré’s rarely performed 1913 opera presents the viewpoint of Odysseus’ lonesome wife. Part of UW’s conference on the composer, including a vocal/chamber concert on the 23rd. Meany Hall, music. washington.edu • 23 SEATTLE SYMPHONY Their fantastic late-night new-music series spotlights three UW composers. Benaroya Hall 23 BACH COLLEGIUM JAPAN

Showoff baroque: Vivaldi wind concertos, Bach’s Brandenburg Concerto no. 2, and more. Town Hall, earlymusicguild.org

23 & 25 SIMPLE MEASURES

Music for multiple cellos. Various venues, simplemeasures.org

23–31 SEATTLE WOMEN’S CHORUS Moody music for

Halloween. St. Mark’s Cathedral, flyinghouse.org 24 SEATTLE PHILHARMONIC All Tchaikovsky, favorites and oddities. Benaroya Hall, seattlephil.org • 24 LAKE UNION CIVIC ORCHESTRA Ives’ boisterous

Symphony no. 2, shot through with American folk songs, plus Liszt and Martin. Town Hall, luco.org

• 24 PACIFIC MUSICWORKS

Monteverdi’s 1610 Vespers, his evening-length evening service. St. James Cathedral, pacificmusic works.org

• 27 SEATTLE SYMPHONY

Chamber music (Shostakovich, Carter, and more) from SSO players. Benaroya Hall • 29 SEATTLE SYMPHONY This season’s Sonic Evolution concert, a genre-blending tribute to local non-classical musicians, includes a premiere by Wayne Horvitz written for guitarist Bill Frisell. SEE ARTICLE, PAGE 14. Benaroya Hall • 29 NAKATANI GONG ORCHESTRA The instrument’s

more versatile than you might think, and Tatsuya Nakatani’s gathering a dozen or so local percussionists to prove it. Chapel Performance Space

• 30 ENSEMBLE DAL NIENTE

• 30 NORTHWEST SYMPHONY

New works by Samantha Boshnack, Emily Doolittle, Keith Van Kirk, and others. Highline Performing Arts Center, Burien, northwestsymphonyorchestra.org

• 30–31 SEATTLE SYMPHONY

Psycho with Bernard Herrmann’s iconic score (REET! REET! REET!) played live. Benaroya Hall

• 31–NOV. 1 NORTH CORNER CHAMBER ORCHESTRA Its

sophomore season—following one of the most exciting debuts in recent memory—opens with Schnittke’s gravely weird Piano Concerto Various venues, nocco.org

NOVEMBER

• 1 GAMELAN PACIFICA This

Javanese percussion orchestra collaborates with a string quartet. PONCHO Concert Hall, Cornish College • 3 CRISTINA VALDÉS Seattle’s busiest, and probably best, contemporary-music pianist plays Ligeti and more. Meany Hall, music.washington.edu

Beethoven’s first and last quartets, plus one by countryman Per Nørgaard. Meany Hall, uwworld series.org • 4 TOWN MUSIC Composer/ vocalist Lisa Bielawa performs with French new-music group Ensemble Variances. Town Hall, townhallseattle.org • 5–7 SEATTLE SYMPHONY The U.S. premiere of captivating Georgian composer Giya Kancheli’s Nu.Mu.Zu. Benaroya Hall 6 UW SYMPHONY Stravinsky, Beethoven, and Sibelius with violinist Maria Larionoff. Meany Hall • 6 LUMA GUILD Composer Mateo Messina’s 18th annual fundraising concert for Seattle Children’s Hospital. Benaroya Hall, luma guild.org 7 ORIGINS: LIFE AND THE UNIVERSE New symphonic

music soundtracks extraterrestrial imagery. Benaroya Hall, astrobio concert.com

7 SEATTLE BAROQUE ORCHESTRA Music of the

night—not by Lloyd Webber, but Mozart, Biber, and Boccherini. Town Hall, earlymusicguild.org

• 7 OCTAVA CHAMBER ORCHESTRA Bartok’s eerie

and gorgeous Music for Strings, Percussion, and Celesta. Maple Park Church, Lynnwood, octava chamberorchestra.com 8 JEAN-YVES THIBAUDET The SSO’s pianist in residence plays Schumann and Ravel. Benaroya Hall 13 CAPPELLA ROMANA Choral music from medieval Cyprus, then as today the cusp between east and West. Blessed Sacrament Church, cappellaromana.org 13 NORTHWEST SINFONIETTA

Verdi, Schubert, Rossini, and Morton Feldman. Benaroya Recital Hall, northwestsinfonietta.org

• 13–15 ROBIN MCCABE & MARIA LARIONOFF

Beethoven’s 10 violin sonatas over three evenings. Brechemin Auditorium, UW School of Music

14 ORCHESTRA SEATTLE/ SEATTLE CHAMBER SINGERS

Celebrating Sibelius’ and Nielsen’s sesquicentennials with some rarities. First Free United Methodist Church, osscs.org

• 14 JUDY DUNAWAY & SUSIE KOZAWA Dunaway, the “mother

of balloon music,” relishes their sound-producing qualities; Kozawa does the same with a vast collection of toys, enchantingly. Chapel Performance Space, waywardmusic.org

• 14–15 GALLERY CONCERTS

A recital by world-renowned lutenist Stephen Stubbs, who gave the local early-music scene a shot in the arm when he settled here a few years ago. Queen Anne Christian Church, galleryconcerts.org

15 SEATTLE YOUTH SYMPHONY

Program TBA, but they’ll play it wonderfully, whatever it is. Benaroya Hall, syso.org 15 MUSIC NORTHWEST SSO musicians play a Brahms quintet and a Haydn quartet. Olympic Recital Hall, musicnorthwest.org 15 THALIA SYMPHONY Beloved by the baroque, neglected later, the trumpet has very few 19th-century concertos to choose from; Johann Nepomuk Hummel’s from 1803 is one popular one. Town Hall, thalia symphony.org

• 18 17 X 3 Violist Heather Bentley

invited 17 friends to each write three-minute pieces to play on her 51st birthday, which she will do with many of those composers also performing. Chapel Performance Space

• 19–21 THE WITHING PROJECT

A “theatrical collage about quantum consciousness” devised (for three actors, three dancers, three singers, 20-voice choir, and instrumental quartet) by doctor/ musician Hope Wechkin and a multi-genre team of collaborators. Jones Playhouse, thewithing project.com

• 19–22 SEATTLE SYMPHONY

Mahler left his Tenth Symphony incomplete; a few have conjecturally finished it, and Deryck Cooke’s is the most-performed completion. Benaroya Hall • 20 PAUL TAUB At the center of Seattle’s new-music scene for an admirable length of time, this flutist presents newly commissioned chamber works by five local composers. Chapel Performance Space, waywardmusic.org • 21 THE MET: LIVE IN HD Lulu, Alban Berg’s lurid 1935 tale of a femme fatale. Various venues, metopera.org

22 PHILHARMONIA NORTHWEST

Poulenc, Shostakovich, and Haydn. St. Stephen’s Episcopal Church, philharmonianw.org

28–DEC. 21 SEATTLE MEN’S CHORUS Their traditional holiday

blowout. St. Mark’s Cathedral, flyinghouse.org

DECEMBER

1 YULIANNA AVDEEVA A Chopin

miscellany, plus Prokofiev’s Eighth Piano Sonata. Meany Hall, uwworldseries.org

• 3–6 SEATTLE SYMPHONY Gabriel Fauré was so gentlehearted a composer he left the wrathful “Dies irae” out of his Requiem. Benaroya Hall 4 ANONYMOUS 4 A stop on the farewell tour of this female quartet, whose repertory covers a millennium of vocal music. Meany Hall, uwworldseries.org 6 PORTLAND CELLO PROJECT

Bringing their Holiday Spectacular up I-5. Benaroya Hall 6 SCHUBERTIADE A lecture-recital recreates the informal musical soirées Franz Schubert presided over. Brechemin Auditorium • 11–12 THE ESOTERICS For his centennial, choral music by Russian composer Georgy Sviridov. Various venues, theesoterics.org • 12 SEATTLE METROPOLITAN CHAMBER ORCHESTRA Philip

Glass’ music for the film The Hours. First Free Methodist Church, smco music.org.

12 & 19 SEATTLE PRO MUSICA

Choral music from the Baltic countries and Scandinavia. Various venues, seattlepromusica.org • 20 TRIO PARDALOTE Ending their multi-season traversal of all 15 of Shostakovich’s string quartets with the gloomiest (six slow movements), from 1974. Venue TBA, triopardalote.com

• 27 BYRON SCHENKMAN AND FRIENDS Songs, suites, and

other pieces Bach collected for his wife Anna Magdalena. Benaroya Recital Hall

30–JAN. 3 SEATTLE SYMPHONY

The traditional year-end Beethoven Ninth. Benaroya Hall

» CONTINUED ON PAGE 30

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SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

From this Chicago-based group, music by UW faculty composers. Meany Hall, music.washington.edu

4 DANISH STRING QUARTET

FALLARTSCALENDAR • 30 PAUL WELLER From The Jam

to The Style Council, his hits are deep and many. The Neptune

OCTOBER

• 2–3 MY MORNING JACKET

Dreamy, arena-worthy rock in a more intimate setting. The Moore 3–4 SEATTLE REPERTORY JAZZ ORCHESTRA In “Sinatra and Basie: It Might as Well Be Swing,” vocalist Danny Quintero celebrates Sinatra’s 100th birthday by performing some of his most beloved works. Benaroya Hall, srjo.org

• 3–5 DEATH CAB FOR CUTIE

» FROM PAGE 29

PopMusic SEPTEMBER

19 BEAT CONNECTION This

pianist/ vocalist performs jazz-fusion melodies. Jazz Alley, jazzalley.com 22 ZELLA DAY The up-and-coming pop singer performs her catchy hits. Chop Suey chopsuey.com 23–27 DECIBEL FEST The annual electronic-music festival drops the bass across Seattle. Various venues, dbfestival.com

• 24 DJANGOFEST NORTHWEST

Will Holshouser on accordion, Matt Munisteri playing guitar and banjo, and Marcus Rojas with a

tuba are some of New York’s most in-demand virtuoso musicians, each with a distinctive style on his instrument. Langley (Whidbey Island),djangofest.com 25 KASSE MADY DIABATE One of the most respected Mailan vocalists celebrates his country’s musical culture with traditional songs. Town Hall, townhallseattle.org 27 THE WHO HITS 50 TOUR

Still touring after a half-century. with Joan Jett opens. KeyArena, keyarena.com

• 9–NOV. 18 EARSHOT JAZZ FESTIVAL brings jazz performers

from around the world into collaboration and onto mainstages across Seattle. Various venues, earshot.org 11 GREG BROWN The revered folk singer/songwriter whose songs have been covered by the likes of Willie Nelson and Carlos Santana gets a chance to perform his own work. The Triple Door

• 11 WAYNE SHORTER QUARTET

The influential 81-year-old saxophonist and composer performs. Benaroya Hall

jazz artist-in-residence and his band play Sonny Rollins’ 1962 album Our Man in Jazz. Meany Hall 16 HUDSON MOHAWKE The Scottish electronic DJ and hip-hop super-producer spins records. The Crocodile 16 BOOSIE BADAZZ Louisiana’s finest, the former Lil Boosie, plays his first Seattle gig since his release from prison last year. Showbox Sodo 16–31 THIS IS HALLOWEEN: THE 9TH ANNUAL HALLOWEEN SPOOKTACULAR Join Jack

Skellington for orchestral music, cabaret, burlesque, and video-projected sets inspired by Tim Burton’s The Nightmare Before Christmas. The Triple Door • 18 ALT-J The English indie rock band performs. KeyArena 20 FRANK GAMBALE A Grammywinning jazz-fusion guitarist. Jazz Alley 21 DEERHUNTER The lo-fi indie rock group comes to Seattle in support of their upcoming LP. The Showbox 29 MAC DEMARCO The pepperoni playboy continues his relentless touring/quest for world domination. The Moore 30 DOM FLEMONS TRIO Jazz, blues, and ragtime are blended by Flemons’ skilled banjo playing. Town Hall • 31 OF MONTREAL Psych-pop with a flair for the theatrical. The Neptune

NOVEMBER

1 SHAKEY GRAVES The bluesy

Americana singer/songwriter comes to The Moore.

2 LEON BRIDGES The millennial

classic soul and R&B-revivalist. The Neptune

7–8 SEATTLE ROCK ORCHESTRA

The 50-plus piece orchestra plays glam-rock hits by T. Rex, Electric Light Orchestra, and Bowie. The Moore

• 7–9 SEATTLE REPERTORY JAZZ ORCHESTRA Music of

Billy Strayhorn (b. 11/29/1915). Benaroya Recital Hall and other venues, srjo.org 11 A$AP ROCKY The Harlem rapper/ fashionista is joined by a selection of equally talented peers. WaMu Theater 12–15 KEIKO MATSUI The Japanese new-age jazz-fusion keyboardist performs. Jazz Alley 13 HAYES CARLL, the Texan songwriter and 2011 Artist of the Year nominee, breaks out his guitar for a night. The Triple Door 16 SARA GAZAREK & NEW WEST GUITAR GROUP

Influenced by jazz tradition, she fuses new and old in her performances. The Triple Door

17 PEOPLE UNDER THE STAIRS

Classic underground hip-hop. WIth Stop Sleepin’. Neumos, neumos.com • 17–18 HUGH MASEKELA The world-renowned South African trumpeter has been a fixture for 50 years. The Triple Door • 18 MARK O’CONNOR The locally raised fiddler and composer celebrates an Appalachian Christmas. The Moore 20 WHIRI TU AKA A cappella music inspired by Maori culture. Town Hall

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

Seattle electro-pop four piece performs in support of their new album. The Neptune, stgpresents. org

19–22 ELIANE ELIAS The Brazilian

ATLANTIC RECORDS

Death Cab comes to the Paramount.

The local band and global sensation comes home to play a trio of shows. The Paramount • 6 THUNDERCAT Wunderkind jazz bassist, singer, and Flying Lotus affiliate plays solo. The Crocodile, thecrocodile.com • 8 YOUNG THUG The Atlanta rap outsider plays his first solo headlining gig in Seattle. Showbox SoDo, showboxpresents.com

15 TED POOR QUARTET The UW

30 RANG-005 Seattle Weekly Sept16.indd 1

9/10/15 11:15 AM

• 20 YO LA TENGO Hoboken’s

finest, the longtime indie rockers play an all-acoustic set. The Neptune 20–21 CASA PATAS This Spanish flamenco group performs. Benaroya Hall • 21 LOW The slowcore favorites from Duluth are touring behind their new Sub Pop release Ones and Sixes. The Crocodile 22 SNARKY PUPPY The New York–based instrumental jazz-funk fusion group brings its underground ensemble to a mainstage. The Neptune 25 JANE SIBERRY The “Mimi on the Beach” singer travels down from Canada. The Triple Door

DECEMBER

1 ZAPPA PLAYS ZAPPA Son

Dweezil covers Dad’s music to mark the 40th anniversary of One Size Fits All. The Neptune 1 !!! The difficult-to-pronounce indie dance-punk group returns to Seattle. The Crocodile, the crocodile.com • 5 DEL MCCOURY AND BAND

At 76, Del is still strumming authentic bluegrass. The Triple Door 5–7 ODESZA The electronic duo born in Bellingham brings their EDM back to Washington. The Paramount 9 THE DANDY WARHOLS The infamous 20-plus year-old alternative rock group just can’t stop. The Showbox • 10–13 AVERAGE WHITE BAND

The Scottish funk and soul group managed to be one of the top funk groups of the ’70s. Just try not to dance during “Pick Up the Pieces.” Jazz Alley

15 SCOTT BRADLEE’S POSTMODERN JUKEBOX EXPERIENCE The YouTube

sensation IRL. Showbox SoDo

Literary SEPTEMBER

16 CRAIG THOMPSON Eisner

Award-graphic novelist of Habibi and Blankets fame talks about his new all-ages release, Space Dumplins. University Book Store, bookstore.washington.edu • 18 ERICA JONG Provocative for 40 years for her exploration of female sexuality, Fear of Dying is a follow-up to her 1973 novel Fear of Flying. Seattle Central Library, spl.org 19 MAIA CHANCE, the humorous mystery-genre PNW writer, is signing both of her new releases: Come Hell or Highball and Cinderella Six Feet Under. Seattle Mystery Bookshop seattlemystery.com 21 AMY STEWART, author of The Drunk Botanist, has a new novel, Girl Waits With Gun, about the true story of one of the nation’s first female deputy sheriffs. Third Place Books, thirdplacebooks.com • 21 BILL CLEGG He turns from memoir (Portrait of an Addict as a Young Man) to fiction with Did You Ever Have a Family. Elliott Bay Book Co., elliottbaybook.com 22 SEATTLE TOTEMS A history of Seattle hockey from the Metropolitans to the Totems by Jeff Obermeyer. Third Place Books 23 BRUCE F. MEYERS Reflections of a Grunt Marine is this colonel’s memoir. Third Place Books 24 SAUL WILLIAMS Seattle Arts & Lectures welcomes the actor, musician, and writer whose latest poetry collection is The Dead Emcee Scrolls. Town Hall, lectures.org • 24–25 RISK! Live storytelling in the same vein as This American Life or The Moth, but with grittier, more daring, and heart-wrenching themes and topics. Kevin Allison

hosts; storytellers TBA. The Vera Project, theveraproject.org 26 FRANKLIN VEAUX Polyamory! Learn all about it in More Than Two: A Practical Guide to Ethical Polyamory. Elliott Bay Book Co. • 27 ISABEL WILKERSON The Pulitzer winner will discuss her recent The Warmth of Other Suns, new in paper. Seattle Central Library

OCTOBER

2 LARISSA MACFARQUHAR

Strangers Drowning is her investigation of altruism and selfsacrifice. Town Hall

5 RICHARD HAAG & THAISA WAY

discuss The Landscape Architecture of Richard Haag. University Book Store • 5 RUTH REICHL of Gourmet magazine is hosting two dinners for My Kitchen Year: 136 Recipes That Changed My Life, her first published cookbook in 40 years. The Walrus & the Carpenter, thewalrusbar.com 6 ELIZABETH GILBERT Author of Eat, Pray, Love; last year’s novel The Signature of All Things (soon to be a Masterpiece TV adaptation), and the forthcoming Big Magic: Creative Living Beyond Fear. Presented by Seattle Arts & Lectures. Benaroya Hall, lectures.org • 7 RICHARD DAWKINS Brief Candle in the Dark: My Life in Science is the second volume of his memoir of life as a defender of science and critic of religion. Town Hall, bookstore.washington.edu 8 MATT BELL His dystopian novel Scrapper is set in the ruins of present-day Detroit. Hugo House • 8 STEVEN PINKER The all-star Harvard scientist offers prose tips in The Sense of Style. Town Hall 9 NIALL FERGUSON The controversial Brit talks about his Kissinger: Volume I: The Idealist, 1923–1968. Kane Hall, UW, bookstore.washington.edu

TICKETS OCTOBER 29

LANG LANG

SONIC EVOLUTION:

WITH THE SEATTLE SYMPHONY Jakub Hrůša, conductor Lang Lang, piano The sensational Lang Lang performs with the Seattle Symphony playing one of Mozart’s greatest works and Grieg’s highly compelling piano concerto.

UNDER THE INFLUENCE

OCTOBER 16–18

GERSHWIN RHAPSODY IN BLUE

• 15 BEN BERNANKE & GARY LOCKE The former leader of the

Federal Reserve Bank talks about his new memoir, The Courage to Act, with our former governor and U.S. Ambassador to China. Town Hall • 15 THE NATION LIVE Holy cow! It’s a liberal love-fest with Katrina vanden Heuvel, Naomi Klein, Sherman Alexie, Kshama Sawant, and others. Town Hall • 19 ROBERT REICH Saving Capitalism is the latest from our favorite leftie economist and former U.S. Secretary of Labor. Town Hall 20 JACK NISBET Ancient Places: People and Landscape in the Emerging Northwest is his latest, to be discussed with fellow locals John Marzluff and David Montgomery. Town Hall • 20 COLUM MCCANN Famed for his National Book Award-winning 9/11 novel Let the Great World Spin, he’s now authored Thirteen Ways of Looking, a new story collection. Seattle Central Library • 22 ALISON BECHDEL The graphic artist/author of Are You My Mother? and Fun Home makes a rare Seattle appearance, sure to sell out fast. Town Hall, lectures.org • 22 LIT CRAWL SEATTLE Roam from Town Hall to Hugo House and various Capitol Hill venues to hear 30-plus readings by local and visiting writers. Among the latter, don’t follow the example of Sarah

Performance Sponsor:

TICKETS FROM: $30

• 31 SHORT RUN COMIX & ARTS FESTIVAL The annual indie press

and comics event is always a popular draw. Seattle Center, shortrun.org.

NOVEMBER

• 3 MARION NESTLE Those

alarmed by the the influence of Big Sugar, as recently detailed in Katie Couric’s Fed Up, will find more evidence in Soda Politics. Town Hall

• 4 SIMON WINCHESTER

Everyone’s favorite pop historian and disaster-ologist talks about his new Pacific (about the ocean, in case you were wondering). Town Hall • 4 ORHAN PAMUK The Nobel Prize-winning Turkish author’s new A Strangeness in My Mind is a coming-of-age novel set in an Istanbul partly of his imagination. Seattle Central Library

4 SLOANE CROSLEY One of our

favorite essayists, her new novel The Clasp sends its protagonists on an international treasure hunt. Elliott Bay Book Co. 5 MARY GAITSKILL The Mare is a coming-of-age novel set in upstate New York. University Book Store • 6 CARRIE BROWNSTEIN The Sleater-Kinney and Portlandia star has written an autobiography, Hunger Makes Me a Modern Girl. Local novelist Maria Semple (Where’d You Go, Bernadette) chats with her. The Neptune • 7 ISABEL ALLENDE Her new novel is The Japanese Lover. Seattle First Baptist Church, elliottbaybook.com • 8 GLORIA STEINEM The fabled feminist and writer discusses her memoir My Life on the Road with Wild novelist Cheryl Strayed. Benaroya Hall, elliottbaybook.com • 9 JAMES MCBRIDE National Book Award winner for The Good Lord Bird, he’ll read from new work and perform music with his band. Town Hall, lectures.org. • 9 JESSE EISENBERG The actor (American Ultra) and New Yorker contributor has written Bream Gives Me Hiccups. Since Sherman Alexie will do the onstage interview, this ought to be a very funny evening. Seattle Central Library 10 LUC SANTE Historian of old crimes and lost New York, he changes focus in The Other Paris. Elliott Bay Book Co. • 13 JONATHAN LETHEM & DAVID SHIELDS Lethem will

discuss his latest work-in-progress (a book involving surgery, the body, and mortality) with local author Shields. SEE RELATED FEATURE, PAGE 21. Richard Hugo House, hugohouse.org

» CONTINUED ON PAGE 32

SEASON

CO-PRESENTED WITH EARSHOT JAZZ FESTIVAL PRESENTING SPONSOR

Ludovic Morlot, conductor Bill Frisell, guitar Shaprece, vocals Roosevelt High School Jazz Band The renowned jazz guitarist and Seattle transplant Bill Frisell takes on a new work by the prolific jazz pianist and composer Wayne Horvitz. Seattle-born vocalist Shaprece closes with new orchestra arrangements of her soulful blend of modern jazz, R&B and electronica. Media Sponsor:

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SEATTLE POPS SERIES Title Sponsor

Jeff Tyzik, conductor Jon Nakamatsu, piano Doug LaBrecque, vocals From the opening clarinet trill to the energized and rhapsodic piano passages, George Gershwin’s Rhapsody in Blue is a beloved American classic.

Hepola in her memoir Blackout: Remembering the Things I Drank to Forget. litcrawl.org/seattle • 28 SARAH VOWELL The New York Times bestselling author and This American Life veteran shares humorous connections about America’s past and present, with topics like cranky cartographers, pop music, and utopian dreamers. The Neptune 28 PETER NABOKOV The UCLA professor will discuss his How the World Moves: The Odyssey of an American Indian Family. Elliott Bay Book Co. 29 KRISTEN HIRSCH The rocker’s memoir is Don’t Suck Don’t Die. Elliott Bay Book Co. • 29 TA-NEHISI COATES Senior editor for The Atlantic, where he writes about cultural, social, and political issues, he’s the author of the acclaimed new Between the World and Me, one of the year’s most-discussed books. Presented by Seattle Arts & Lectures. (Sold out.) Town Hall, lectures.org

SHAPRECE OCTOBER 30 & 31

HITCHCOCK PSYCHO WITH THE SEATTLE SYMPHONY Adam Stern, conductor What better way to celebrate Halloween than to shriek along with Janet Leigh in the shower scene? Bernard Herrmann’s unforgettable score is performed by the Symphony while the film is shown on the big screen at Benaroya Hall.

JULY 15 & 16

THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING WITH THE SEATTLE SYMPHONY Witness The Fellowship of the Ring from The Lord of the Rings, the first film of the beloved trilogy, on a giant screen as the Seattle Symphony performs the score LIVE!

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concludes his historical trilogy about the opium wars. Town Hall 14 TULKU LOBSANG The Tibetan monk and scholar gives a talk on “Learning to Embrace a Fearless Death.” Cheerful! Town Hall 14 JOHN SEABROOK From The New Yorker, he’s written The Sound Machine, about the contemporary pop-music hit factory. Elliott Bay Book Co.

2015 ON SALE NOW16

OCTOBER 11

Lang Lang’s performance is generously underwritten by Judith A. Fong and Mark Wheeler.

10 AMITAV GHOSH Flood of Fire

» FROM PAGE 31

instagram.com/

thoughtful storyteller and all-aroundfunny human, regularly featured in The New Yorker and on This American Life, will sell out fast. Benaroya Hall, benaroyahall.org • 16 MAIRA KALMAN One of our favorite regular artists to be featured in The New Yorker, she’s written and illustrated Beloved Dog. University Book Store. • 18 ANTHONY DOERR Seattle Arts & Lectures welcomes the Pulitzer-winning author of All the Light We Cannot See. Benaroya Hall, lectures.org 20 BEGGARS CAN’T BE CHOOSERS

That’s the theme for readings by Leslie Jamison, Roger Reeves, and Alexis M. Smith. Hugo House • 22 PATTI SMITH Hall of Fame rocker, living musical legend, and National Book Award winner for her 2010 memoir Just Kids, she now shares her creative influences and inspirations in M Train. Town Hall 23 DIANA NYAD She swam from Florida to Cuba, and her book about it is Find a Way. Town Hall

DECEMBER Artwork by John Romero, Sr., Eastern Shoshone

1 DEEPA IYER She looks at hate crimes

presents

COAST SALISH CANOE TRIBES

OCT•8 •9 •10 SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

SEPTEMBER

23–MAY 15 EVERY SOIL BEARS NOT EVERYTHING Joey Kirkpatrick and

ARTS GUMBO FILM – 10/9 at 7p Double feature: March Point and Princess Angeline ARTS GUMBO MAIN EVENT – 10/10 at 6p Native arts displays, chef demos and samples, dance workshops and performance featuring Paul Che oke’ten Wagner, Saanich and 7Generation Youth Dancers

PLAINS CULTURES

NOV•12 •13 •14 TH

26–JAN. 10 GENIUS: 21ST CENTURY SEATTLE Various locals present alterna-

tive visions for the city’s future. Boldface names include Sherman Alexie, Drew Christie, Web Crowell, Ellen Forney, Victoria Haven, and Jim Woodring. Frye Art Museum, fryemuseum.org

27–JAN. 3 UNHINGED: BOOK ART ON THE CUTTING EDGE Books!

ARTS GUMBO BOOK CHAT – 10/8 at 6:30p Discussion of Salish Myths and Legends: One People’s Stories

Visual Arts Flora Mace show glass work from the past four decades. Museum of Glass (Tacoma), museumofglass.org

Exploring Stories, Songs, Dances & Food of NATIVE AMERICAN Cultures

in the wake of 9/11 in We Too Sing America. Town Hall 6 SHORT STORIES LIVE “A Rogue’s Christmas” is the theme, with local stage talent spoiling our saccharine holiday cheer. Town Hall

ARTS GUMBO BOOK CHAT – 11/12 at 6:30p Discussion of Black Elk Speaks ARTS GUMBO FILM – 11/13 at 7p Sherman Alexie’s Smoke Signals ARTS GUMBO MAIN EVENT – 11/14 at 6p Native arts displays, chef demos and samples, dance workshops and performance featuring Southern Express Drum & Powwow Dancers

RAINIER VALLEY CULTURAL CENTER 3515 S. Alaska St. | Seattle 98118

TICKETS & UPDATED EVENT INFO at www.RainierValleyCulturalCenter.org

They’re not just for reading. Artists also fold, spindle, and mutilate their pages, but beautifully. Whatcom Museum (Bellingham), whatcommuseum.org

OCTOBER

• 1 FIRST THURSDAY ART WALK All

the downtown galleries are open late, many of them clustered in the Tashiro– Kaplan Building. Pioneer Square, first thursdayseattle.com 1 SLU ART WALK Not all galleries are in Pioneer Square! MadArt, Cornish, and the new Aktionsart are among the stops. South Lake Union, sluartwalk.com

1–24 ERIC ZENER: NEW WORKS IN OIL AND RESIN He paints glossy, hyper–real

water scenes of pools, oceans, lakes, etc. Foster/White Gallery, fosterwhite.com 1–29 ROBERT TWOMEY Coming from the UW’s DXArts program, The Serious Business of Children will have a high–tech, interactive component. Gallery4Culture, 4culture.org 1–31 TACOMA ARTS MONTH We’ve said it before and we’ll say it again: Tacoma’s museum district is more convenient and clustered than Seattle’s. Various events are scheduled at TAM, the Museum of Glass, the Washington State History Museum, and even the

JASIN BOLAND/UNIVERSAL

• 15 DAVID SEDARIS Tickets for the

Gyllenhaal in Everest. LeMay–America’s Car Museum (the building alone is worth seeing; and this month features painter Harold Cleworth). TacomaArtsMonth.com

• 1–JAN. 10 INTIMATE IMPRESSIONISM Out come the big

guns in SAM’s fall behemoth: Manet, Renoir, Monet, Cézanne, Degas, Pissarro, Gauguin, van Gogh, and more. Traveling from the National Gallery, the 68 works have a net worth approaching that of Bill Gates. Seattle Art Museum, seattleartmuseum.org 3 ZACKERY BELANGER He gives a talk, “On the Acoustics of Books,” about the temporary pop-up library in the foyer. Henry Art Gallery, henryart.org 3–NOV. 1 RICHARD HUTTER He paints still lifes in Dream Conservatory: Flowers, Fruit & Ginger Jars. Lisa Harris Gallery, lisaharrisgallery.com • 3–JAN. 10 ART AIDS AMERICA An exhibit chronicling 30 years of art made in response to the AIDS epidemic, with works by David Wojnarowicz, Shimon Attie, Bill Jacobson, and dozens more (many of them sadly deceased). Tacoma Art Museum, tacomaartmuseum.org • 8 IRMA VEP The screening of Olivier Assayas’ 1996 film–world satire is pegged to the video installation by Michelle Handelman, Irma Vep, The Last Breath, which closes three days later. Both are well worth seeing. Henry Art Gallery • 11–JAN. 16 YVES SAINT LAURENT: THE PERFECTION OF STYLE You’ve

seen the (two) recent movies about the man, now appreciate his couture creations. One hundred frocks span 1958–2002. Seattle Art Museum 16–21 MARY IVERSON Her new series of paintings is called You and Me in the Aftermath. G. Gibson Gallery, ggibson gallery.com 22–NOV. 22 MARGOT QUAN KNIGHT

She shows new paintings. ArtsWest, artswest.org 30 MARATHON III The annual short-run art show favors indie artists and small presses. Fantagraphics Bookstore and Gallery, fantagraphics.com.

• 31–MARCH 13 PARADOX OF PLACE: CONTEMPORARY KOREAN ART

It’s not just Korean cinema (and Samsung) that have been the vanguard of innovation. Six current artists are represented in a variety of media. Seattle Asian Art Museum

31–MAY 16 NORTHWEST COWBOYS IN ART Over 100 years of local cowboy

history captured on canvas. Also on view: Saddles, Spurs, and Quirts: The Art of Leatherworking. Both draw from the resident Haub Collection. Tacoma Art Museum

NOVEMBER

3–28 CAROL SUMMERS AND BEN BERES show prints and works on

paper. Davidson Galleries, davidson galleries.com • 5 FIRST THURSDAY ART WALK Drop by the Tashiro–Kaplan Building, James Harris Gallery, Roq la Rue, and others. Pioneer Square, firstthursdayseattle.com 5–25 ANDRE PETTERSON In To and Fro, the French artist adds color to his usual black-and-white blend of painting and photography, with particular focus on vintage typewriters and bicycles. Foster/ White Gallery, fosterwhite.com 5–28 ALANO EDZERZA From Tahiti, the artist showcases wood carving, jewelry, and prints in Moving Forward. Stonington Gallery, stoningtongallery.com 5–29 ED KAMUDA presents new paintings in Moving Through Autumn. Also on view: fresh work from Thomas Wood. Lisa Harris Gallery 5–29 LEAH SCHRAGER She works with photography and paint. Ohno Gallery, bryanohno.com • 5–DEC. 24 WILLIAM KENTRIDGE

Featured six years back in one of the Henry’s most memorable shows, the South African artist is a master of fusing machine-age iconography with humanist themes. Also on view: big colorful canvases by Seattle-born Roger Shimomura, many of them recently seen at TAM. Greg Kucera Gallery, gregkucera.com

6–FEB. 14 CAMP FIRES: THE QUEER BAROQUE OF LÉOPOLD L. FOULEM, PAUL MATHIEU, AND RICHARD MILETTE Along with TAM’s

AIDS art exhibit, this will be one of fall’s important post-Warhol queer-art shows, with particular emphasis on ceramics. Bellevue Arts Museum, bellevuearts.org 7–DEC. 19 PUNCTUM The gallery’s 20th annual juried group show. Photo Center NW, pcnw.org

• 11–13 COCA 24-HOUR ART MARATHON A benefit auction follows.

Summit Building, cocaseattle.org.

• 21–2016 DATE TBA ARTISTS DRAWN TO THE WEST Landscapes of the

American West, rendered by Albert Bierstadt, Thomas Moran, and others. Many works are from the Haub Collection. Tacoma Art Museum

• 21–2016 DATE TBA (RE)PRESENTING NATIVE AMERICANS Also from the

Haub Collection, works depicting Native Americans by artists from the late 1800s until today. (Rest assured, Native artists get their say.) Tacoma Art Museum 27–DEC. 19 TONY SCHERMAN The British painter presents his portraiture in Difficult Women. Winston Wächter Fine Art, winstonwachter.com

DECEMBER

• 3 FIRST THURSDAY ART WALK

Remember to hit Flatcolor and A Gallery, along with the artist warren at the Tashiro–Kaplan Building. Pioneer Square, firstthursdayseattle.com

Film SEPTEMBER

18 MAZE RUNNER: THE SCORCH TRIALS Thomas and his fellow

Gladers face their greatest challenge yet: searching for clues about the mysterious and powerful organization known as WCKD. Opens wide 18 EVEREST Jake Gyllenhaal and costars run into some nasty weather up high. This is the IMAX 3-D adaptation of the Jon Krakauer book about Everest ’95. Expands next week 18 CAPTIVE After being taken hostage in her own apartment, Ashley (Kate Mara) turns to Rick Warren’s The PurposeDriven Life for guidance. No, really. Opens wide 23–24 REEL ROCK FILM TOUR This traveling omnibus of climbing flicks ventures from El Cap to Patagonia. Oak Tree, reelrocktour.com • 24–OCT. 3 LOCAL SIGHTINGS FILM FESTIVAL The scrappy Northwest

showcase ventures from Oregon to Vancouver, B.C., for rising indie filmmakers. Many short films and panels are part of the series. Northwest Film Forum, nwfilmforum.org • 24–DEC. 10 NIGHTFALL SAM’s 38th fall noir series includes nine titles running on Thursday nights. Don’t miss Fritz Lang’s Scarlet Street and David Fincher’s more recent Zodiac among them. Seattle Art Museum 25 STONEWALL The famous so-called 1969 “riot” (actually prompted by a police raid) that triggered the gayrights movement features a script by Jon Robin Baitz. Theaters TBD 25 SICARIO Another drama of Mexican drug cartels, this time starring Emily Blunt, Benicio Del Toro, and Josh Brolin. Opens wide 25 THE INTERN Robert De Niro is old: That’s the basic premise of this workplace comedy also starring Anne Hathaway. Opens wide

OCTOBER

2 MISSISSIPPI GRIND follows a down–

on–his–luck gambler (Ben Mendelsohn) who’s dealt a better hand after meeting a charismatic poker player (Ryan Reynolds) who takes him a wild road trip downriver. Opens wide

2 HE NAMED ME MALALA An

intimate portrait of Nobel Peace Prize Laureate Malala Yousafzai, shot by the Taliban and now, as before, a leading campaigner for girls’ education globally. 7 Gables or Guild 45th 2 THE MARTIAN Stranded on Mars, astronaut Matt Damon tries to survive while his NASA colleagues back home twiddle their thumbs. So this is a more uplifting take on Interstellar? Ridley Scott directs. Opens Wide 2 LEGEND Tom Hardy plays both identical twin British gangsters, Ronald and Reginald Kray, as they terrorize London in the 1950s and ’60s. Theaters TBD • 8–18 SEATTLE LESBIAN & GAY FILM FESTIVAL Featuring

a special screening of Freeheld, with Julianne Moore and Ellen Page; Kristen Wiig in Nasty Baby; and Seattle drag queen Jinkx Monsoon in the doc Drag Becomes Him. Presented by Three Dollar Bill Cinema. Various venues, threedollarbillcinema.org • 9 STEVE JOBS Aaron Sorkin’s take on the Apple CEO, with Michael Fassbender as the legend himself. Early reviews are good. Danny Boyle directs. Theaters TBD 9 PAN Hugh Jackman’s Blackbeard is being sold as the main attraction in this new take on J.M. Barrie’s Peter Pan. Opens wide 9 FREEHELD In the bad old pre– marriage equality days, lesbians go to court to secure a pension for a dying cop. Theater TBD 16 CRIMSON PEAK Set in a creepy, decaying mansion in 19thcentury England, a young writer (Mia Wasikowska) falls in love and marries Sir Thomas Sharpe (Tom Hiddleston), but finds he may not be the man she thought. Opens wide 16 BRIDGE OF SPIES A Brooklyn lawyer (Tom Hanks) finds himself thrust into the center of the Cold War when the CIA sends him to negotiate the release of a captured American U-2 pilot. Steven Spielberg directs a script partly written by the Coen brothers. Opens wide 16–22 THE FORBIDDEN ROOM

17–25 BEN GIBBARD PRESENTS: FAVORITE MUSIC FILMS The

leader of Death Cab for Cutie shares his picks, including Head (1968), Urgh! A Music War, and the recent Kurt Cobain: About a Son. Northwest Film Forum

• 16 BEASTS OF NO NATION

Idris Elba goes for another Oscar nom as an African warlord. Cary Fukunaga (of True Detective, season one) directs. Theater TBD

• 22–28 FRENCH CINEMA NOW

Contemporary directors are the focus of this short festival. SIFF Cinema Uptown 23 I SMILE BACK Sarah Silverman is cast against type in this drama, playing a sex-addict housewife. Theaters TBD 23 BURNT Bradley Cooper stars as a chef struggling to re-establish himself in the food world while desperately chasing after an elusive third Michelin star. With Sienna Miller. Opens wide

chronicles the rise of a young girl from underground popularity to global superstar. Opens wide • 23 ROCK THE KASBAH When broke showman Richie (Bill Murray) finds himself in Kabul, he discovers a young girl with an extraordinary voice and manages her through Afghanistan’s version of American Idol, the wildly popular Afghan Star. Barry Levinson directs. Opens wide • 26 THE CABINET OF DR. CALIGARI Wayne Horvitz (SEE

RELATED STORY, PAGE 14) will perform his new score live with this silent German-expressionist classic from 1920. The Paramount

30 SCOUTS GUIDE TO THE ZOMBIE APOCALYPSE It is

what it sounds like, with David Koechner leading the comic ensemble. Opens wide

NOVEMBER

6 ROOM is based on the bestselling

novel, with Brie Larson playing a sex slave being held (with her son-by-rape) in a small windowless chamber. We’re guessing they escape. Opens wide 6 THE PEANUTS MOVIE Charlie Brown, Snoopy, Lucy, Linus, and the rest of the gang make their big-screen debut. In 3–D, of course. Opens wide 6 SPOTLIGHT Mark Ruffalo leads the journalists at The Boston Globe as they investigate the Catholic church’s sex-abuse scandal and coverup. Based on actual events, obviously. Opens wide 6 SPECTRE Could this be the last Bond go-round for Daniel Craig? Opens wide 6 TRUMBO Bryan Cranston plays the blacklisted screenwriter in this Hollywood biopic. Theaters TBD 8 DREAMCATCHER A former prostitute tries to change the cycle of neglect and violence that pushed her onto the streets. Northwest Film Forum 13 BY THE SEA Brad and Angelina return to the screen together, this time in a more serious film following Vanessa, a former dancer (Jolie), and her husband (Pitt) as they travel through 1970s France trying to rekindle their marriage. Opens wide 13 MY ALL AMERICAN A true story about the career of the University of Austin’s defensive back Freddie Steinmark as he leads his team to the 1969 national championships. Opens wide 13 LOVE THE COOPERS A family comes together on Christmas Eve, but the evening doesn’t go quite as planned. Opens wide • 13–19 TAXI Jafar Panahi, a director banned from making films, guides audiences through the streets of Tehran as a cab driver secretly filming behind the wheel. Northwest Film Forum • 12–19 CINEMA ITALIAN STYLE

A mini-festival of current favories. SIFF Cinema Uptown

20 THE HUNGER GAMES: MOCKINGJAY—PART 2 Just

let it be over already. Jennifer Lawrence will also be glad to move on to other things. Opens wide 20 SECRET IN THEIR EYES FBI investigators Chiwetel Ejiofor and Julia Roberts follow a new lead about the murder of the latter’s daughter. With Nicole Kidman. Opens wide

20–26 ENTERTAINMENT A dark

comedy about a dwindling comedian embarking on a string of stand-up gigs in the Mojave desert on his way to meet his estranged daughter. Northwest Film Forum

25 VICTOR FRANKENSTEIN

Sounds like horror, could be comedy. Daniel Radcliffe plays Igor, from whose perspective we watch the mad doctor (James McAvoy) at work. Opens wide 25 CREED A supporting player from the Rocky movies gets his own spinoff. Michael B. Jordan, from Fruitvale Station, stars. Opens wide 25 THE GOOD DINOSAUR What if dinosaurs never became extinct? An apatosaurus makes an unlikely human friend and discovers what he is truly capable of in this Disney film. Opens wide 27 THE DANISH GIRL Eddie Redmayne goes the tranny path, as a gender-bender in 1920s Denmark. Theater TBD

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27–30 THE WINDING STREAM

A documentary about the Carter Family, those titans of country music. Northwest Film Forum

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27–30 IN THE BASEMENT

Austrian director Ulrich Seidl‘s latest creepy doc, this time about people and their cellar obsessions. Northwest Film Forum

DECEMBER

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4 KRAMPUS A comedy-horror flick

about the mythical beast and rival to Santa Claus, who punishes people for their misdeeds during Christmas. Opens wide

11 IN THE HEART OF THE SEA

Based on Nathaniel Philbrick’s book about a whaling-ship disaster that also inspired MobyDick. Ron Howard directs the big–budget maritime spectacle. We’re hoping the whale wins. Opens wide

• 18 STAR WARS: EPISODE VII—THE FORCE AWAKENS

J.J. Abrams directs the hugely anticipated reboot for new franchise owner Disney. A cast of eager young unknowns will share the stage with Ford, Fisher, and Hamill. Opens wide 18 SISTERS Amy Poehler and Tina Fey play siblings throwing one last party in their childhood home before their parents sell it. Opens wide 25 POINT BREAK Johnny Utah and Bodhi are back (played by Luke Bracey and Édgar Ramírez, respectively) in this 3-D reboot of the fondly remembered 1991 Zen/ action flick. Opens wide • 25 SNOWDEN Starring Joseph Gordon-Levitt as the traitor/hero, directed by Oliver Stone. Opens wide • 25 YOUTH From Paolo Sorrentino (The Great Beauty), two old friends (Michael Caine and Harvey Keitel) contemplate lost time while on vacation in a luxurious Swiss hotel. Guild 45th • 25 JOY David O. Russell reunites half the American Hustle cast (Jennifer Lawrence, Bradley Cooper, Robert De Niro, etc.), with our heroine inventing the Miracle Mop and selling it on infomercials during the ’80s. Opens wide • 25 THE REVENANT Alejandro González Iñárritu (Birdman) directs Leonardo DiCaprio as an 1820s frontiersman bent on revenge. Opens wide E

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SEATTLE WEEKLY PROMOTIONS TICKET GIVEAWAY! MOMMY LONG LEGS

El Corazon & Brian Foss present: Fri., September 25, 9:00pm, Funhouse. Mommy Long Legs with Nail Polish, Pleather, and Boyfriends. This show is 21 & OVER.

WIN TICKETS TO: KURT VILE

Showbox presents: Sun., October 18, 8:30pm, Showbox. “For a record that plays like a cohesive acoustic experience… it all serves the song.“ - Kim Gordon

TICKET GIVEAWAY! BEATS ANTIQUE

Showbox presents: Sat., October 31, 9pm, Showbox SoDo. World-renowned dancetronica trio Beats Antique

are bringing back the wild and crazy Creature Carnival. Don’t forget to wear your costume for Halloween!

WIN TICKETS TO: THE CULT + PRIMAL SCREAM Showbox presents: Sat., November 14, 8pm, Showbox SoDo. Catch the band in Seattle when

they venture out from recording the follow up to their acclaimed 2012 album Choice Of Weapon.

FOR MORE DETAILS AND TO ENTER TO WIN, VISIT US AT:

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SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

Guy Maddin’s newest film about the appearance of a mysterious character aboard a submarine trapped underwater with unstable cargo. Northwest Film Forum

23 JEM AND THE HOLOGRAMS

arts&culture

ThisWeek’s PickList WEDNESDAY, SEPT. 16

Rainier Ave. S., 722-3009, columbiacitytheater. com. $12 and up. 7:30 p.m. DAVE LAKE

THURSDAY, SEPT. 17

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

Women in Cinema

Lest you think this is going to be some sort of cinematic Lilith Fair, the first thing you need to know about this year’s WIC is that director Penelope Spheeris will attend and screen Wayne’s World. Fuck yeah! She’s also bringing the even-more-metal The Decline of Western Civilization, Part 1—all three Declines were just issued as a box set—and will talk about the pitfalls of being a maverick woman in maledominated Hollywood. Various panels, parties, and presentations are part of the festival, which includes 14 features and docs. Notable among them are the locally produced doc The Babushkas of Chernobyl; the Drew Barrymore/Toni Collette–starring pregnancy/cancer dramedy Miss You Already (from Thirteen director Catherine Hardwicke); and the scenic rom-com It’s Already Tomorrow in Hong Kong, which begins the fest. From the latter, writer/director Emily Ting will attend the opening night after-party at Capitol Cider ($20–$25 includes movie). The festival runs through Wednesday. SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996. $7–$12 individual, 40-$60 passes. See siff.net for schedule.

BRIAN MILLER

Hollywood Nights

You may be part of the production—in fact, count on it—as Teatro ZinZanni channels silver-screen glamour in its new dinner show. As usual for a TZZ extravaganza, cirque and musical acts are linked by the lightest and zaniest of

Jamie Chung and Bryan Greenberg fall into a cross-cultural romance in It’s Already Tomorrow in Hong Kong, opening Women in Cinema.

framing stories—in this case, Ron Campbell returns as movie director Cecil B. DeGrille, who invades the theater with his crew and inspires dreams of stardom among the performers jockeying for a part. They include aerialist duo Ben Wendel and Terry Crane, song-and-dance couple Wayne Doba and Andrea Conway Doba, and soprano Juliana Rambaldi; their polished, professional yang will pair beautifully with the anything-can-happen yin of the audienceparticipation segments and food. (Through Jan. 31.) Teatro ZinZanni, 222 Mercer St., 802-0015,

zinzanni.com/seattle. $99 and up. 6:30 p.m. GAVIN BORCHERT

Ayana V. Jackson

In the photos of her Archival Impulse, Jackson takes inspiration from late-19th and early-20thcentury photographs collected in South Africa. If, by that time, slavery was prohibited by law, official practices kept those with black skin at an arm’s distance from equality (no less true in the Jim Crow South than Case #33 in apartheid South Africa). White photographers still rendered their black subjects as inferior specimens to be catalogued; and most, in Jackson’s research, were only

AYANA V. JACKSON

The genus of Owen’s latest tour came from a cancelled Bryan Ferry gig she was to play in London earlier this year. Feeling unsatisfied after the former Roxy Music front man fell ill just moments before the show, Owen invited a group of friends and fans back to her flat, where she and her bass-playing husband (Simpsons-voicer Harry Shearer), gave an intimate, impromptu performance. “I want to be able to see and feel the audience,” she says of this six-city tour. “I want the audience to feel like they’re back in my living room where it’s just me playing my music.” To recreate the homey vibe, she’ll be joined only by legendary bassist Leland Sklar, who has played on some 2,000 albums, including ones by James Taylor, Jackson Browne, and Phil Collins. Owen’s latest release is In the Summertime, a covers EP featuring Carole King’s “It Might As Well Rain Until September” and Seals & Crofts’ “Summer Breeze,” each done in a jazzpop style recalling Joni Mitchell. “My job,” she told The Daily Beast last year, “is to take real sadness and human struggle—which is what I sing about—and make it beautiful, so that you really get something incredibly cathartic and uplifting.” (Lara Lavi opens.) Columbia City Theater, 4916

UNBOUND FEET PRODUCTIONS

Judith Owen

identified by numbers, not names. Today she recreates some of the old poses and framing devices (though using modern cameras), with the intent “that by confronting the archive, new systems of knowledge can be created,” she says. In a sense she’s reappropriating old images—often of nudes—and turning them inside-out, shining a 21st-century light into the old annals of pseudo-anthropology, updating and undermining those us/them conventions in the age of #blacklivesmatter. “I’m interested in trying to understand the pedagogy of racism,” she says. “We need to have certain ideas vetted and rooted out of our consciousness. There is a discomfort. We’re seduced by these images, but at the same time we’re repulsed.” Jackson is scheduled to attend the opening. (Through Oct. 24.) Mariane Ibrahim Gallery, 608 Second Ave.,

467-4927, marianeibrahim.com. Opening reception, 6–8 p.m. BRIAN MILLER FRIDAY, SEPT. 18

Rififi

In this newly restored 1955 jewel-heist classic, Jean Servais leads a motley band of thieves that includes blacklisted American director Jules Dassin (playing an Italian, of all things). The thriller’s brilliant, famous centerpiece is its wordless 30-minute theft sequence. There’s more than technique to appreciate, however, as the cons’ fatalistic code of conduct seems both Frenchexistential and tersely American. “What do I want?” the tired, over-the-hill Servais asks rhetorically. “Dunno.” Dassin briskly introduces his hoodlums and their motivations, tensely stages the audacious heist, then pitilessly relates the inevitably tragic aftermath. Everyone’s undone by their signal characteristics, while fatalistic ringleader Tony (Servais)—who initially seems a misogynist brute—reveals his loyalty to “my

friends” and a child caught in the fray. If you want a happy ending, go rent an American movie instead. Sundance Cinemas, 4500 Ninth Ave.

N.E., 633-0059. See sundancecinemas.com for showtimes and prices. BRIAN MILLER TUES., SEPT. 22

What We Talk About When We Talk About Love

As we know from last year’s Birdman, things didn’t go so well for Michael Keaton’s insecure movie star when he tried to mount a Broadway adaptation of Raymond Carver’s hallmark short story. Noses were shot off, sets destroyed, and sanity lost. So this is a bold choice for Book-It’s new season (its 26th), with Jane Jones again directing her adaptation of Carver’s famed 1981 collection (updated from its last staging in 1998-99). Andrew DeRycke, Tracy Hyland, Kevin McKeon, and Carol Roscoe enact the title story and three others from the same career-defining collection. With his flinty economy of words, the Port Angeles-based Carver (1938–1988) was both unsparing yet compassionate toward his flawed blue-collar characters and hard-luck cases. Though fame came late, he was this state’s biggest literary star, an icon of Northwest letters. Hollywood has had mixed results with his canon (see: Robert Altman’s Short Cuts, Will Ferrell in Everything Must Go), where old grudges and resentments lurk as ominously as the Cascadia Fault Line. Action comes rarely and devastatingly in his stories; yet if you flip back the pages and look, the emotional cause was always there. Carver described everyday catastrophes in the plainest of terms. (Previews begin tonight, opens Friday, runs through Oct. 18.) Center Theatre at the Armory (Seattle Center), 216-0833, book-it.org. $25–$50 (less for previews). 7:30 p.m. BRIAN MILLER E

Can an old love be rekindled, a time in life reclaimed, a new course set?

Opening Nights The Children’s Hour CORNISH PLAYHOUSE, 201 MERCER ST. (SEATTLE CENTER), 315-5838. $20 AND UP. 7:30 P.M. WED.–SUN. PLUS MATINEES; SEE INTIMAN.ORG FOR SCHEDULE. ENDS SEPT. 27.

12TH AVENUE ARTS, 1620 12TH AVE., 800-838-3006, STRAWSHOP.ORG. $18–$36. 7:30 P.M. THURS.–SAT. ENDS OCT. 10.

When Václav Havel wrote The Memorandum in 1965, his target was the communist bureaucracy in Czechoslovakia. Strawberry Theatre Workshop hits a little closer to home—maybe just down the hill in South Lake Union.

MARK BAUMGARTEN E

stage@seattleweekly.com

Illustration by Barry Blankenship

The play is staged in the very familiar nowhere-land of a modern office—desks here, whiteboard there, printer/copier/fax machine over in the corner. And yet something’s off. The first hint is the titular one. Josef Gross (Galen Joseph Osier), a director at a company that does something (we never find out what), receives a memorandum seemingly written in gibberish. But it isn’t gibberish at all. Rather, this is Ptydepe, a new language that has been adopted by the company to promote efficiency. It’s also the MacGuffin that launches a searing critique of bureaucracy that should delight word nerds and office drones alike. In order to teach Ptydepe—pronounced “puh-tee-uh-deep”—and protect it from the emotional and colloquial vagaries that hamper “natural languages,” the company has instituted a re-education center. It is here that Strawshop’s production, directed by Paul Morgan Stetler, shines. Delivering lessons with the plastered-on exuberance of a preschool teacher, Professor Perina (Sarah Harlett) explains the rules with an expert PowerPoint presentation and a subliminal wink at Marx. The dialogue is lightning-quick, the jokes land like hailstones, and the professor exudes an incorruptible belief in this clearly corrupt system. Yet the real action is outside the training center, where Gross’ very human colleagues are attempting to deal with a system as inhuman as Amazon’s much-derided stack-ranking management system. (As at Amazon, there’s also a performance monitor in this office, though of a more low-tech sort.) Gross flips between furious and confused as he attempts to learn who mandated this gobbledygook—and tries to translate that memo. He’s also forced to fend off the aggressive maneuvers of weaselly upstart Ballas (Trick Danneker), who’s been spreading a rumor that Gross has been careless with the company check-dating stamp. (This anachronism, among others, adds to the play’s queasy alternate-universe feeling—Office Space meets Twilight Zone.) In this farcical vicious circle, which would make Kafka proud, it’s not only Havel’s characters who stumble over their Ptydepe. Some in the cast were also tongue-tied on opening night. It’s not easy to speak the language of totalitarianism, whether imposed by political tyrants or tech barons. Gross tries valiantly to resist, and in one brief monologue he rages against the machine. Then, like the rest of us, it’s back to work.

Sep 11–Oct 11

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PThe Memorandum

Lost in translation? Danneker (left) and Osier.

JOHN ULMAN

Even if I don’t always love the results, I love that director Sheila Daniels takes long-odds gambles with well-known material. For those with a scientific interest in “what works and how” in theater, it’s a treat to be in such a laboratory. Not that the experiments are risqué (no, they tend to be modest and unlikely), nor do they necessarily pay off, but they help unveil the hidden mechanics of theatrical effect. The process is something of a geek’s game, and I mean that as a compliment. Moving Lillian Hellman’s 1934 drama about lesbian rumors at a girls’ school to 1980s Seattle at first seems a rather glib transposition. However, the 30-year remove does allow us to look back at racial privilege, pre-Internet gossip-mongering, and final absolution-seeking. Audiences can judge whether we’ve made any progress on those fronts. The play is still dated, with no profanity and a high sexual-naïveté quotient, though dramatically sound. (This well-plotted gut-twister ran two years on Broadway and was filmed in 1961.) Hellman’s text can support a good deal of thematic reconfiguring. For example, Daniels casts a rainbow of ethnicities at the school, enriching stakes and suggesting possibilities—e.g., the girl who corroborates the liar’s lie is Hispanic, and her vulnerability could be linked to her immigration status. The performances themselves are a mishmash. Nearly everyone has moments of fine-carved intensity, of melodrama, of naturalism, and of flatness. Though tonally piebald, there’s impact. As the two school heads under suspicion, Tiffany Yvonne Cox journeys skillfully from radiant engagement to unmoored isolation as Karen; as Martha, Hannah Mootz delivers the quietest, least quirky interpretation I’ve seen from her. Meanwhile her trouble-making clown of an aunt ( Julia Prud’homme) fidgets and bumbles like a vaudevillian in ’80s shoulder pads. Suzanne Bouchard intrigues in the nearly unplayable role of the liar’s grandma—rendering her as a reasonable if goofy woman stung (like Othello) by a lie, with no EpiPen handy. Because she’s the school’s moneybag, socioeconomic class weighs heavy. But here, so does race. After the lie does its “work,” this rich, white lady begs for absolution. Because Cox is black, it’s impossible to watch this scene without imagining countless white-on-black wrongs where the apologies came too late—or not at all. MARGARET FRIEDMAN

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2004 concept album of the same name. The story is your basic drug-laced, suburbia-sucks bildungsroman, but the music makes it, packing a punk punch with an adhesive tunefulness, a touch of Hedwig-ian glam, and a good dose of the exhilarating larger-than-lifeness actors love to sell; it proves to be an ideal conduit for delivering emotion straight into the listener’s head and keeping it lodged there. (The show’s development is chronicled winningly in the doc Broadway Idiot, which shows front man/composer Billie Joe Armstrong gradually seduced by the goddess of theater; he has more musicals in him, no question.) ArtsWest is offering two ways to take in its production: observational (i.e., traditional, seated) and immersive—we’re not exactly sure what that’ll entail, but they suggest bringing good shoes. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $19–$39.50. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends Oct. 11. BOHEMIA When you think of Prague in the ’90s, you think of cheap beer, Internet startups, and American expats flocking to explore newly liberated Czechoslovakia as it emerges from Soviet rule. Think again. This new musical cabaret (with food and drinks, including absinthe) is set during the 1890s in the Austro-Hungarian Empire, as

• 1396853

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

with

bre magic and mystic mayhem.” Spooked in Seattle, 102 Cherry St., creepymagician.com. $30. 7 p.m. Thurs., Sept. 17. ANNIE Starring Gilgamesh Taggett, which is possibly the most awesome actor name ever, as Daddy Warbucks. The Paramount, 911 Pine St., 877-STG-4TIX, stg presents.org. $52 and up. 1 & 6:30 p.m. Sun., Sept. 20; 7:30 p.m. Tues., Sept. 22– Thurs., Sept. 24; 8 p.m. Fri., Sept. 25; 2 & 8 p.m. Sat., Sept. 26. BIG TOP AFTER DARK Sideshow-themed burlesque. Columbia City Theater, 4916 Rainier Ave. S., columbia citytheater.com. $15–$20. 9 p.m. Sat., Sept. 19. BLACKHEART BURLESQUE The SuicideGirls’ “geek fantasy spectacular.” The Showbox, 1426 First Ave., suicidegirls.com. $25–$85. 9 p.m. Sat., Sept. 19. BLOOMSDAY The premiere of Steven Dietz’s dramedy about a couple brought together by Ulysses. ACT Theatre, 700 Union St., 292-7676. $15–$20. Preview Sept. 16, opens Sept. 17. Runs Tues.–Sun.; see act theatre.org for exact schedule. Ends Oct. 11. BOOTYCANDY “Robert O’Hara’s fearless, uproarious satire about growing up gay and black”—and that’s all we know. Cornish Playhouse, Seattle Center, 315-5838. $25. Previews Sept. 16–17, opens Sept. 18. Runs rather irregularly Tues.–Sun.; see intiman.org for exact schedule. Ends Oct. 3. THE COMEDY OF ERRORS opens Seattle Shakes’ 25th anniversary season. Seattle Repertory Theatre, Seattle Center, 733-8222. $27–$50. Previews Sept. 16–17, opens Sept. 18. 7:30 p.m. Wed.–Sat. plus weekend matinees; see seattleshakespeare.org for exact schedule. Ends Oct. 11. GREEN WHALES Forward Flux Productions presents Lia Romeo’s dark comedy about a woman who looks much younger than she is (it’s a medical thing) and who falls for a suspected pedophile. Calamus Auditorium, Gay City, 517 E. Pike St. Previews Sept. 16–17, opens Sept. 18. Runs Wed.–Sat; see forwardflux.com for exact schedule. Ends Oct. 3. OVEREXPOSED! The latest dance/cabaret show from Seattle camp superstars Kitten LaRue and Lou Henry Hoover. Oddfellow Hall, 915 E. Pine St., strangertickets. com, KittenandLou.com. $20–$25. 8 p.m. Thurs., Sept. 17–Sat., Sept. 19. SKETCHFEST Comedy troupes troop in from across the nation. $10–$15. Opens Sept. 17. Runs Thurs.–Sun; see sketchfest.org for venues, lineup, and schedule. Ends Sept. 26. STILL LIFE Subway bombings complicate people’s lives in Barbara Blumenthal-Ehrlich’s comedy, premiered by Forward Flux Productions. Calamus Auditorium, Gay City, 517 E. Pike St. Previews Sept. 16–17, opens Sept. 19. Runs Wed.–Sat; see forwardflux.com for exact schedule. Ends Oct. 3. SWEENEY TODD Sondheim’s slasher opera salutes penny dreadfuls and the dark side of Victorian London. Renton Civic Theater, 507 S. Third St., Renton, 425-226-5529, rentoncivictheater.org. $20–$25. Opens Sept. 18. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 3. TEATRO ZINZANNI SEE THE PICK LIST, PAGE 34. BARON VAUGHN Two stand-up sets from this Grace & Frankie regular. Annex Theatre, 1100 E. Pike St., annex theatre.org. $12. 7 & 9:30 p.m. Sat., Sept. 19.

rendered by Mark Siano and Opal Peachey in a fantasia that has composer Antonin Dvorák (Siano) visited by the ghost of Frédéric Chopin (Peachey). What follows is no history lesson, but a lighthearted riff on the artists and bohemians of that era: Sarah Bernhardt, George Sand, and Oscar Wilde included. Comedy, burlesque, and even trapeze performances are as didactic as the show will get, with live musical accompaniment from an onstage trio. Mark Wissing supplies the food and Maximillian Davis the drinks. No passport required. Nordo’s Culinarium, 109 S. Main St., 800-838-3006, brownpapertickets.com. $25–$80. 8 p.m. Thurs.–Sun. plus Mon., Sept. 21. Ends Sept. 27. BRECHTFEST Angrier than Café Nordo, more confrontational (and way more political) than Teatro ZinZanni, brunch theater meets Germany’s angsty, class-conscious modernist playwright thanks to The Horse in Motion. With the cast as servers, their show braids together characters and scenes from Bertolt Brecht’s Baal, The Good Person of Szechwan, and The Threepenny Opera to dig into issues of income inequality, gender dynamics, the nature of morality—and how it’s all made moot by an empty stomach. The presence of bacon on the menu is intentionally allegorical. Enjoy your mimosas, bourgeois leeches! The Can Can, 94 Pike St., thehorseinmotion.org. $25–$35. 11 a.m. Sat.– Sun. plus 7 p.m. Mon., Sept. 21 & 28. Ends Oct. 4. CAPTAIN SMARTYPANTS This vocal/comedy troupe’s new revue, Zero Brides for Seven Brothers, salutes brothers from Grimm to Doobie. The Triple Door, 216 Union St., 838-4333, flyinghouse.org. $25–$35. 8 p.m. Sept. Fri., Sept. 18–Sat., Sept. 19. THE CHILDREN’S HOUR Lesbian innuendo tears two women’s lives to shreds in Lillian Hellman’s drama, here reset in 1980s Seattle. Cornish Playhouse, Seattle Center, 315-5838. $20 and up. 7:30 p.m. Wed.–Sun. plus some weekend matinees; see intiman.org for exact schedule. Ends Sept. 27. CINDERELLA A new musical adaptation. SecondStory Repertory, 16587 N.E. 74th St., Redmond 425-881-6777, secondstoryrep.org. $5–$10. 1 & 3 p.m. Sat.–Sun. Ends Sept. 27. FAERIES OF STRATFORD Fantasy meets biography in this magical look at Shakespeare’s life. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Dr. N., brownpapertickets.com. $20. 7:30 p.m. Fri.–Sat. plus Thurs., Sept. 17. Ends Sept. 19. JESUS CHRIST SUPERSTAR Webber/Rice’s 1970 monster hit rocks the Gospels. Seattle Musical Theater. 7120 62nd Ave. N.E., Building 47, seattlemusicaltheatre. org. $20–$35. 7:30 p.m. Fri.–Sat. plus Thurs., Sept. 24; 2 p.m. Sun. Ends Oct. 4. JET CITY IMPROV SUMMER MADNESS This themed series closes with ’90s Night. 5510 University Way N.E., jetcityimprov.org. $12–$15. 8 & 10:30 Sat. Ends Sept. 19. JOHN BAXTER IS A SWITCH HITTER Almost like two plays in one—one works great, one not so much—Ana Brown and Andrew Russell’s dramedy takes off from a real-life incident of pure theatrical gold: the controversy at the 2008 Gay Softball World Series when the San Francisco team was accused of bringing straight ringers. While the Seattle players prosecutorially grab any stereotype they can as evidence, the SF players stonewall (so to speak) by refusing to answer how they identify. As labels and segregation—concepts progressive Seattle thought it had evolved beyond—suddenly become vitally important, every question that ought to be raised is raised. Directed by Rosa Joshi, the play blows up in a long, complex, masterfully crafted scene in Act 2, a fast and funny witch-hunt that descends to grilling players about losing their virginity and scrutinizing their Facebook pages for clues. However, Act 1 is perky, bouncy, campy, and silly in a way that made me wonder if the creators oversugared the pill out of worry—not that straight audiences would be made uncomfortable by the subject, but that gay audiences might bristle at being satirized. The Baxter team should get rid of the filler and boil the play down to a trenchant one-act. GAVIN BORCHERT Cornish Playhouse, 201 Mercer St. (Seattle Center), 315-5838. $20 and up. See intiman.org for schedule. Ends Sept. 27. KNOCKING BIRD Umbrella Project premieres Emily Conbere’s psychological thriller about a couple’s troubled post-car-accident life. West of Lenin, 203 N 36th St., umbrellaprojectnw.org. $15–$25. 8 p.m. Thurs.–Sat. plus Mon., Sept. 21. Ends Oct. 3. THE MEMORANDUM A dark satire of bureaucracy by Vaclav Havel, who knew a thing or two about the topic. 12th Avenue Arts, 1620 12th Ave., 800-838-3006, straw shop.org. $18–$36. 7:30 p.m. Thurs.–Sat. Ends Oct. 10. PACIFIC PLAY COMPANY From this new company, two shows in repertory: the relationship comedy Everybody Here Says Hello! (Sept. 17, 18, 24, 26) and Crime and Rockets (Sept. 19 & 25), seven commissioned, futurethemed shorts. Ballard Underground, 2220 N.W. Market St., pacificplaycompany.com. $12–$20. All shows 8 p.m.

•

10th Anniversary

Dance

TRIPSICHORE YOGA THEATRE It’s not just for medita-

tion: Edward Clark and Nikki Durrant combine the physical/spiritual practice with dance theater. Youngstown Cultural Arts Center, 4408 Delridge Way S.W. $20. 7 p.m. Fri., Sept. 18. STUDY OF TIME & MOTION Tia Kramer and Tamin Totzke’s site-specific performance—based on the industrial-efficiency theories of motion-study expert Frank Gilbreth (who incidentally inspired the book and movie Cheaper by the Dozen)—ends the “Duwamish Revealed” arts series. The Estuary, 4651 Diagonal Ave. S., duwamishrevealed.com. Free. 2–7 p.m. Sat., Sept. 19. CARMONA FLAMENCO Traditional music and dance. Café Solstice, 4116 University Way N.E., 932-4067, carmona2@comcast.net. $15–$20. 8 & 9:30 p.m. Sat., Sept. 19.

Classical, Etc.

ART & SCIENCE Seattle Opera and Fred Hutch explore the

connections through arias by Mozart and Donizetti. Pelton Auditorium, Fred Hutchinson Cancer Research Center, 1100 Fairview Ave. N. Free, but RSVP at fredhutchevents@ fredhutch.org or 667-1226. 6 p.m. Wed., Sept. 16.

Song of the Earth

pianists remain for Wednesday’s performances, to be winnowed to three finalists on Friday. All rounds will be open to the public ($15 for Fri.; free Wed. but RSVP at seattlesymphony.org), and an Audience Favorite prize will be awarded. Repertoire includes an interesting list of American and French concertos and a commissioned work by Kenji Bunch. Benaroya Hall, Third Ave. and Union St., 215-4747. 11 a.m. & 3 p.m. Wed., Sept. 16; 7 p.m. Fri., Sept. 18. ST. HELENS STRING QUARTET SEE ARTICLE, PAGE 14. OPERA ON TAP An informal evening of arias and booze: Tonight, “Lost in Translation” looks at what can happen when you sing non-English arias in English. Or try to. Naked City Brewery, 8564 Greenwood Ave. N., face book.com/OperaOnTapSeattle. 7 p.m. Thurs. Sept. 17. INUKSUIT SEE EAR SUPPLY, BELOW. SEATTLE SYMPHONY Pianist Jean-Yves Thibaudet, now an SSO artist in residence, helps Ludovic Morlot open his fifth season as music director with music by Bernstein, Copland, and Saint-Saëns. Benaroya Hall, Third Ave. and Union St., 215-4747, seattlesymphony. org. $57 and up. 7 p.m. Sat., Sept. 19.

•

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CHAMBER • SEATTLE METROPOLITAN Beethoven, Dvorak, Stravinsky, and ORCHESTRA

the suite The Assassination of the Duke of Guise, said to be the first music ever specifically written for film, in 1909 by Saint-Saëns. $15–$20. First Free United Methodist Church, 3200 Third Ave. W., smcomusic.org. 8 p.m. Sat., Sept. 19. POST-HASTE REED DUO New music for saxophone and bassoon. Sponsored by the Washington Composers Forum. Chapel Performance Space, 4649 Sunnyside Ave. N., washingtoncomposersforum.org. $5–$15. 8 p.m. Sat., Sept. 19. MUSIC WORKS NORTHWEST Piano quintets by Schumann and Dvorak. Resonance at Soma Towers, 288 106th Ave. N.E., Suite 203, Bellevue, resonance. events. Free. 3 p.m. Sun., Sept. 20. PHILHARMONIA NORTHWEST Opening their season with two grand piano concertos, Chopin’s and Tchaikovsky’s First, both played by Michi Hirata North. Meany Hall, UW campus, philharmonianw.org. $20–$35. 5 p.m. Sun., Sept. 20. AGAVE BAROQUE A lecture-recital on the music of pioneering female composer Isabella Leonarda (1620– 1704). Trinity Parish Church, 609 Eighth Ave. 325-7066, earlymusicguild.org $10–$25. 7:30 p.m. Tues., Sept. 22. B Y G AV I N B O R C H E R T

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In dynamic range, the array of timbres, the number of performers, the logistics and setup required—outdoors—the vastness of composer John Luther BY GAVIN BORCHERT Adams’ home state, Alaska, informs every parameter of his 2009 Inuksuit. Intended for nine to 99 percussionists, 20 or so will muster for the piece’s Seattle premiere this weekend. As Adams said of another outdoor percussion piece of his, Strange and Sacred Noise: “You hear [it] inside, and it’s big, it’s complex, it’s dark, it’s overwhelming, it’s at times frightening. And hearing it outside, it’s . . . smaller. Some of it blows away in the wind. It’s very beautiful, but it’s very, very different.” Listeners to Inuksuit, too, will encounter both these extremes, from thunderous drum and gong explosions to fragile and evanescent bird calls; visceral and elemental, it’s the earthen counterpart to the previous Adams work heard in Seattle, the water-inspired Become Ocean—a Seattle Symphony commis-

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inspires improv. Market Theater, 1428 Post Alley, unexpectedproductions.org. $10. 8:30 p.m. Sun. Ends Sept. 27. SETEMBER Seattle Experimental Theater’s improv minifestival takes on fairy tales in The Wolf and the Witch, 2 p.m. Sat., and sends up Star Trek in Where No Man Has Gone Before, 8 p.m. Thurs.–Sat. Both end Sept. 19. Theatre Off Jackson, 409 Seventh Ave. S., seattle experimentaltheater.com. $15–$18. SKID ROAD: ASH TO GOLD Seattle’s lowdown roots, revisited improv-style. Market Theater, 1428 Post Alley, unexpectedproductions.org. $12–$15. 8:30 p.m. Fri.–Sat. Ends Oct. 31. SNAPSHOTS A new musical revue built on the songs of Stephen Schwartz (Wicked, Godspell). Village Theatre, 303 Front St., Issaquah, 425-392-2202. $40–$68. Runs Wed.–Sun.; see villagetheatre.org for exact schedule. Ends Oct. 18. (Plays in Everett Oct. 23–Nov. 15.) SOUND Azeotrope premieres Don Nguyen’s drama exploring the clash between deaf and hearing cultures, in American Sign Language and spoken English, with supertitles. ACT, 700 Union St., 292-7676, acttheatre.org. $25–$30. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 4. SUDDENLY LAST SUMMER Tennessee Williams’ lurid tale (I know, that doesn’t exactly narrow it down) of sexual secrets and a monstrous mom. Theater Schmeater, 2125 Third Ave., 324-5801, schmeater.org. $22–$29. 8 p.m. Thurs.–Sat. Ends Oct. 10.

41 Artists / 25 Studios

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arts&culture» literary & visual arts Author Events

Openings & Events

PATRICK DEWITT This Portland author’s Undermajordomo

TINA AUFIERO She uses ceramics and text in happiness

Minor is a dark take on a European folk tale. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Wed., Sept. 16. JAMES NEFF This investigative reporter explores a legendary feud in Vendetta: Bobby Kennedy Versus Jimmy Hoffa. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m. Wed., Sept. 16. Space Dumplins is his new all-ages • CRAIG THOMPSON graphic novel. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., Sept. 16. Barcott, Kate Lebo, and others on • WAGE SLAVES Bruce the topic of work. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. Free. 7 p.m. Wed., Sept. 16. ROBERT DUGONI Her Final Breath is the second mystery in his PNW-set Tracy Crosswhite series. Parkplace Books, 348 Parkplace Ctr. (Kirkland), 425-828-6546, parkplacebookskirkland.com. 7 p.m. Thurs., Sept. 17. CARVER CLARK GAYTON When Owing a Shilling Costs a Dollar: The Saga of Lewis G. Clarke, Born a White Slave is a tale of family history from this founding executive director of the Northwest African American Museum. Town Hall. $5. 7:30 p.m. Thurs., Sept. 17. STEPHEN KIERNAN His novel The Hummingbird links up an Iraq vet’s and a history professor’s war memories. Elliott Bay. 7 p.m. Thurs., Sept. 17. MARY LOU SANELLI The title of A Woman Writing: A Memoir in Essays says it all. Third Place, 7 p.m. Thurs., Sept. 17; University Bookstore, 7 p.m. Fri., Sept. 18. The story of • BOB SANTOS & LARRY GOSSETT ethnic activism in Seattle is told in The Gang of Four: Four Leaders, Four Communities, One Friendship, written by Santos (with Gary Iwamoto). Northwest African American Museum, 2300 S. Massachusetts St., naamnw.org. Free. 7 p.m. Thurs., Sept. 17. JOHN BURBIDGE The Boatman is this Australian writer’s memoir of coming out in ’80s India. University Book Store. 7 p.m. Fri., Sept. 18. for 40 years for her exploration • ERICA JONG Provocative of female sexuality, Fear of Dying is a follow-up to her 1973 novel Fear of Flying. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. Free. 7 p.m. Fri., Sept. 18. GUADALUPE NETTEL Natural Histories, this Mexican writer’s book of stories, and The Body Where I Was Born, her autobiographical novel, are just out in English. Elliott Bay. 7 p.m. Fri., Sept. 18. Obama’s 2013 inaugural poet reads • RICHARD BLANCO from his memoir The Prince of Los Cocuyos: A Miami Childhood. Seattle First Baptist Church, 1111 Harvard Ave., 624-6600, elliottbaybook.com. 7 p.m. Sat., Sept. 19. MAIA CHANCE signs her new mysteries, Come Hell or Highball and Cinderella Six Feet Under. Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery. com. Noon Sat., Sept. 19. STEPHANIE CLIFFORD Her novel Everybody Rise examines NYC’s upper social echelons just before the 2008 recession. Town Hall. $5. 7:30 p.m. Sat., Sept. 19. CHRISTINA LÓPEZ, SARAH SCOTT, MIRIAM PADILLA, & GIL VEYNA Readings from the new inter-

generational, multiracial anthology Talking Back: Voices of Color. Elliott Bay. 3 p.m. Sun., Sept. 20. ORCHID JOURNEYS Jourdan Imani Keith leads you through Debora Moore’s exhibit of glass orchid sculptures to see if all that beauty primes your writing pump. Northwest African American Museum, naamnw.org. Free (RSVP at Eventbrite). 2–4 p.m. Sun., Sept. 20. from memoir (Portrait of an Addict • BILL CLEGG He turns as a Young Man) to fiction with Did You Ever Have a Family. Elliott Bay. 7 p.m. Mon., Sept. 21. CAROL LEVIN Her poetry volume Confident Music Would Fly Us to Paradise was inspired by her time as a Seattle Opera super. University Book Store, 7 p.m. Mon., Sept. 21. JANE MCGONIGAL A concussion suffered by this game designer led her to write Superbetter: A Revolutionary Approach to Getting Stronger, Happier, Braver and More Resilient. Town Hall. $5. 7:30 p.m. Mon., Sept. 21. AMY STEWART’s Girl Waits With Gun tells the true story of one of the nation’s first female deputy sheriffs. Third Place Books, thirdplacebooks.com Mon., Sept. 21. PEDRO DOMINGOS In The Master of Algorithm, this UW prof tells of the research behind making computers that can predict what you’re thinking before you think it. Town Hall. $5. 7:30 p.m. Tues., Sept. 22. The Visiting Privilege: New and Collected • JOY WILLIAMS Stories is the latest from this acclaimed writer. Elliott Bay. 7 p.m. Tues., Sept. 22. B Y G AV I N B O R C H E R T

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to create an “interplay of whimsy and weightiness.” Opens Friday. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 223-8505, methodgallery. com. Noon-5 p.m. Fri.-Sat. Ends Oct. 31. FALL OPEN HOUSE Come see what the students and teachers are up to. Pratt Fine Arts Center, 1902 S. Main St., 328-2200, pratt.org. Free. 6-9 p.m. Sat. ANNIE MORRIS She shows abstract paintings, using faces as a point of departure, and towering sculpture in Stacked. Opening reception with the artist, 6 p.m. Thursday. Winston Wächter Fine Art, 203 Dexter Ave. N., 652-5855, winstonwachter.com. 10 a.m.-5 p.m. Mon.-Sat. Ends Oct. 21.

Ongoing

• CHIHO AOSHIMA The contemporary Japanese artist

creates candy-colored, personal tableaux of animist cosmology and kawaii characters. She’s a constructor of intricate worlds whose denizens we can see in 35 small preliminary drawings—later translated by computer into a half-dozen large, glossy dreamscapes and one enormous, wall-filling animation. Played on a continuous loop, the 7-minute new Takaamanohara depicts the destruction (by volcano and tsunami) and rebirth of a fanciful coastal city. Mischievous Shinto spirits cause the cycle (one by farting), as ruination leads to regeneration, over and over again. You have to watch it several times, ideally from different vantage points, to appreciate the enveloping detail (animated by Bruce Ferguson). I think kids will love it, too; Takaamanohara is a manageable, almost cheerful way of contemplating mortality. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5-$9. 10 a.m.-5 p.m. Wed., Fri.-Sun. 10 a.m.-9 p.m. Thurs. Ends Oct. 4. SUSAN BENNERSTROM & JOHN ANDERSON In Odyssey, Bennerstrom paints still lifes and scenes from Greece. Anderson, also a local, presents black-andwhite landscape photos in The Beautiful Confusion. Linda Hodges Gallery, 316 First Ave. S. 624-3034, lindahodgesgallery.com. 10:30 a.m.-5 p.m. Tues.Sat. Ends Sept. 26. ILSE BING An early user of the 35mm Leica hand-held camera, the German Bing (1889-1998) is known as a pioneering woman in European photography. Ilse Bing: Modern Photographer is a selection of her images, spanning the 1920s through 1950s. Henry Art Gallery, 4100 15th Ave. N.E. (UW campus), 543-2280, henryart.org. $6-$10. 11 a.m.-4 p.m. Wed., Sat., Sun. 11 a.m.-9 p.m. Thurs.-Fri. Ends Oct. 11. ERYN BOONE This new gallery opens with Luminous. Treason Gallery, 319 Third Ave. S., 914-5236. See treasongallery.com for hours and end date. LYDIA BOSS In Lost and Found, the local glass artist incorporates floral motifs into some of her works. Pilchuck Glass School, 240 Second Ave. S., 6218422, pilchuck.com. 10 a.m.-5 p.m. Tue.-Fri. Ends Sept. 28. RACHAEL BURKE Based in Pennsylvania, she paints big red nudes and scenes of urban disarray in To and Fro. Cloud Gallery, 901 East Pike St., 720-2054, cloudgalleryseattle.wordpress.com. 10 a.m-7 p.m. Mon.-Fri. 10 a.m.-6 p.m. Sat. 11 a.m.-5 p.m. Sun. Ends Sept. 30. LARRY CALKINS He creates new work from from rusted metal, found cloth, and scraps of wood. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends Sept. 26. CALLIGRAPHIC ABSTRACTION A collection of 35 works in calligraphy spanning from Islamic to archaic Chinese to the contemporary writing system. Seattle Asian Art Museum, Ends Oct. 4. CYNTHIA CAMLIN Says the artist of her show Waterland, “Recent paintings use the motif of an ice shelf as a grid, or organization of grids, rigid structures undermined by melt and movement.” Punch Gallery, 119 Prefontaine Pl. S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Noon-5 p.m. Thurs.-Sat. Ends Sept. 26. CANVAS CONSTRUCTIONS This is an archival pairing of two old works from the early ’70s, when young artists were pushing against corny old notions of paint on canvas. Instead: just canvas! Karen Carson’s Four Panel Zipper Piece reads like several triangular sails flopping different in configurations (which will change during the show’s run). Allan McCollum’s Constructed Painting: Rosamund uses dyed fabric to suggest something like stacked masonry or brickwork via a trompe l’oeil effect. Both artists employ repetition and geometry of material to reach (conceptually, at least) beyond the surface of that material. Paint would be too easy. Henry Art Gallery. Ends Oct. 4.

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MAX CLEARY & JOE RUDKO Cleary creates sculp-

tural objects out of old photos (and other materials), while Rudko takes scissors to found photos. ArtsWest, 4711 California Ave. S.W., 938-0963, artswest.org. 1:30-7:30 p.m. Thurs.-Sat. Ends Oct. 11. COUNTER-CULTURE Curated by the UW’s Michael Cepress, an artist who studies and works with fiber, textiles, and fashion, this fashion show bears the subtitle “Fashioning Identity in the American Counterculture.” In other words, hippies! Cepress is exploring the ecstatic ’60s and ’70s spirit via the bell-bottoms, macramé, embroidered vests, miniskirts, headbands, granny glasses, customized jeans, peasant blouses, Huarache sandals, and tie-dye—always the tie-dye!—that defined that era. Some museumgoers will remember wearing such fashions during the Summer of Love, while younger visitors have lately been reviving the look (sometimes directly from their parents’ closets). Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5-$10. 11 a.m.-6 p.m. Tues.-Sun. Ends Jan. 10. MARTIN CREED Those who frequented the old Western Bridge gallery, like me, will recognize Work No. 360: Half the air in a given space, though it occupied a much smaller room back in 2010. The English conceptual artist Martin Creed is calling our attention to volume by enclosing it here in 37,000 silver balloons, far more than five years ago. Back then at the cheerful opening reception, half of a small room meant the balloons were only waist-high (or thereabouts); now, in the Henry’s cavernous gallery they’re way over your head. Needless to say, there are certain restrictions on entry. Don’t wear anything spiky or sharp. Even then, expect some popping. And static electricity. Henry Art Gallery. Ends Sept. 27. ESCAPISM This group show features Marisa Cole, J.P. Farquar, Xavier Lopez, Javier Ortega, Eva Yuewang. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle.com. 4 p.m.-midnight. Tues.-Sun., Ends Oct. 3. DONALD FELS He appropriates and repurposes old posters and handbills from Southern Europe and India to form new collage works. Also on view: photos by Max Steele, paper art from Azumi Takeda and Mio Asahi. Davidson Galleries, 313 Occidental Ave. S., 624-6700, davidsongalleries.com. 10 a.m.-5 p.m. Tues.-Sat. Ends Sept. 26. JENNY FILLIUS She paints bright, whimsical scenes, sometimes with a maritime aspect. Zeitgeist, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com. 6 a.m.-7 p.m. Mon.-Fri. Weekends vary. Ends Sept. 30. SUSAN GANS & DAVID TRAYLOR The two use photos and drawings to document Union Street; their series is called Unfolding. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com. Noon-5 p.m. Wed.-Sat. Ends Sept. 26. GROUP SHOW Eric Elliott uses botany as a departure point for the leafy paintings in Overgrown. Jenny Heishman explores the notion of a vessel in her paintings, presented as Dressing Room. And the dozen-plus master photographers represented in Up Close include Ansel Adams, Aaron Siskind, Brett Weston, and Edward Weston. James Harris Gallery, 604 Second Ave, 903-6220, jamesharrisgallery.com. 11 a.m.-5 p.m. Sat. Ends Oct. 10. GROUP SHOW A dozen gallery artists tackle the theme of Observing Observing (a White Cup). Prographica, 3419 E. Denny Way, 322-3851, prographicagallery. com. 11 a.m.-5 p.m. Wed.-Sat. Ends Oct. 31. MICHELLE HANDELMAN The New York artist presents a multiscreen video (and supporting materials) called Irma Vep, The Last Breath, based on the old French silent serial Les Vampires, coincidentally celebrating its centennial. In this modern update, an unhappy cat thief, clad in black leather skinsuit, pours our her problems to her shrink. Henry Art Gallery. Ends Oct. 11. JAMES LEE HANSEN The veteran Northwest sculptor is represented by several works, many cast in bronze, in 90 Years in Reflection. Bryan Ohno Gallery, 521 S. Main St., 459-6857, bryanohno.com. Free. 11 a.m.–5 p.m. Ends Sept. 26. LENA HAWKINS The Seattle-born artist, now based in New York, shows watercolors in Bardo State. Form/ Space Atelier, 98 Clay St., formspaceatelier.com. Hours vary. Ends Oct. 2. TAD HIRSCH We’re pretty sure no actual firearms figure in The Gun Show, from the UW professor. Jacob Lawrence Gallery (UW Campus), 685-1805, artsuw. org/venue/jacob-lawrence-gallery. Noon-4 pm. Wed.-Sat. Ends Oct. 17.

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BY B R IA N M I LLE R

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» film

Opening ThisWeek Black Mass OPENS FRI., SEPT. 18 AT SIFF CINEMA UPTOWN, ARK LODGE, SUNDANCE, BIG PICTURE, AND OTHERS. RATED R. 122 MINUTES.

Bulger (Depp) shows some tenderness to his ex (Dakota Johnson).

The Black Panthers: Vanguard of the Revolution RUNS FRI., SEPT. 18–THURS., SEPT. 24 AT NORTHWEST FILM FORUM. NOT RATED. 116 MINUTES.

PGrandma OPENS FRI., SEPT. 18 AT GUILD 45TH AND LINCOLN SQUARE. RATED R. 80 MINUTES.

There is a lot of contrivance in this one-day quest for $630, cash, in an L.A. where no one seems to have a credit card or easy access to an ATM. Likely because writer/director Paul Weitz knows it’s a thin conceit, he keeps things brief and economical throughout. We’re simply plunked into the dilemma of Elle (Lily Tomlin) and her pregnant teen granddaughter Sage ( Julia Garner) as they try to scrounge up funds for an abortion. Bits of family history are later salted into their quest, some surprising, some not. As with year’s Obvious Child, abortion is presented as a routine and non-catastrophic occurrence in the life of a fertile woman. (According to the Guttmacher Institute, nearly one in three American women will have an abortion, one in two an unplanned pregnancy.) Elle, a lesbian and fierce old-school feminist, isn’t one to cite statistics or throw shame in Sage’s direction. She doesn’t lecture or scold the girl. (Sage’s corporate lawyer mother, played by Marcia Gay Harden, is a different case.) Elle’s approach is both practical and comically unworkable: Drive around the city in an unreliable old Dodge and cadge money from old friends. This penniless poet and academic even has the bright idea of selling off her precious library, which gets a big laugh when Sage looks up its value on eBay. Elle has clearly outlived her radical ’60s heyday; the only question now is what use she can be to a younger generation. (This includes Judy Greer’s grad student.) Her anger and emotional stinginess must somehow morph into generosity. Weitz, of Admission and About a Boy, has always been a formula guy, and Grandma is one of those indies with a very familiar Hollywood arc. Its main pleasures aren’t in the writing, but in the against-the-grain

Horse Money RUNS FRI., SEPT. 18–THURS., SEPT. 24 AT GRAND ILLUSION. NOT RATED. 103 MINUTES.

Portuguese filmmaker Pedro Costa gazes into the slums around Lisbon and focuses on the misery of the underclass, especially the immigrant community. Perhaps this insufficient description suggests the kind of grainy, handheld style that often passes for gritty authenticity, but Costa’s impoverished landscape is visualized in a series of beautifully composed, carefully lighted images. Sometimes the rooms and hallways look so artful they seem like science fiction, as though these hard characters and memories had been transported to a cleaner—but hardly happier—world. This strange combination of style and subject is one reason Costa’s work (notably his 155-minute Colossal Youth, from 2006) has been embraced by the festival circuit, but not by audiences in general. His latest feature, Horse Money, is very similar to Colossal Youth, including the central presence of an actor known as Ventura. Like many of the people onscreen, Ventura is part of the immigrant population from Cape Verde. He wanders through the film’s darkened spaces, a haunted figure with hand tremors—a detail Costa focuses on to suggest the ways unresolved issues from the past continue to make themselves known. There is no storyline, and “the past” is a somewhat slippery concept here. Some scenes may be taking place a few decades ago, others in the present, but Costa isn’t making any of that clear. Ventura appears to be speaking to people he knew long ago, sorting through a few key events that have haunted them all for years. There is guilt, and sorrow, the specifics of which we don’t really understand. But because of the movie’s rich, painterly darkness, we feel it in our bones. In the middle of the movie, Costa has a syncopated montage to a piece of music. This comes as a shock, given the film’s otherwise sleepwalking pace, and demonstrates the filmmaker’s range of skills. (Speaking of music, Costa wanted to include song sequences in collaboration with the great Gil Scott-Heron, a tantalizing concept that died when Scott-Heron did.) Horse Money doesn’t sustain the trance-like state that Colossal Youth conjured; for me there are a few too many times when it seems simply and sleepily opaque. No denying Costa can create a world, but it would be fascinating to watch him do something outside this terribly sad night-town. ROBERT HORTON

SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

Though mostly dull and didactic, bound for PBS this winter, this doc gains much currency from Ferguson, Baltimore, Black Lives Matter, Michelle Alexander’s The New Jim Crow, and Ta-Nehisi Coates’ Between the World and Me. (The latter will appear at McCaw Hall on October 29.) Given all that context, I wish it were a more stirring chronicle of such a tumultuous time. The rise and fall of a political movement is only as exciting as its leaders, and most of those charismatic original Panthers are dead or unavailable to comment. Their surviving lieutenants have little but grudges and factional grievances to offer. (When one disillusioned old Panther calls Huey Newton “a thug,” you have to wince.) Director Stanley Nelson is muddled about the timeline (roughly 1966–74) of the Bay Area movement. Yet his newsreel documentation is rich, in part because the Panther leadership— Fred Hampton, Bobby Seale, Eldridge Cleaver, Angela Davis, etc.—were so handsome and bold. (“We had swag,” says one follower.) Truly they were like movie stars on the evening news, and their dangerous, outspoken air made for compelling, fear-driven TV during the era of Nixon’s Silent Majority. Here were proud, defiant rebels against white Archie Bunker orthodoxy. No wonder J. Edgar Hoover’s FBI was so determined to destroy the movement. (This is also the fear-mongering era when FOX News founder Roger Ailes got his start, a connection worth noting.) None of Nelson’s interviewees say as much, but there’s a parallel between the black selfdefense movement of the late ’60s and the white militias we’ve seen from Waco, Ruby Ridge, the open-carry Tea Party crowd, and beyond. The entire power structure is being questioned, and government is seen as the oppressor—notions very much alive today. There’s something truly American about the Panthers’ rugged self-reliance (including the firearms to back it), yet the shock was to see such a movement coming from the ghetto. On the frontier, with white heroes, such stories of defiance—the Alamo, for instance—are usually celebrated. The Panthers flipped that mythology against an astonished nation.

For better or worse, those revolutionary days are gone; and Nelson fails to address the economic expansion—in Detroit and other manufacturing centers beyond the South—that created a black middle class (and a rebellious young black intelligentsia). Now, of course, that tide of prosperity has been reversed. While the Panthers swiftly collapsed owing to internal schisms and the FBI’s dirty tricks, the social conditions that spawned them are no less present and disheartening today. If Nelson’s well-intentioned doc never catches fire, it recalls incendiary times. BRIAN MILLER

CLAIRE FOLGER/WARNER BROS.

Where did it all go right for Johnny Depp? A marvelously handsome and certainly . . . sensitive actor who emerged in the early ’90s, his creative undoing was surely the Pirates of the Caribbean franchise. Those four comic swashbucklers (to date) made him an international star, fabulously wealthy on the Brando/private-island-buying scale. We didn’t begrudge Depp then, because he’d been so undeniably good in the likes of Cry-Baby, Edward Scissorhands, and What’s Eating Gilbert Grape. His looseness and lightness made us indie-watchers proud, even if his straight turns in generic Hollywood dramas have mostly been clunkers. (Anyone recall The Tourist or Nick of Time? Don’t even try.) At 52, Depp is no longer pretty, and playing balding Boston gangster James “Whitey” Bulger signals his entry into character work. The problem is that a lot of better actors—some in this picture—have gotten there first. (As a Miami coke weasel, Peter Sarsgaard’s few scenes radiate the energy that Depp only absorbs.) Depp’s method has always been comic aloofness, most fruitfully employed in Tim Burton confections, which bear no connection to actual life. Bulger’s story, here spanning 1975–95, is entirely earthier and more prosaic. A violent petty hoodlum with no redeeming qualities, Bulger was sheltered by his corrupt FBI handlers until a Boston Globe exposé sent him underground for 16 years. (His San Diego arrest occupies a brief postscript.) So while Depp is by far the biggest star in the picture, and though he gives a fine, disciplined performance, the adamantine-eyed Bulger is possibly the least interesting character in this listless Mass. Bland, doughy Joel Edgerton plays Connolly, the childhood friend and FBI man who cultivates Bulger as an informant, but you can’t call his downfall a tragedy. Only an idiot would be swayed by clannish Irish Catholic notions of “loyalty”—a word repeated 10,000 times in a leaden script based on a book by Globe reporters. But Connolly is such an idiot, and ditto all Bulger’s flunkies—variously beaten, betrayed, and killed, to no one’s great surprise. None see how they’re disposable parts in Bulger’s FBI-enabled business schemes; or their testosterone blinds them. Only a few women in this pale, freckled sausage-fest are skeptical of Bulger, but their scenes can be measured in seconds, not substance (if they’re lucky enough not to be strangled). Journeyman director Scott Cooper had the very good luck to employ Jeff Bridges in his Oscar-winning turn in Crazy Heart. His Out of the Furnace featured Christian Bale and some other talent, but was dramatically flat—a copy of a copy of many better movies before. So it is here: Scorsese already did South Boston gangsters to much better effect in The Departed (no masterpiece), and Black Mass lacks all the period pep of American Hustle, where we actually cared about its delusional cons. Though there’s one point in the movie’s favor: After this nadir, 2017’s Pirates of the Caribbean: Dead Men Tell No Tales can only be an improvement. BRIAN MILLER

texture of Tomlin’s performance. Her Elle is salty, self-righteous, and pissed at the world for reasons not immediately clear. (Grief, it will emerge, is one.) We need more difficult women like her at the movies; television is doing a better job, as with Tomlin and Jane Fonda’s Netflix show Grace and Frankie. Garner, I’m sorry to say, doesn’t make much of an impression; Sage is written more as a problem than a person. Harden enters the film too late, like a shark in pink, and she’s a much better foil for Tomlin, who outmuscles everyone else in the movie. Or, I should say, almost everyone else. Having a banner year already with I’ll See You in My Dreams, Sam Elliott delivers a knockout scene at Grandma’s midpoint, meeting Tomlin’s fury with his own courteous rage. What’s the past relationship between Karl and Elle? It’s a surprise, as is Karl’s meltdown (even to him). It’s a raw emotional rebuke that both she and the movie need, like a sock in the nose that’s both deserved and therapeutic. BRIAN MILLER

» CONTINUED ON PAGE 40 39

“CRITICS’ PICK! Surreal. Hypnotic.” New York Times

SHOWTIM ES

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LION'S MAIN ART COLLECTIVE - QTONE - THURSDAY @ 8:00PM

OPENS FRI., SEPT. 18 AT SEVEN GABLES. RATED R. 108 MINUTES.

A film by Pedro Costa

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Cooties SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

Zombies take over the playground in this outrageous comedy starring Elijah Wood, Rainn Wilson, Alison Pill, and Jack McBrayer.

NOW PLAYING

FRI SEP 18 - THU SEP 24

EGYPTIAN 805 E PINE ST

511 QUEEN ANNE AVE N

Johnny Depp is notorious Boston mobster Whitey Bulger in this gripping true-life crime drama. With Joel Edgerton, Benedict Cumberbatch, Jesse Plemons, Dakota Johnson, and Kevin Bacon.

SEATTLE CENTER · NW ROOMS

Paper Planes

An Australian boy discovers a talent for crafting paper airplanes, leading him to the World Paper Plane Championships in Japan.

Mistress America A Walk in the Woods NATIONAL THEATRE LIVE The Beaux’ Director Noah Baumbach re-teams Nick Nolte and Robert Redford star with Greta Gerwig for this madcap comedy about chasing dreams and schemes in the big city.

in this comedic adventure based on the best-seller by travel writer Bill Bryson.

MIDNIGHT ADRENALINE

Phoenix

Rocky Horror SAT SEP 19

ADVANCE SCREENING

Stonewall

THU SEP 24 · With the toss of a single brick in 1969, a crusade for equality is born.

“Nina Hoss is extraordinary.”- Indiewire MON SEP 21 | BIG SCREEN CLASSICS

Dead End

Duris and Demoustier as uneasy besties.

Director William Wyler’s adaptation of the powerful stage play about inequality in Depression-era NYC. With Sylvia Sidney, Joel McCrea, and Humphrey Bogart.

Stratagem

THU SEP 24 George Farquhar’s wild comedy of love and cash reimagined in Restoration era England.

SIFF EDUCATION

How to Make a Great Documentary

Masterclass with Ondi Timoner SEP 21

If things that happen in the first 15 minutes of a movie can still be considered spoilers, then most of this review of François Ozon’s new film is a spoiler. But there’s no other way to talk about the latest from French cinema’s onetime bad boy (nearing 50, he’s more of a naughty man now). The New Girlfriend begins with a statement of intentions: As “Here Comes the Bride” plays solemnly on the soundtrack, lipstick and makeup are applied to the blushing, ah, corpse. Yes, as the camera draws back, we see that the bride is dead; then a breakneck flashback montage fills us in on what happened. She leaves behind a widower, David (Romain Duris, from Mood Indigo), an infant daughter, and a distraught best friend, Claire (Anaïs Demoustier). The next big reveal? Claire stumbles in on David while he’s fabulously garbed in women’s clothes. How will this taste for cross-dressing affect the relationships in the movie? Will Claire exorcise her excessive devotion to her dead friend by growing close to “Virginia” (as David’s alter ego is dubbed)? Is this Ozon’s Glen or Glenda? Well, sort of, actually. The filmmaker’s campy streak is quietly on display here—the movie looks (and thanks to Philippe Rombi’s old-fashioned music, sounds) like a prime-time soap opera, complete with a drab suburbia and visits to the mall. Ozon delights in introducing snakes into gardens, and he’s happy to insist that transvestism has its place in his sleepy domestic scene. He’s far too wicked a director to make a sincere social-issue picture, which is probably why Duris, who has a strong fiveo’clock shadow and crooked teeth, looks like a drag queen rejected for a John Waters movie. His hopelessness as a woman is, I assume, part of the joke here. Ozon’s been on a hot streak lately—Potiche (2010), Young & Beautiful (2013), and especially In the House (2012) were sharp offerings—and The New Girlfriend is not at that level. He loosely adapted an ’80s Ruth Rendell story for this project (for some reason her books have found a place in European cinema: See also Pedro Almodóvar’s Live Flesh and Claude Chabrol’s The Ceremony). If this movie had been made 20 years ago, it might have had a little more kink to it; but now, although it’s expertly done, it’s a little late to the transgressive party. Even bad boys lose their edge. ROBERT HORTON

PSleeping With Other People OPENS FRI., SEPT. 18 AT SUNDANCE, MERIDIAN, AND LINCOLN SQUARE. RATED R. 100 MINUTES.

Sex can be like a fistfight: a sudden, irrational swell of emotion that can leave people elated, trembling, remorseful, and sometimes bloodied. Both erupt for the stupidest causes, as our primitive animal drives assert their nature. As it happens in Leslye Headland’s very smart, raunchy, yet realistic comedy, her two leads spend most of the picture trying not to sleep with

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FRI & Mon - TUES @ 7:00PM / SAT-SUN @ 3:00PM

THE SHINING FRIDAY - TUESDAY @ 9:30PM

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each other. They’re sex addicts, or addicted to cheating, or that’s the screenwriting device that Headland knowingly adds to rom-com formula. We’ve seen those same movies, and so have the self-aware yet self-undermining New Yorkers Lainey and Jake (Alison Brie and Jason Sudeikis, both quite charming). I’ll skip the prologue as to how they first meet in college; a dozen years later, their paths cross again. Lainey, it emerges, still has a primal, oldbrain fixation on her college crush (a doctor, now married, played by Adam Scott). Jake meanwhile is a serial cad with no plans for settling down. Sexual fidelity is isn’t exactly devalued for these two; it’s more like a foreign currency—something for other people to invest. Do cheating and bed-hopping make them happy? Of course not, but the immediate sensation is such a rush—way better than dull married coitus or monogamy. (Cheating is the hottest kind of sex, Headland argued during SIFF; you can read our conversation next week.) It’s a given that these flawed, clever individuals are going to get together despite their flaws and we-should-know-better intelligence. What you can’t predict is their path. As in any tale of millennial love, booty calls and texts are writ large on the screen; to that Headland also adds nods to Pillow Talk and Woody Allen. The Tindr/Facebook generation is here confronting the wrenching emotional limits of complete sexual freedom. Jake may be glib about his nofault conquests, but the contempt from his sackmates still stings. Lainey’s obsession with Dr. Sobvechik yields nothing but shame and selfloathing. When they meet nice new potential partners (Amanda Peet and Marc Blucas), they don’t know how to behave like civilized adults. Courtship, and the very meaning of intimacy, have been lost to them. Headland, who previously adapted her stage hit Bachelorette to the screen, has a whiplash wit that careens through The Graduate, Aaron Sorkin, Game of Thrones, Malcolm Gladwell, and The Miracle Worker. More important, she’s identified the queasy balance to modern dating mores, that blurred line between app-sated lust and emotional emptiness. Jake’s sneaky wit turns out to be a defensive armor, while Lainey—protesting “You’re not the Mark Zuckerberg of vaginas!”—has real psychological damage to repair. Frank and very funny, Headland’s movie isn’t so much sexually explicit as sexually honest. Our better natures are constantly at odds with our baser impulses. And you can’t separate the two in bed. BRIAN MILLER E

film@seattleweekly.com

DINING Local & Repertory • BIG SCREEN CLASSICS A somewhat complicated

•

Ongoing

• AMY One of the year’s best films, Asif Kapadia’s documentary makes us cringe at its clickbait horror. Maybe we didn’t chase singer Amy Winehouse (1983–2011) down Camden streets with the paparazzi mob, maybe we didn’t introduce her to crack and heroin, but most of us surely clicked a few times on the lurid headlines about her spectacular fall into bulimia, booze, and drugs. Like Kapadia’s 2011 Senna, Amy is mostly composed of archival montage augmented with new interviews. The early passages are unexpectedly cheerful as we meet a jazz-besotted teen fingering complex chords on her guitar and writing preternaturally sophisticated lyrics. After her rise, however, comes the plunge into fame, addiction, and hounding by the English tabloid press. There’s no omniscient narrator or script, but instead a chorus of voices and opinions from those who knew Winehouse: managers, fellow musicians (including Mos Def, Mark Ronson, and Tony Bennett). Her father and husband speak with infuriating, selfish denial. (R) B.R.M. Crest

SE AT TLE

• THE END OF THE TOUR Based on journalist David

Lipsky’s five-day interview with David Foster Wallace in 1996, following the publication of Infinite Jest, this film is well described by director James Ponsoldt (Smashed, The Spectacular Now) as “a hang-out movie.” Lipsky (Jesse Eisenberg) travels from New York to Indiana for the precious interview, and he doesn’t want to risk looking foolish with Wallace (Jason Segel) by guessing wrong about the book’s meaning. Nor does he want to divulge the brew of resentment, envy, and hero worship that he feels about Wallace—only three years older but far more successful. And Wallace, in their very well-played tango, remains a guarded but friendly Midwestern soul facing a pesky Manhattan interrogator trying to peck away at the façade of presumed genius (and probe rumors of heroin and alcohol abuse). There’s no damning revelation or ah-ha moment, and we grow to appreciate Lipsky more as he grows more frustrated by Wallace’s clinging to normalcy. He refuses the tortured-genius story template that Lipsky may or may not be writing (a template Wallace despises for being cliché). Ponsoldt isn’t trying to make My Dinner With Andre, and the dialogue doesn’t sparkle. Rather, it feels true—and respectful to those who speak it. (R) B.R.M. Sundance THE GIFT Jason Bateman has a genius for ambivalent line readings, most often employed to comic effect (see: Arrested Development). He doesn’t get enough dramatic showcases for the same gift, but his Simon—a smug tech-industry sales maven newly returned to L.A.—is a fine example. We side entirely with him and his fragile, empathetic wife Robyn (Rebecca Hall) when his creepy old high-school acquaintance (Australian writer/director Joel Edgerton) intrudes upon their posh, serene life. What does Gordo want? Something more than friendship, maybe an apology. Robyn’s curious while Simon’s increasingly impatient. We expect The Gift to erupt into one of those deranged stalker thrillers, but it’s a cut well above genre. Edgerton, better known as an actor (The Great Gatsby, Zero Dark Thirty, etc.), is interested in marital breakdown and distrust. How well does Robyn know her ambitious, career-obsessed husband? He insists, “It’s really important to not look back.” Meanwhile the passive-aggressive Gordo represents the return of the repressed. As Simon ridicules him, denying the same emotional weakness shown by his wife, we gradually realize that sarcasm has hardened into sociopathy. (R) B.R.M. Bainbridge LEARNING TO DRIVE This is a very small film, greatly padded from an old New Yorker essay by Katha Pollitt, and it doesn’t leave much elbow room for Patricia Clarkson (as heroine Wendy) and Ben Kingsley (as her Sikh driving instructor Darwan) to navigate. Both stars generate enormous goodwill, even while you worry about Kingsley going back to the South Asian well— kindly accent, sage wisdom, infinite forbearance, etc. Playing an angry, jilted, selfish New Yorker suddenly confronted by her lack of a chauffeur (i.e., her cheatin’ husband), Clarkson is an awful lot of fun when mad and spitting F-bombs left and right. And we’d rather see more of her midlife dating misadventures; this is a movie that would be measurably improved by some cheap Tindr and eHarmony jokes. Its heart, though, is the Brief Encounter tension between the pious, honorable instructor and his slightly naughty student. But this is not the movie to push Darwan—or formula—out of the comfort zone. So in its comfortably therapeutic, How Wendy Got Her Groove Back kind of way, the picture works—no better or worse than a Lifetime original. (R) B.R.M. Pacific Place, Kirkland, Lincoln Square, Lynwood (Bainbridge) MERU Co-director Jimmy Chin (with his wife, E. Chai Vasarhelyi) joined Conrad Anker and Renan Ozturk for two attempts on the unclimbed Shark’s Fin line on Mount Meru, in India’s Garhwal region of the Himalayas. First ascents are rare these days; what’s left are the sketchy, dubious routes. As he traces his Meru fixation from a comfortable home in Bozeman, Montana, with a concerned wife and three sons, Anker seems ghost-haunted by two dead friends. The third expedition feels like a grudge, unfinished business, with Anker the Ancient Mariner of the trip. (Chin and Ozturk start the film relatively unscathed, but a fateful winter in Jackson Hole radically changes their perspective.) Widely published in Outside, National Geographic, and beyond, Chin keeps his camera unwaveringly focused on alpine fundamentals: the constant anxiety about weather, the weight of the gear, the dwindling food and fuel, the nervous pride when taking the sharp end of the rope, and the somewhat sociopathic requirement to forget loved ones back home. (R) B.R.M. Guild 45th, Kirkland, Ark Lodge, Bainbridge, others

F IL M

Two Ways To Save At Sundance Seattle

» CONTINUED ON PAGE 42

H APPY H OU R

Monday is $6 ORCA Day Show Your Orca Card and ALL Seats are $6 ($7.50 for 3D).

Tickets Avail at Box Office Only. Not good on holidays.

Tuesday is Girls Movie Night Out!

2 or more ladies get $5 ($6.50 for 3D) Admission All Day. Tickets Avail at Box Office Only.

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MUSIC

4500 9TH AVE. NE • 206-633-0059

BLACK MASS SLEEPING WITH OTHER PEOPLE RIFIFI

FILM NEWSLETTER The inside scoop on

upcoming films and the latest reviews.

MAZE RUNNER: THE SCORCH TRIALS

THE VISIT

STRAIGHT OUTTA COMPTON

TRAINWRECK

THE MAN FROM U.N.C.L.E.

THE END OF THE TOUR A WALK IN THE WOODS

*Tickets available at the box office.

SUNDANCECINEMAS.COM

SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

schedule (see siff.net) begins with Robert Altman’s wonderfully rich, humanist vision of a changing America: Nashville (1975). Coming up Monday is Humphrey Bogart in 1937’s Dead End. (NR) SIFF Film Center (Seattle Center), 324-9996. $7-$12. 7 p.m. Weds. (Series ends Nov. 30.) CHICAGO Rob Marshall’s Oscar-winning 2002 adaptation of the Bob Fosse/Kander and Ebb is screened as a sing-along presentation, with memorable tunes including “Roxie” and “Mr. Cellophane.” Catherine Zeta-Jones, Renée Zellweger, and Richard Gere do their darndest with the Broadway show about a ’30s show trial. (PG-13) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7-$9. 7 p.m. Fri., Mon.-Wed. & 3 p.m. Sat.-Sun. COOTIES Substitute teacher Elijah Wood and his elementary school pupils battle zombies. With Rainn Wilson, Alison Pill, and Jack McBrayer. (NR) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff.net. $7-$12. Opens Fri. PAPER PLANES The title is the subject of this gentle Australian family drama. (NR) SIFF Film Center (Seattle Center), 324-9996, siff.net. $7-$12. Runs Fri.-Thurs. A POEM IS A NAKED PERSON This is Les Blank’s 1974 documentary profile of singer-songwriter Leon Russell, a Tulsa transplant to L.A. during the heyday of the country rock revival. A producer and session musician, he mixed with the likes of B.B. King, Eric Clapton, and Bob Dylan. His few hits included “Tight Rope” and “Lady Blue.” Interestingly, he returned to the public eye in 2010, thanks to Elton John (a big fan), when the two of them recorded The Union. (NR) Grand Illusion, $5-$8. See grandillusioncinema.org for showtimes. Runs Sat.-Wed. PREDATOR Tim Held performs a new soundtrack to accompany the Schwarzenegger-in-the-jungle flick from 1987. (R) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6-$11. 8 p.m. Sat. PSYCHO In Hitchcock’s 1960 shocker, as Anthony Perkins, dressed in his mother’s drag, surprises Janet Leigh in the shower with a carving knife, it’s the shrieking soundtrack and meticulous editing—of both sound and picture—that make you believe you’ve seen something you haven’t. The penetration of the blade is never shown, and the rest of the film relies on equally subtle suggestion. The taxidermy birds, beckoning swamp, and curiously empty rooms at the Bates Motel all hint at the proprietor’s unhinged state of mind. If Leigh’s flighty fugitive misses the signs, it may be because she’s preoccupied with own guilt. Hitchcock pairs the two in a weird kind of seduction: She wants to confess, but can’t. He wants to caress, but can’t. There’s so much repression that violence, not sex, is the only release. (NR) BRIAN MILLER Varsity, 4329 University Way N.E., 632-7218, farawayentertainment.com. $10.25. 2 p.m. Sun. & 7 p.m. Mon. (Also same showtimes at Bainbridge.) THE SHINING Stanley Kubrick’s slow, eerie 1980 adaptation of Stephen King’s novel has a primal, fairytale quality laced with Oedipal conflict. It matters less if Jack Nicholson’s blocked writer is demonically possessed (or Indian-cursed or evil reincarnated or whatever) than that he’s simply a bad father—rough and impatient with son Danny, cruelly dismissive of his wife (Shelley Duvall), selfish in his writerly ambitions. A failure at the typewriter, his imagination turns inward, rotting inside its own topiary maze. (R) B.R.M. Central Cinema, $7-$9. 9:30 p.m. Fri.-Wed.

W EE K LY

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

Julia

Lily

Marcia Gay

TOMLIN GARNER

Laverne

Judy

HARDEN

COX

GREER

AND

Sam

ELLIOTT

“PAUL WEITZ’S WRY AND INSIGHTFUL MOVIE. THE WONDER THAT IS ‘GRANDMA’ CAN BE SUMMED UP IN TWO WORDS: LILY TOMLIN.”

The New York Times

-A.O. Scott, THE NEW YORK TIMES

★★★★

“ONE OF THE YEAR’S BEST MOVIES!” (HIGHEST RATING)

-Lou Lumenick, NEW YORK POST

GRANDMA WRITTEN AND DIRECTED BY

SEATTLE AMC LOEWS OAK TREE 6 10006 Aurora Ave N amctheatres.com SEATTLE LANDMARK GUILD 45TH THEATRE 2115 N 45th (206) 547-2127

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arts&culture» film » FROM PAGE 41 MISSION: IMPOSSIBLE - ROGUE NATION Tom

Cruise has spent his 30 very willful years of stardom denying age, insisting that he performs his own stunts, and doing action flicks at an age when his relaxed-fit peers are sliding into more comfortable dadcore roles. His initial M:I reboot was 19 years ago, and this fifth installment is full of the action, disguise, and gadgets we expect. Directed by Christopher McQuarrie, it’s fine summer entertainment, with Cruise’s Ethan Hunt predictably put through the wringer. (As for the plot, the whole film boils down to yet another USB drive containing a precious ledger.) By picture’s end, poor Hunt has crashed a motorcycle, crashed a car, suffered a gunshot, taken several beatings, grown a beard, shaved the beard, done some push-ups, shown his hairless chest, clung to the side of a flying aircraft (you saw that bit in the trailer, I know), jumped through several windows, dispatched a dozen baddies, and been deemed a rogue agent by the CIA. The complicated yet familiar script features stock components seemingly ordered from Amazon; best among them is mystery woman Ilsa (Sweden’s classy Rebecca Ferguson, who’d be right at home in a ’60s-vintage Bond movie). Both the franchise and Cruise seem a little tired, but he’ll never admit it. (PG-13) B.R.M. Pacific Place, Lincoln Square, others MISTRESS AMERICA New to New York, Barnard freshman Tracy (Lola Kirke) falls under the sway of Brooke (Greta Gerwig, who co-wrote Mistress America with director Noah Baumbach). Brooke is a font of alluring ideas—business is the new sex—who lacks only the capital to implement them. Or, to put it another way, her capital is youth and dreams, which are losing market value as she nears 30. Brooke is both eccentric and unsinkable, and Gerwig plays her just to the edge of being unlikable for such obstinate self-belief. (Tracy is meanwhile taking notes for her campus literary journal.) Baumbach and Gerwig, a couple who previously collaborated on Frances Ha, are obvious movie lovers, and there are willfully retro traces here of screwball comedy, drawing-room farce, and early Woody Allen. Even as Brooke’s boundless self-confidence is gradually revealed to be self-delusion (or a manic confluence of the two), this blithe, delightful movie isn’t some sort of Jamesian downfall. Mistress America gives us the comedy of catastrophe averted, if not plans realized. (R) B.R.M. SIFF Cinema Egyptian PHOENIX At the end of World War II, heavilybandaged Nelly (the soulful Nina Hoss) emerges from Auschwitz. She’s been disfigured by a gunshot wound to the face; her friend Lene helps nurse her back to health, urging Nelly to claim her postwar reparations and join other surviving Jews in Palestine. Nelly, however, is fixated on her husband Johnny (Ronald Zehrfeld), but he thinks she is dead and doesn’t recognize her with her new face. He has an idea, however— the rat. If this mystery woman will pretend to be Nelly, they can claim her inheritance and split the money. Based on Hubert Monteilhet’s 1961 novel Return From the Ashes, Christian Petzold’s thriller feels like something out of that era. The resulting masquerade has many perverse moments. And Phoenix is an extremely well-made picture, even if its serious, sober approach is just a little on-the-nose. But the final 10 minutes truly redeem whatever shortcomings the storytelling had to that point, as Johnny brings his dishonest plan to its conclusion at the same time Nelly has something up her sleeve. It’s a knockout of a finish. (NR) ROBERT HORTON SIFF Cinema Uptown, Varsity RICKI AND THE FLASH Because Meryl Streep and director Jonathan Demme carry so much career goodwill, Ricki is the kind of mediocre movie I can enjoy. (It’s written by Diablo Cody, and the script is nowhere near so sharp as her Oscar-winning Juno.) The family conflicts here are rote: irresponsible L.A. musician mother Ricki (Streep); her abandoned and remarried husband Pete (Kevin Kline) back in Indianapolis; two grown sons and daughter Julie (Mamie Gummer, Streep’s daughter), who’s in a near-psychotic meltdown after being dumped by her husband. Ricki leads a grizzled bar band in the San Fernando Valley (Rick Springfield is perfectly cast as her guitarist/love interest, and a pretty good actor to boot.) By night she cranks out Tom Petty, U2, and Springsteen covers; by day she’s a supermarket clerk. When was the last time Streep—who actually performs all the songs, backed by pro band—played a woman this dumb? Clearly she relishes the part of an AARP rebel who thinks ALS stands for Alzheimer’s disease. Cody and Demme aren’t reaching for art, just trying to craft something as comfortable as an old car-radio song. The only reason it’s hummable is because Streep is doing the singing. (PG-13) B.R.M. Varsity, others

•

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

“A LOVE STORY FOR THE MODERN AGE.”

Screen Daily

“SUBVERSIVE, PLAYFUL AND BRILLIANT.” The Hollywood Reporter

“DELECTABLY ENTERTAINING.” Variety

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THE

PRESENTS

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FRANÇOIS OZON

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EXCLUSIVE ENGAGEMENT STARTS SEPTEMBER18 SEVEN GABLES THEATRE 911 NE 50TH ST, SEATTLE 206-632-8821

• SHAUN THE SHEEP MOVIE Parents will know the

ever-silent and long-suffering Shaun the Sheep from his eponymous TV series; and now he’s starring in his own movie—also quite free of dialogue, also quite charming. The sheep of Mossybottom Farm decide they need a holiday from their dull routine, so they trick the farmer—nor does he speak, but eloquently grunts and sighs—with many comic consequences. Pratfalls and physical humor abound as the flock (led by clever Shaun) casts about the city, pursued both by protective sheepdog Bitzer and a nasty animal-control officer. (Meanwhile, back home, the unsupervised pigs behave like, well, pigs.) The farmer gets amnesia and becomes a celebrity; there are many delightful chase sequences; and the flock even performs a musical number! Parents will appreciate the many ’80s references (the decade in which the farmer seems permanently stuck), but writer/directors Mark Burton and Richard Starzak are savvy enough to include jokes about social media, celebrity shenanigans, and snooty dining customs. (PG) B.R.M. Bainbridge, Admiral, Varsity SPY Melissa McCarthy’s star vehicle easily passes the Bechdel Test, and that’s a welcome relief during the summer blockbuster season. Once we get the male CIA agent—Jude Law’s amusingly selfish prick—out of the way, Paul Feig’s spy spoof is almost entirely given over to women. McCarthy plays CIA desk jockey Cooper, who has to talk her way past a skeptical boss (Allison Janney) before she can wing it to various European cities in pursuit of a sultry Slavic baddie (Rose Byrne), aided by her agency sidekick (English TV star Miranda Hart). Apart from disposable henchmen, this comedy hardly needs any dudes; yet Hollywood hedging strategies require some testosterone (cue Jason Statham, ably parodying himself). Spy is reliably funny, though those endless “alts”—those on-set alternative takes in which Feig whispers new lines to his very game cast— can make the movie feel slapdash. (R) B.R.M. Crest TRAINWRECK Playing Amy Townsend, a New York journalist, Amy Schumer is less a serial seducer than a steamroller, with a proven system for bedding guys and refusing sleepovers. That pattern works fine until Amy’s assigned to profile an earnest, dorky orthopedic surgeon, Dr. Aaron (Bill Hader). And here is where Schumer’s unapologetic, contrarian humor—call it feminist if you must—gets switched to the Hollywood mainline. Trainwreck is directed by reigning comedy czar Judd Apatow, and he mandates the formulas that Schumer so brilliantly spoofs on her Comedy Central show. He also dilutes her humor with testosterone— presumably to keep guys interested in a chick flick—by introducing jocks: John Cena, LeBron James, and Amar’e Stoudemire (the latter two being Dr. Aaron’s patients and buddies). They’re actually quite charming, but this is not why we’re paying to see an Amy Schumer comedy. Granted, not every stand-up comic can master the screenplay form, and Trainwreck is quite funny in its early rounds. Though it’s not the breakthrough that Bridesmaids was, Schumer’s fans won’t be unhappy with this movie, not with so many of her signature sotto voce punch lines. (R) B.R.M. Sundance, Admiral, others A WALK IN THE WOODS The problem in enacting Bill Bryson’s 1998 account of hiking (half) the Appalachian Trail, is that our two geezer heroes quit mid-journey, unlike the triumph depicted in the recent adaptation of Cheryl Strayed’s Wild, a much better film. Robert Redford (as Bryson) and Nolte (as Katz, his alcoholic Sancho Panza) teeter along credibly, making jokes about their age and grousing about the whippersnappers who race past. Though the adventure is meant as late-life stock-taking and there are a few moments of sunset philosophy, mainly these two guys complain. The movie’s Bryson is the last guy you’d want to meet on the trail. He’s a know-it-all. He’s aloof. He’s condescending to everyone he meets. He’s a pedant and—more damningly—not a very good friend to the sad fuck-up Katz, who could use considerably more support. Throughout this dismal movie—terribly lit and badly directed by TV journeyman Ken Kwapis—Bryson rolls his eyes in bemused disapproval. The tacit message is I’m too good for this, which is essentially our feeling for poor Redford and Nolte. They deserve better, as do the supporting cast: Emma Thompson, Mary Steenburgen, Kristen Schaal, and Nick Offerman, all entirely wasted. (R) B.R.M. Sundance, Lincoln Square, SIFF Cinema Uptown, Thornton Place, Ark Lodge, Cinebarre, Kirkland, Bainbridge, others BY B R IA N M I LLE R

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

•

» music

SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

arts&culture» music

House Music

Hibou’s Peter Michel embraces home on his dreamy debut.

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

DUSTY HENRY

BY DUSTY HENRY

efore I even meet Peter Michel, I meet his dog Geoffrey. The gray poodle jumps excitedly, yipping at the stranger walking into the gray craftsman in Greenlake that the Hibou mastermind calls home. Michel pulls him back, apologizing. It’s clearly a routine in the Michel household. We shake hands, standing on a red and black Afghan rug. A guitar case sits in the corner and a ukulele hangs from the wall. Michel’s short, bleachedblond hair contrasts with the entire room, a beacon of brightness against the coziness. He’s wearing a charcoal-gray Disneyland T-shirt that looks a size too large. It’s quintessential comfortable, spending-thenight-in attire, appropriate for his quiet demeanor. I follow Michel upstairs to his room. A faint scent of incense welcomes me. I spot a keyboard and melted candles on his nightstand alongside a pile of books and an empty whiskey bottle. Above the table there’s a map of Middle Earth,

a fascination of his since reading The Lord of the Rings as a child in this same room. A dreamcatcher dangles over his pillow; guitars hang on almost every wall. Considering the bright indie-rock aesthetic in his music, the bedroom is surprisingly dim. The space feels much more autumnal than the homages to summer that appear throughout Hibou’s dreamy debut, to be released on Barsuk Records on September 18. Michel points out the walk-in closet where the 22-year-old recorded that album on an iMac, the first full-length studio project he’s ever taken part in. No stranger to the Seattle music scene, Michel was the touring drummer for rising dream-pop outfit Craft Spells in 2011. But he didn’t appear on any of that band’s albums. “I’ve tried playing in a lot of bands before and it’s very fun, but I just never feel totally comfortable,” Michel confides. “It comes from me being just a total control freak, perfectionist.”

DA808 PRESENTS

music@seattleweekly.com

HIBOU Sonic Boom, 2209 N.W. Market St. Free. All ages. 6 p.m. Fri., Sept. 18; and Frolik Kitchen + Cocktails, 1415 Fifth Ave. With Snuff Redux. Free. All ages. Time TBA, Tues., Sept. 22.

COMMON KINGS with SAMMY J + LEILANI WOLFGRAMM + AOK

10/8+9

8PM

SHOWBOX AND TAKE WARNING PRESENT

TREVOR HALL

GRIMES HOLLYWOOD with DUSTIN THOMAS + DJ MISS ASHLEY

9/18

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8:30 PM

with NICOLE DOLLANGANGER

10/28–ON SALE FRIDAY AT 10AM

UNDEAD

with CROWN THE EMPIRE + I PREVAIL

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8PM

AN EVENING WITH

RUFUS

WAINWRIGHT

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EMANCIPATOR ENSEMBLE 11/14

PEACHES with U.S. GIRLS

with BLOCKHEAD + MANATEE COMMUNE

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ROBERT DELONG

7PM + 9:45PM

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with COLEMAN HELL

8:30 PM

11/20

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THIEVERY CORPORATION 9/27

with SHAPRECE

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with THE GRISWOLDS + LOLO

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TECH N9NE with KRIZZ KALIKO + KNOTHEAD + NEEMA

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10/22

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COHEED AND CAMBRIA with KNAPSACK +

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10/18

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with BORN OF OSIRIS + BATTLE CROSS

ALL YOU CAN EAT TOUR

NEW POLITICS + ANDREW MCMAHON IN THE WILDERNESS 10/13

GWAR

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RAC LIVE +BIG DATA 11/24

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SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

That sense of discomfort and need for control is what propelled Michel into his own project. In 2013 he released his first EP as Hibou, Dunes. The collection was received warmly, selling out all its vinyl pressings and receiving praise from music publications like Pitchfork. Soon after, Michel started working on new material. Between tours, he would record at the Queen Anne apartment he rented at the time. But when touring became too frequent to justify the rent he was paying, Michel moved back in with his parents. It was a pragmatic move, but it also helped foster his creative process as he continued work on Hibou. Even the songs that he first recorded in Queen Anne and the four on Dunes (redone for the new album) were reshaped in this room. “I definitely wanted the album to have some kind of familiarity song to song. I think this room, just since I’ve spent my whole life in it pretty much, undoubtedly would have that effect on it,” Michel says. “In retrospect, it seems like that’s why I did it.” On Hibou, home appears between the notes as well, Michel says. His dad can be heard shuffling around and cooking in the background. He and his parents get along, he says, respectful as they are of each other’s introversion. (They supported him when he first toured with Craft Spells during his junior year of high school, letting him take online classes from the tour van.) There’s also the idea of Michel’s larger home, Seattle, milling about the record. In recent years, when he’s not touring, Michel has dedicated July and August to exploring Discovery Park. “There’s this mystery to it,” he says. “I definitely think there’s something going on there that’s beyond me, and that’s kind of why it’s so intriguing.” Alone or with friends, he often returns with new melodies, which can be found throughout the album, alongside that summer vibe. The lush synthesizer and guitar arrangements beam with the enthusiasm of a rare, spectacular Seattle heatwave. The hazy vocals, on the other hand, suggest the introspectiveness of a man alone in his bedroom. Songs like the vibrant and fluttering lead single “Dissolve” feel like the spiraling excitement of summer. Post-punk romp “Sunder” delves deeper into darker shades, but doesn’t lose that glow. “I think that’s just where Hibou takes place, in the summer,” Michel says. “And then the rest of the year there’s other things going through my head, at least there used to [be]. Now with all the touring that’s about to happen, that may change a little bit.” He tours with a rotating cast of musicians to play Hibou material, pulling in whatever friends are available. He’s currently building a lineup for upcoming tours with New Orleans bounce queen Big Freedia and The National/Menomena offshoot band EL VY. Seeing how other people interpret the songs and change the dynamic excites him. But for now he doesn’t see Hibou becoming a full-fledged band. “I wouldn’t want anybody to spend their whole life being the guitar player for my thing,” he says. “I think I learned that from Craft Spells. At the end of the day it just feels like you’re not being 100 percent, at least with me.” E

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w/Skull Theory, Swallowing Glass, OtherWorld Doors 7:30PM / Show 8:00. ALL AGES/BAR W/ID. $10 ADV / $12 DOS

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ou don’t just hear Serial Hawk. You feel Serial Hawk. In its five-year existence, the Seattle band has garnered a reputation in the stoner-rock and doom community for being volume dealers, and has the backline of amps to back it up. Serial Hawk shows are defined by the feeling of your pants vibrating, your chest rattling, your ears (possibly) bleeding. But anyone with enough cash can line a stage with stacks of boutique and vintage gear. The more difficult task is getting that volume to translate on record while maintaining the energy and tone of a live set. On its first full-length, Searching for Light, Serial Hawk has done just that. “That’s been the goal now for a long time,” says guitarist and vocalist Will Bassin. “That’s such a challenge. When you’re writing, you’re trying to create something that connects with people and sonically moves them. This time we tried to channel that experience to the listener in the studio, and I think we did.” The seeds of Serial Hawk were planted when Bassin moved here from Florida in 2006. At the time he was desperate to find a band to play with. “I was looking on Craigslist to either form a band or join a band,” he recalls. “I had multiple ads up, just trying to get my foot in the door somehow. I was going to shows and meeting people, but I was meeting people who already had projects going for them.” In those intervening years, Bassin played with various musicians, signing on with bands that never seemed to go anywhere. It was during this period, jamming with several musicians in hourly practice spaces, that Bassin was introduced to drummer Paul Valle. After the two started playing together, a friend of Valle’s remarked, “You guys sound so epic . . . so majestic . . . like fuckin’ . . . serial hawk,” Bassin recollects. “We all just cracked up and said ‘Let’s just call the band that,’ so that was one less thing to deal with.”

Yet Serial Hawk was not complete. Bassin and Valle knew they needed a bass player, but they also needed to play. They booked a few shows, hoping that by letting their sound be known, they might attract a bass player. It took only two shows for bassist Adam Holbrook to take notice and volunteer his services. “When I came in, it definitely changed what Will and Paul had going together,” Holbrook says. “It was very spontaneous, the two of them, kind of riffing off each other.” “Adam added structure,” Bassin follows. “It became more of a real band.” They began to play out with more frequency, testing new material in preparation for its first demo, released in 2011. Over the next year, the band’s reputation grew in Seattle and beyond. Yet the formula was still not quite right. Valle left the group, replaced by Justin Rodda, who was with the band in 2012 when it recorded its first EP, Buried in the Gray, for Portland-based label Made in China. The band continued to grow its fan base both locally and nationally, but Rodda didn’t last either. After auditioning several potential candidates—and inviting He Whose Ox is Gored drummer John O’Connell to fill in for a few West Coast shows with stoner-rock giants Weedeater— Bassin and Holbrook finally decided on current drummer Sean Bulkley in the fall of 2013. After spending some time getting him acclimated, the three hit the road, working on the material that would become Searching for Light. Due out this Friday on Arizona-based label Bleeding Light Records, Light is full of slow, heavy riffs that never overstay their welcome, even during the epic 18-minute album-closer/ title track. Bassin has also managed to find more confidence in his vocals, adding another dynamic layer missing from previous releases, while Bulkley and Holbrook keep the songs tight and your rib cage rattled. E

music@seattleweekly.com

TheWeekAhead Thursday, Sept. 17

It’s 2015, and a local beatmaker sold out of his first print run of cassette tapes. What a beautiful time to be alive. The DEATH & ACID REPRESS PARTY is your chance to nab a newly minted, second-run slab of hot plastic containing Diogenes’ deliciously disjointed lo-fi freakscapes. Death & Acid is what hip-hop might sound like if you limited your tool kit to samples ripped from Value Village finds and trash you discovered in your back alley. It’s gnarled, crunchy, and left-field; you won’t be disappointed. Check out this set from Diogenes and some similarly out-there local producers at tonight’s in-store performance. With Dil Withers, Imprints. Spin Cycle, 321 Broadway Ave. E. 8 p.m. Free. All ages. KELTON SEARS

Friday, Sept. 18

GATAS Y VATAS (Spanish for Cats and Homegirls) began

in Albuquerque as a festival for solo experimental music produced by women, trans women, and genderqueer and non-binary folks. The fest is traveling to the PNW this year for its Seattle debut, and, dayum, the two-day lineup is stacked. Standouts include Olympia’s doom-wopping Aeon Fux, the hooky high-school prom punk of Seattle’s Lisa Prank, and the haunted gothic folk of Kelli Frances Corrado. And those are only the locals—the 30 musicians slated to perform hail from as far as Minneapolis and Austin. With Carissa Wagner, Sing Down the Moon, Harlot, TrashFancy, and others. Vera Project, 305 Harrison St., 956-8372, veraproject.org. $10/day. All ages. 5 p.m. Fri., Sept. 18–Sat., Sept. 19. KELTON SEARS Local black-metal outfit ADDAURA’s 2012 LP Burning for the Ancient was a beautiful, glimmering take on the frostbitten form; the record’s fury was more akin to the fire of dawn than the darkness of night. The band’s new album, . . . And the Lamps Expire, dresses up that warmth with an even keener sense of structure and elegance, throwing tinges of post-rock and neo-folk into the multiple-movement tracks. Grab the record on vinyl for the first time at tonight’s release party. With Thunder Grey Pilgrim and Witch Bottle. Highline, 210 Broadway E., 328-7837, highlineseattle.com. 9 p.m. $8. 21 and over. KELTON SEARS

Saturday, Sept. 19

Electronica composer TIM HELD will serve as the mastermind behind Northwest Film Forum’s latest iteration of its Puget Soundtrack series, in which local musicians pick a movie to rescore all by themselves in front of a live audience. Newaxeyes recently did Alien, so it’s only logical that the interstellar beast’s archenemy Predator is on the docket this time around. The question on everyone’s mind: How will Held soundtrack Arnold Schwarzenegger and Carl Weathers’ legendary, bicep-bulging handshake near the beginning of the film? Will he simply cue explosion sound effects? Perhaps a taiko drum hit the moment the two beefy hands collide? Northwest Film Forum, 1515 12th Ave., 829-7863, nwfilmforum.org. 8 p.m. $12–$15. All ages. KELTON SEARS

SEATTLE

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Tuesday, Sept. 22 Arcade Fire’s many members spend their off time in very different ways. For instance, front man Win Butler started spinning records in clubs under the name DJ Windows 98 (huh...). Meanwhile, the band’s saxophonist and violinist, COLIN STETSON AND SARAH NEUFELD, recorded their own album Never were the way she was, a far more compelling listen than Arcade Fire’s most recent Reflektor. Stetson’s waves of bubbling, sinewy melodies and Neufield’s warbling blankets of sound meld into that perfect ambient middle ground—it’s great as background music, but in the moments you choose to zoom back in and focus, there’s plenty of weirdness for your brain to feast on. Plus, any chance to see Stetson’s frightening talent behind the sax is a chance you should seize, lest he finally explodes from bellowing into that thing too hard. With Ryan “Lonewolf” Sawyer. Columbia City Theater, 4916 Rainier Ave. S., stgpresents.org. 7:30 p.m. $15. 21 and over. KELTON SEARS Send events to music@seattleweekly.com. See seattleweekly.com for more listings.

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SE ATTLE WEEKLY • SEPTEMBER 16 — 22, 2015

SEPT 25TH MISTERMASTER

food&drink

FoodNews Thirteen Things I Learned Cooking at a SLU Tech Company

BY NICOLE SPRINKLE Oktoberfest is upon us, and Fremont’s takes place this weekend. On tap: 100 beers from 50 breweries including IPAs, ciders, lagers, Oktoberfest beers, and of course pumpkin beers. View the full lineup at fremontoktoberfest.

Including “Never run out of proteins.” BY ALEX GALLO-BROWN

Support affordable housing at this year’s Omnivorous event September 24 at The Summit. Tickets, $85, get you wines, cocktails and small plates (from Ba Bar, Altura, Bar Ferd’nand, High 5 Pie, Mamnoon, Poppy, Trove, Oola Distillery, Lark, and many more), while helping Capitol Hill Housing “develop and maintain affordable homes for nearly 2,000 families and individuals who otherwise could not afford to live in their neighborhoods.”

“We shape our tools and they in turn shape us.” The first sign I see after I start working in the technology company’s cafe. A quote attributed to Marshall McLuhan, of “The medium is the message” and Annie Hall fame. I can’t tell if this idea applies only to the work of the technology company, or also to the work I do in the cafe. I don’t shape the pan I use to cook scrambled eggs. But does the pan shape me? Technology workers are not shy about procuring enormous amounts of food.

If we ever run out of protein—bacon or scrambled eggs or chicken sausage or sautéed tofu for breakfast; some duet of chicken, fish, pork, beef, lamb, or duck at lunch—they hover near the buffet line, expressions of impatience, confusion, or anger on their faces. I am yelled at only once, after I garnish a platter of steamed broccoli with an oyster sauce that was supposed to go on the side. “When you say oyster sauce on the side, put the oyster sauce on the side!” the technology worker fumes. [Note: This asshole is an anomaly. Most workers I encounter are relatively polite, in an awkward, robotic, self-involved sort of way.] “Pride connects us.” The most ubiquitous sign at the technology company, usually rainbow-colored.

3. 4. SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

An angular plastic “sneeze guard” divides technology-company workers from cafe workers. Over time I come to

recognize that the technology workers believe that the guard is made not of thin, transparent plastic, but of reinforced steel capable of blocking out light, odor, and sound [aka human interaction].

Each morning I have to scan an official badge to enter the technology company’s offices. Once, however, I leave my badge in

the car and follow a technology worker inside. Immediately I feel a tap on my shoulder. It is not, as I expect, a member of the technology company’s robust security team, but an employee of the company itself. “Where’s your badge?” he asks me. I am wearing my white chef ’s jacket, my brown chef ’s hat. “I left it in my car,” I say. “You need a temporary badge,” he says. “I have a permanent badge,” I say. “I left it in my car.” “You need a temporary badge!” he shouts, staring into my eyes. “Open all doors.” This sign is accompanied by a picture of Nelson Mandela, the Marxist-inspired South African revolutionary. But, given the behavior of the technology worker-cum-security guard (see #5) I can’t help but question it.

morningfoodnews@gmail.com

TheWeeklyDish

Chocolate sticky-rice pudding.

BY NICOLE SPRINKLE Theo Chocolate: Recipes & Sweet Secrets From Seattle’s Favorite Chocolate Maker (Sasquatch Books, $24.95) comes out next week. In the meantime, here’s a sneak peek at a recipe from it, chocolate sticky-rice pudding. Whether eaten for breakfast or as a dessert, it seems like a perfect, homey intro to fall.

7. 8.

“The world evolves over time.” This

could mean so many things!

Cuba was better off before the communists. This I glean from a poster promot-

ing a Cuban-themed party—“The best party of the summer!” according to the poster—that the technology company throws for its employees. In the poster, a young Cuban woman gazes admiringly at a white man who looks a little like Frank Sinatra. They stand in front of a 1950s Cadillac. The party, the poster promises, will offer opportunities to gamble, smoke cigars, drink rum, and salsa-dance. Before its successful workers’ revolution in 1959, it seems important to recall, Cuba was known as the “Whorehouse of the Caribbean,” a vacation destination for wealthy foreign tourists to gamble, smoke cigars, drink rum, salsa-dance, and fuck Cuban women as well as other workers.

“Injustice anywhere is a threat to justice everywhere.” This sign is accompa-

nied by a picture of Martin Luther King, Jr. Of the several hundred employees I encounter each day, only a few, it seems, are African-American. Most are Caucasian or Asian or AsianAmerican. Nearly all the cooks are Mexican or Mexican-American. I am a rare exception.

10.

Interns for the technology company can average about $7,000 per month.

Most full-time employees make between $100,000 and $150,000 per year, according to

the website glassdoor.com. I am paid $14.50 an hour—a wage, to be fair, determined by the catering company that employs me, not the technology company itself—that equals $2,300 per month, or $28,000 per year. The average rent for an apartment in Seattle is now $1,853, according to the website RentJungle, or 80 percent of my pretax salary. “People, not pixels.” This sign is displayed as part of a “community engagement” art project; it is unclear whether it was made by someone inside the technology company or outside.

11.

12.

Almost none of my co-workers live in the city of Seattle. One of my

fellow cooks rents a two-bedroom apartment in Burien, 15 miles south of South Lake Union, with five other people, four of whom are her children. Another commutes back and forth from Puyallup, a trip that can take her two hours or more. A third lives in Federal Way and wakes at 4 a.m. to drive to a light-rail station so that he can be at work by 6—this in order to avoid the $12 to $20 that it costs to park near the technology company’s offices. All of us—interns, engineers, cooks—pay the same parking fee.

13.

“Most companies have values and write them on the wall and it’s

bullshit.” An actual sign that is displayed on the technology company’s wall. E food@seattleweekly.com

CHARITY BURGGRAAF

Iconic French chef Jacques Pépin celebrates his 80th birthday with pal Tom Douglas at the Palace Ballroom on October 8 from 6:30–8:30 p.m. Tickets, $75, include a signed copy of Jacques Pépin: Heart & Soul in the Kitchen. Samples from the new book, wine pairings and a big cake are also included.

Chocolate Sticky-Rice Pudding Makes 8 servings. 1 cup uncooked glutinous rice 3 cups whole milk 1 (14-ounce) can coconut milk 1/3 cup packed light-brown sugar Pinch kosher salt 6 ounces Theo 70 percent dark chocolate, chopped Whole milk or evaporated milk, for serving Rinse the rice in a strainer until the water runs clear, about 1 minute. In a medium saucepan, bring the rice, whole milk, coconut milk, brown sugar, and salt to a boil, stirring to dissolve the sugar. Reduce the heat so that the pudding simmers very gently. Cook, stirring often and scraping the bottom and sides of the pan with a silicone spatula, until the rice is tender and the pudding has thickened, about 15 minutes. (It will still seem soupy.) Stir in the chocolate until it’s melted and blended. Serve warm with a swirl of milk on top. (c)2015 by Debra Music and Joe Whinney with Leora Bloom. All rights reserved. Excerpted from Theo Chocolate: Recipes & Sweet Secrets from Seattle’s Favorite Chocolate Maker by permission of Sasquatch Books. E food@seattleweekly.com

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WET HOPS, PUMPKIN POPS, AND BIG SOUTH LAKE UNION NEWS By Geoff Kaiser

HOPS 101

his town is crazy for hops, but this is the time of year when excitement for beer geeks reaches a fever pitch. Typically, hops are dried for use at breweries throughout the year, but during the hop harvest, brewers can head out to the hop fields to get fresh, “wet,” undried hops right off the bines. (Yes, “bines” is the correct term. Google it.) They then rush the fresh hops straight back to the brewery to get them in the brew kettle. Since 75 percent of the hops grown in the United States come from fields just east of the Cascades in the Yakima Valley, our Washington breweries have a distinct advantage over breweries anywhere else in the country in procuring fresh hops. The resulting beers have a unique flavor profile compared to beers of the same style brewed with dried hops. Fresh hops can impart a green, earthy hop taste, and can really enhance the aroma of a beer. Some fresh-hop beers are brewed exclusively with wet hops, while others are brewed with a combination of wet and dry hops (some breweries would call this cheating). In addition to finding fresh-hop beers on draft, you’ll be able to find bottled fresh-hop beers from September to November.

HOP TO IT

All the season’s notable local beer festivals.

SEATTLE WEEKLY • SEPTEM BER 16 — 22, 2015

September 26 FRESH HOP THROWDOWN

Sixteen fresh-hop beers will be on tap at this fifth annual event, which will also include a private blind judging of the lineup earlier in the day. The Noble Fir, 5316 Ballard Ave. N.W., 420-7425, thenoblefir.com

October 4–10 HOPFEST

This week-long celebration will kick off at Brouwer’s Café in Fremont on Sunday, October 4. The kickoff party will feature “more fresh hops than you can shake a pint at,” and they will also host an infusion night with Ballast Point Brewing later in the week. Various locations.

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Last year, the Pine Box poured more than 40 fresh-hop beers at once for this event. As for specific fresh-hop beers to look for, Fremont Brewing’s Cowiche Canyon is always one of the more popular offerings

each year. I’d also keep an eye out for the Amarillo Fresh Hop Pale from Holy Mountain Brewing. The Pine Box, 1600 Melrose Ave., 588-0375, pineboxbar.com

PLENTY OF PUMPKIN

Love them or hate them, pumpkin beers also dominate the seasonal beer scene. Elysian Brewing is the granddaddy of pumpkin beer, and its Great Pumpkin Beer Festival will feature more than 80 pumpkin beers from breweries across the country, including 20 from Elysian. Unfortunately for most of you, it’s sold out. But stop by your local retailer to find a wide selection of bottled pumpkin beers to sample as well. If that just isn’t enough, West Seattle’s Beer Junction will host Pumpkin Junction on October 17–31 (thebeerjunction.com), offering pumpkin beers from far and wide pouring through more than 25 dedicated taps for the duration of the event. That’s a lot of pumpkin beer.

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A NICE PAIRING The minds behind Gastropod plan to bring unique beers and creative fare to South Lake Union with Mollusk.

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our years ago chef Travis Kukull partnered with Epic Ales owner Cody Morris to open Gastropod in SoDo, where they paired Morris’ unique beers with Kukull’s inventive food. And it worked; Gastropod was often referred to as one of Seattle’s most creative restaurants. Then, sadly, it closed. But fear not, beer lover. Though Gastropod is no more, Kukull and Morris will continue to work together. Now they are focusing on their next venture, Mollusk. Located on Dexter Avenue in South Lake Union, Mollusk’s nearly 5,000 square feet of space will include a brewpub seating up to 100. Fans of Gastropod and Epic Ales will find the new brewpub concept similar, but different. “The food is still going to be very playful,” Morris says. “Travis is not a person who just likes to make straightforward food; he loves to play with unusual ingredients.” The menu will focus on Southeast Asian curries, and fans of Gastropod will be happy to hear that they plan to serve okonomiyaki, a savory Japanese pancake filled with various ingredients that was very popular at the SoDo restaurant. Morris hopes that okonomiyaki will serve as a gateway dish to the menu’s other unfamiliar offerings. “The name itself sounds really exotic, but once they actually try it, they realize it’s just a really tasty savory pancake,” he says. “It’s a nice way to ease people into trusting the leaps that Travis sometimes asks a diner to make.” The larger location will allow Morris to brew a wider variety of beers. In addition to sours and beers with adventurous ingredients, he plans to keep a pilsner and a schwarzbier (a German-style black lager) on draft year-round. For Mollusk diners

unfamiliar with beer and food pairings, Morris will provide plenty of options that aren’t overly hoppy. “I love hops,” he says. “But if your palate is not acclimated to that level of bitterness, hoppy beers can be really, really gross. I think a lot of people tend to forget that. We mostly try to do beers that are more yeast- and maltforward.” Morris notes that adding different ingredients to beer can certainly get a diner’s attention. “I think for a lot of people who describe themselves as foodies, it’s about the exploration of combination. Is the sum greater than the parts? That sort of general approach is what we look for with some of our more unique beers and pairings.” The name Epic Ales will go away with the move to South Lake Union; the new operation will be known as Mollusk Brewing. This will be a welcome change for Morris, as there has been confusion in the marketplace ever since Epic Brewing (from Utah) entered the Seattle market for distribution a few years back. Morris and Kukull hope to open Mollusk by the end of October, and are looking forward to being an active part of the South Lake Union neighborhood. Morris explains that he is excited to have some opportunities that the pair didn’t necessarily have in SoDo. “I used to get kind of jealous seeing what other local breweries were able to do working with their community,” he says. ”It’s going to be great to really be able to reach out. If we can help create a sense of community, that would be awesome.” Geoff Kaiser enjoys “researching” the Seattle beer scene. You can visit his website at seattlebeernews.com.

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odds&ends» Weed Weddings, Republicannabis, and Buddie the Mascot lina agreed the government should step off and steer clear. Presidential With legalization comes normalization, candidates like Gov. Chris innovation, and marijuana bars at Christie and Sen. Marco Rubio weddings. Ya heard that right. This may want to take note, as the summer, an Oregon couple had a recycled and renewed Reefer “weed tent” at their nuptials, includMadness they’ve been spewing ing a budtender to help answer quesis clearly not gaining traction. tions (and moderate intake). “If you’re getting high in The event, in West Linn, Colorado today, enjoy just south of Portland, it,” Christie bellowed was fully legal (Oregon recently at a New Measure 91 passed Hampshire town with flying colors), as hall meeting. it was on a tree farm “As of January (private property) and 2017, I will did not also include a HIGHERGROUND enforce the liquor license. (Heaven federal laws.” forbid we let budtenders BY MICHAEL A. STUSSER Ya might want to change yer and bartenders share a tent.) The CannaBar featured 13 hand-picked varietals tune, Gov. A nationwide CBS poll just found 60 percent of voters think states should be able to and was fully enclosed so as not to offend guests do what they want on the issue. not in the mood to partake. In case you’re wondering, munchies served included french fries and chocolate beignets. HIGH IN THE MIDDLE Now I was thinking of mocking this over-the- While I support legalization efforts in other top potbar until I remembered the giant icestates, that doesn’t mean I support all of sculpture vodka luge that I paid for at my own them. Take Ohio. Please. Ohioans will vote in wedding, allowing guests to pour Stoli down a November on legalizing marijuana for adults long frozen slide and then directly down yer gul(and for parents to be able to administer to kids let. (Classy!) If I ever get married again (they say who have a doctor’s recommendation). The only the fourth time’s a charm), we’ll mark the occaproblem? The group bankrolling the initiative, sion with a towering double-bubbler ice bong. ResponsibleOhio, has crafted the law so that its members have a monopoly on grow operations. The initiative specifies only 10 locations CANNABIS KILLS (CANCER) in the entire Buckeye State where growing The fact that marijuana could actually kill cancer ganja would be allowed. Surprise, surprise— cells has always sounded crazy even to a stoner the 10 groups of investors who financed the like me. But now I can quote the National Caninitiative (to the tune of $20 million thus far) cer Institute on the matter. Last month the NCI have claimed ownership of those sites. Invesofficially revised its FAQ page to reflect that tors include veteran Republican strategist Neil cannabis does indeed kill cancer. Clark, relatives of President William H. Taft, “A laboratory study of cannabidiol (CBD) in Nick Lachey (yep, the tool from boy band 98 estrogen receptor positive and estrogen recepDegrees), and NBA legend Oscar Robertson. tor negative breast cancer cells showed that It also doesn’t help that promoters of the it caused cancer-cell death while having little Ohio initiative are using a marijuana mascot effect on normal breast cells,” noted the NCI. called Buddie to hype the campaign. Buddie “Studies in mouse models of metastatic breast is—you guessed it—a huge marijuana bud. With cancer showed that cannabinoids may lessen the a Superman-like-cape, six-pack abs, and a giant growth, number, and spread of tumors.” green bud-head, this Cannabis Cartoon is wrong Here’s the most amazing part. While many on so many levels it makes my head spin (and drug cocktails (i.e., chemo) can kill cancer cells, not in a good way). Buddie has garnered press, they often also kill everything else nearby— all right—as well as a mega-backlash from chilincluding healthy cells. Not so with ganja. The dren’s advocates and legalization supporters. government-backed institute cited a number “This is at best, irresponsible. The superhero of recent studies revealing how cannabinoids theme clearly appeals to a younger crowd,” com“may inhibit tumor growth by causing cell death, mented Ohioans Against Marijuana Monopolies blocking cell growth, and blocking the developspokeswoman Jen Detwiler. “It’s a shameless ment of blood vessels needed by tumors to grow, attempt to entice young people.” while at the same time protecting healthy cells ResponsibleOhio says Buddie visits only from damage.” But ya didn’t hear it from me . . . college campuses—on the “Green Rush Bus Tour” —to promote “Buddie’s 21 and Up Club.” YES WEED CAN Personally, I think it’s a great idea. In fact, BudEven Republican voters, it turns out, want the die should ride-share in a BadHabit clown-car feds to stay out of the marijuana-legalization battle. In a recent survey from Public Policy Poll- with Joe Camel, Spuds MacKenzie, and Ronald McDonald. And make room for newly minted ing, a majority of voters in early primary states mascots Pharmie (a giant benzodiazepine pill), Iowa, New Hampshire, and South Carolina said Bang-Bang (a plush bullet mascot from the they believe the federal government should not NRA), Nukey (our radiated pal from Haninterfere with states that legalize weed. ford)—and throw in Duncan the Diabetes In Iowa, 64 percent of GOP voters supported Donut while you’re at it! E states’ rights on the issue, in New Hampshire it was 67 percent, and 65 percent in South CaroFor more Higher Ground, visit highergroundtv.com. NICE DAY FOR A WEED WEDDING

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