Seattle Weekly, October 07, 2015 by Sound Publishing

FOOD TOM DOUGLAS' LATEST REVIEWED PAGE13 MUSIC DECIBEL FEST BOSS ON LEAVING FOR L.A. PAGE 22

Cliff Mass knows that climate change is real. So why are activists and scientists so mad at him? By Daniel Person

Page 9

Portland Blazers

Is It Really So Strange?

Oregon's legal weed culture is already hipper than ours. By Tyler Hurst Page 7

Our rival has a show at the Frye. We don't hate it. By Brian Miller Page 25

OCTOBER 7-13, 2015 | VOLUME 40 | NUMBER 40

SEATTLEWEEKLY.COM | FREE

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SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

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VOLUME 40 | NUMBER 40 SEATTLEWEEKLY.COM

October 7-13, 2015

THE ANTI-SAWANT BY ELLIS E. CONKLIN | Meet Pamela Banks, challenger to Seattle’s contentious socialist. Plus: Oregon does pot like The Angry Beaver does hockey.

WEATHER? OR NOT? BY DANIEL PERSON | What exactly is

behind our state’s climate calamities? Ask popular scientist Cliff Mass, and you may not like the answer.

food&drink

13 NEW NEW AMERICAN BY NICOLE SPRINKLE | Checking out

Tom Douglas’ latest endeavor. 13 | THE WEEKLY DISH 15 | THE BAR CODE 16 | FOOD CLASSES

arts&culture

17 THE UR-COMEDIAN

BY GAVIN BORCHERT | Rediscovered

25 REVIEWS

Geniuses at the Frye; Robert Zemeckis’ high-wire act; immigrant issues at the Rep. 31 32 34 35 37

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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

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PHOTO OF CLIFF MASS BY KYU HAN CORRECTION Steve Griggs’ story “Coltrane and the Cosmos” (September 30, 2015) incorrectly stated that John Coltrane “lit the fuse” on Afro-futurism. As some readers pointed out, that fuse had already been lit by pianist Sun Ra. During his week-long stay in Seattle, Coltrane fanned the flames. We regret the error.

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A DUST-UP IN GEORGETOWN

Last week, Sara Bernard explored what it means to live in one of the most heavily industrialized parts of Seattle, Georgetown. Some residents say new industrial activity in the area has made the air almost unbreathable at times, and that the public agencies in charge of the environment have shown little initiative to clean things up. As one resident told Bernard: “If it’s going to be that bad, and that’s the level [of pollution] that we’re going to tolerate, then there shouldn’t be a residential area here.”

“You’re just north of an airport. The area has been the industrial ass-crack of Seattle for several decades. What do you expect?” of sorts . . . strapped with wire to another, younger pole, this one reaching all the way into the earth.”) As it turns out, the strange poles are the result of Seattle City Light and various private communication companies, who share poles but are not allowed to touch each other’s wires. We have a fresh one in front of our house in Columbia City now. One of the power workers told us to call the communications companies daily and tell them to finish the job now . . . not later. I guess it’s the only way these get finished up. Paul D. McKee, via Facebook

Thank you for this informative article—I had no idea, and am totally repulsed by a city which allows people’s health to be attacked by air and water quality! Guess Seattle really I think they’re great, but if it bothers anyone that doesn’t care about people—just give them their much, they can always pack up and move somebike lanes and potholes for where normal. drivers! Gary Eyerly, via Facebook Send your thoughts on Carol Meyer, via Facebook Seriously, for a supposed tech this week’s issue to Thank you for writing this. Oil letters@seattleweekly.com hub, the fact we have this overhead wire mess is embarrassing. trains should be of concern too. Same with our transit infrastrucDiane Cortese, via Facebook ture, and our street planning, and and and . . . OldNeckBeard, via Reddit You’re just north of an airport. The area has been the industrial ass-crack of Seattle for several decades. What do you expect? It’s a labor union thing. City Light crews belong to the International Brotherhood of Electrical Richard Wolf, via Facebook Workers. The telephone crews belong to the Telecommunication Workers of America union. As someone who has been in Georgetown for They don’t touch each other’s wires. some time, I can confidently say that these women’s complaints are not what the vast Sorryone, via Reddit majority of their neighbors find to be true in the Georgetown neighborhood. First and This speaks to a regulatory failure. If it’s up to foremost, Georgetown is a blue-collar neighprivate companies to deal with it, there needs to borhood where blue-collar workers can live be regulations holding them accountable. Make and work without being forced to commute sure they’re removed in a timely and aesthetic to the Kent Valley or Auburn, where much of manner. There’s plenty of justification: property Seattle’s blue-collar facilities have been driven value and safety. Not much downside either. It’s out by people just like those interviewed in this not like it would be an undue burden to the big anti-Georgetown article. These women made communication companies that exist in a highly the decision to move to Georgetown without noncompetitive market. regard that they believe Georgetown is beneath wallawalla_Columbia City, via Reddit them. They choose to live in Georgetown, nobody came to them begging them to move ALL THAT JAZZ to Georgetown. The reality is they are part of And readers were all about Steve Griggs’ look back the reason why working-class families are being on John Coltrane’s legendary Seattle performance priced out of Georgetown. They disregard the 50 years ago. fact that when they moved to Georgetown, they couldn’t have missed the fact that a large airport Excellent Job, Steve. This is the best piece of is at their southern border. writing on jazz the Weekly has ever published, and it was a joy to read. donny1020, via seattleweekly.com Bill White, via seattleweekly.com POLE POSITIONS

In the news section, Warren Langford investigated why some of Seattle’s utility poles look to be abstract art pieces (for example, the one on Capitol Hill that’s “amputated at knee height and supported on a pegleg

1965 was 50 years ago???? I don’t believe it!!! Charlie Lingner, via seattleweekly.com E Comments have been edited for length, clarity, and gross instances of mansplaining about dust.

news&comment POLITICS

Banks’ Shot

Pamela Banks seemed to be the perfect candidate to take on Kshama Sawant. But is perfect good enough in District 3? BY ELLIS E. CONKLIN

Observers see a tough road to victory for Banks.

telephone than a megaphone,” she said. “I won’t be making rebuttals to the State of the Union [address].” Banks waged a spirited primary campaign, which at times grew heated. At one point in late May, Banks dispatched an angry press release criticizing Sawant for traveling to New York for a fundraiser rather than being present for a Council committee meeting that dealt in part with the impact Mayor Ed Murray’s $930 million transportation levy might have on poor communities. “Actions speak louder than words—even for someone who speaks as noisily as Sawant,” Banks said in the release. In an interview with the Weekly last week, Sawant seemed completely unfazed by Banks’ oft-repeated charge that she is all rallying cry and that her refusal to compromise has rendered her an ineffective lawmaker. “If you look at the historic progress Seattle has made, I’d say we’ve been very effective,” Sawant said. As far as forging a national socialist movement here, the Councilmember added, “The social progress that Seattle has made in fighting for racial and economic justice is empowering people in other states across the country.” The August primary results were disappointing for Banks: Sawant garnered 52 percent of the vote to Banks’ 34.1 percent. Finishing a distant third with 9.6 percent was Rob Hearne, vice-chair of Equal Rights Washington. “Sawant, she’s been a phenomenon,” says Ceis. “This is an extremely tough race for Banks,” adds political consultant and pollster Ben Anderstone. “It is going to require Banks peeling off votes that are leaning to Sawant. The negatives she’s using that Sawant is ineffective and doesn’t play well with oth-

ers—well, she’s going to have to be more specific, because a lot of people like the fact that she doesn’t play well with others.” Sawant is popular in the district, having skillfully tapped into the anger and frustration over the pervasive economic inequality and a growing feeling on the part of many ordinary working people that they are being priced out of Seattle. David Rolf, president of the powerful Seattlebased Local 775 of the Service Employees International Union, recalls, “I told Pamela back in January or February, when she was making up her mind whether to run, ‘You must know, Pamela, that labor is going to support Sawant because of her work on the [$15] minimum wage.’ ” In 2013, before district elections, Sawant received more than 58 percent of the vote in District 3, compared to 51 percent citywide. Her name recognition is off the charts at 82 percent according to a recent EMC poll. Only Murray, with 92 percent, has higher name recognition among elected city officials. The Nov. 3 general election will, as is almost always the case, result in a higher voter turnout. But again, that will more than likely be to Sawant’s advantage, says Anderstone, as younger voters, mostly renters and low-wage earners, cast their ballots. Banks, for her part, has waged a competitive

campaign. She has raised more than $300,000, just $25,000 less than Sawant, as of Oct. 1. But Sawant has invested the money she has amassed from more than 2,400 donors—nearly half of that in amounts of $50 or less, and netting far more individual contributions than any Council candidates running— in building a solid and tightly organized campaign infrastructure.

» CONTINUED ON PAGE 7

Fast takes from the news desk Cleaning Up Those “Dirty Homeless”

“If you’ve ever gone camping, and you haven’t had a shower for three or four days, and you come home, and you take that shower, and you have clean clothes—How wonderful that feels!” Ronnie Gilboa, program director for Seattle’s Urban Rest Stops, says She is describing the utility of the new Urban Rest Stop in Ballard, a drop-in center that offers showers, toilets, laundry machines, and toiletries to homeless Seattleites at no cost. Two similar sites already exist in the U District and downtown. The Ballard rest stop, which will open on Monday, October 12, is just six blocks from the proposed site of a new tent encampment. As we reported previously (“Hiding the Homeless,” May 27), that encampment has been the target of loud opposition from business owners and residents loath to welcome such concentrated, visible homelessness into their neighborhood. In its three-year creation process, Gilboa says, the rest stop has received similar neighborhood opposition, including “targeted lawsuits.” She says the rest stop played no role in the siting of the tent encampment. But it speaks to the same simple reality of Ballard: Services or no, there is already a large homeless population there. Present at the Ballard rest stop’s open house last Friday was state Rep. Reuven Carlyle (D-36). The rest stop is paid for through Washington’s Building Communities Fund, and Carlyle, chair of the House Finance Committee, says that funding for projects like this is “based upon objective, technical metrics. We can’t come in and just politically throw an elbow and fund number seven but not number five.” “People think it’s just pork or they think it’s just tax dollars thrown away,” he says, “that we’re down there smoking cigars and having a drink and making a deal about them, and it’s not.” CASEY JAYWORK

Hope Springs Interminable

For pro soccer goalie Hope Solo, the arc of news lately went from wonderful to whatthe? She was at the top of her game on the field, in the courts, and in front of the public. Having moved past domestic violence and DUI headlines, the temperamental star was showing up in the sports and celeb columns instead of the police blotter. Her high-profile appearances have included strolling the red carpet at the September 24 premiere of He Named Me Malala at the Ziegfield Theater in New York, along with Scarlet Johanssen, singer Alicia Keys, and Ivanka Trump. Then last week—shortly after Yogi Berra died and left a living trust of Yogisms—it was déjà vu all over again. An historic defeat on the pitch was followed by a reversal of history in the courtroom. For Solo, in Yogispeak, suddenly the future wasn’t what it used to be. First there was the on-field defeat: In the National Women’s Soccer League championship game Thursday, FC Kansas City’s Amy Rodriguez caught Solo leaning and scored the only goal of the night, delivering KC the championship. The very next day, the state Court of Appeals announced it was reversing Solo’s domesticviolence victory and sending the case back to Kirkland Municipal Court for retrial. That means tawdry details of Solo’s alleged late-night assault on her nephew and half-sister will no doubt be back in the papers. Her lawyer says the court ruling came as a complete surprise and plans to appeal. Either way, fame’s a bumpy ride. Worse yet, it ain’t over ’til it’s over. RICK ANDERSON E

SE ATTLE WEEKLY • O CTOBER 7 — 13, 2015

“Pamela Banks was the perfect candidate to take her on,” says former deputy major Tim Ceis, an astute observer of Seattle politics. “She is the perfect contrast, what with her work for the city and her longtime roots in the district.” Banks entered the contest with a broad spectrum of endorsements, including former King County Executive Ron Sims and a slew of ex-mayors: Norm Rice, Greg Nickels, Charles Royer, and Wes Uhlman. Also, seven of the nine City Council members (everyone but Mike O’Brien and Nick Licata) pledged their support to Banks—again, underscoring most of the Council’s unhappiness with the often-recalcitrant Sawant. Banks announced her candidacy in March and took immediate aim at Sawant. “I’ve learned over my career that you solve more problems with a

COURTESY OF THE BANKS CAMPAIGN

ver coffee on a warm, sunny morning in July 2014, Alison Holcomb told Seattle Weekly she was seriously considering a bid to unseat Kshama Sawant. Throwing down the gauntlet, Holcomb said, “You don’t effect change without a broad coalition, and her rhetoric is all about ‘You are a capitalist pig,’ no matter what the size of your business.” The provocative comment caused a stir: Might Sawant, who’d upset weak-kneed incumbent Richard Conlin the year before, face a serious and credible challenger? Seattle’s center-left political establishment could barely contain its glee at the thought, thirsting as they were—and are—to take out the radical, dark-haired upstart. They figured the well-coiffed Holcomb, then-criminal justice director for the American Civil Liberties Union and architect of Washington’s marijuana-legalization initiative, would prove an effective messenger to puncture Sawant’s anti-corporate, pro-working class progressive agenda. Sawant, the software-engineer-turned-parttime-community-college-instructor-turnedsocialist, was too strident, went the mainstreamers’ lament—a zealous show horse corralled by Trotskyite thinking and, worst of all, lacking (just ask Councilmembers Tim Burgess, Bruce Harrell, or Tom Rasmussen) the collaborative esprit de corps necessary to be a member in good standing of the nine-shades-of-blue Seattle City Council. But alas, in the early fall of 2014, Holcomb decided to forgo the race, choosing instead to take on a new role at the ACLU, leading a nationwide campaign to end mass incarceration, a job funded by a $50 million grant from George Soros’ Open Society Foundations. Then along came Pamela Banks, a longtime community organizer who’d spent 30 years working for the city, most of it in what was then called the Department of Housing and Human Services, and, since 2012, CEO at the Seattle Urban League. Everyone agreed that Banks, like Holcomb, would be a formidable political force in District 3, which encompasses much of Banks’ home turf, the Central District, as well as Capitol Hill, Madison Park, and Broadmoor.

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DISPATCH

Portland Blazers Oregon’s marijuana scene already sounds cooler than ours. BY TYLER HURST

BEAT CANCER SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

Greater Washington Light The Night

October 24th

Seattle Center 4pm Sign up today! lightthenight.org/wa or call 206.957.4592

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TYLER HURST

taking steps to

The legal pot is kicking in.

After three and a half hours in line, I make pull up just before 10 a.m. at Cannacea, it inside to another hour wait. Learning they’ll one of east Portland’s newest cannabis run out of gift bags before I can get through, dispensaries. The grand-opening line is I curse my timing, make a note to return after a few hundred people long. We stand the grand-opening hoopla dies down, and around one side of the building, along snaked leave the line on my way to another dispensary. event fencing provided by the facility, and Oregon’s new recreational cannabis law has then around the opposite side of the property, through the drive-thru of a former bank. Every just gone into effect, and with 109 dispensaries within the Portland five to 10 minutes, city limits selling to the door managers recreational customlet five to 10 people At World Famous ers and three more in. While yours truly is about to have a Cannabis Cafe, $10 gives you opening that day, I have plenty of hissy fit after 90 access to nightly bands, options. minutes—the line is moving, but I have free joints, loaner pipes, more places to see, Oregon has dealt man!—my attitude is with its transition and a dedicated dab bar. not the norm. from a medicalA couple in their cannabis state to a 60s are looking to treat her achy joints, her recreational-cannabis state much differently husband here for support. A group of medical than Washington did two years ago. Where card holders are here for the $100 worth of medical-marijuana access points in Washingfree giveaways to patients. Two parents wait in ton have been shoved into a legal gray area line just behind me, pushing a stroller all the in favor of a limited number of recreational while. Some have brought breakfast, others a stores, for the time being Oregon has allowed pack of smokes. No one else seems bothered medical dispensaries here to simply transition to wait in a long line at 11 a.m. on a Thursday to stores that serve everyone. morning—the people in front have been here The cannabis that recreational users are now since midnight. able to purchase is available only as excess

product from state-licensed medical-marijuana farms, as the seed-to-sale program our state will enact for “official” recreational dispensaries won’t go into effect until the end of 2016. Right now, none of the marijuana is subject to tax, but starting on January 4, recreational users will pay a 25 percent sales tax. Medical patients will still purchase pot tax-free. Also in contrast to Washington, people in Oregon can enjoy home grows and delivery and possess larger amounts of concentrate. No laws on the books prohibit private clubs from allowing cannabis use, as long as liquor or a liquor license isn’t involved. Thursday night I’m invited to a “normalize” party at Prism House PDX. Organized at least in part by Women Grow co-founder Leah Maurer, this is the first in a series of backyard and house parties with all the normal accompaniments: picnic tables, lawn games, children, buffet tables, refreshments, and an adults-only area upstairs where cannabis vendors and tokers talk and sample topical, vape, and edible products. Thanks to hardwood floors and open windows, the soccer parents and I also pass around a joint or two. On Friday morning I stop by The Other Spot, a social lounge decorated only with a simple sign. For $10, anyone 21-plus can spend the day playing pool, watching TV, and sharing cannabis with the rest of the crowd. Just down the street is the World Famous Cannabis Cafe, where another $10 gives you access to nightly bands, free joints, loaner pipes, and a dedicated dab bar. Across the street and four buildings down is another dispensary.

From midnight openings to dabbing in private clubs, Oregon’s law enforcement seems to be taking a wait-and-see approach to most of this. Portland’s first Dope Cup, held this past weekend, saw zero police incidents, even with people waiting in line for three to four hours with nothing to do but pass a joint. Police, at least at every event I’ve been to, are hands-off or unseen. If there is to be a golden age of Oregon cannabis, this is its beginning. While it’s still illegal at the federal level to cross state lines with flower, the Washington State Patrol plans to treat anyone crossing state lines with pot just as they would someone with an open alcohol container: Don’t drive impaired or while using and you’ll be fine. Wanna smoke a bowl? E

news@seattleweekly.com

“I think there’s a pathway for success for Pam,” said one veteran political wag who asked not to be named—but who added with grudging admiration, “but she’s up against a monster in this race.” “She’s run a great campaign,” says Ceis, “but she going to have to turn out her voters, a slightly older demographic, not the millennials, and continue to aggressively doorbell the district.” Something rarely seen in a City Council race, Sawant has retained seven paid campaign workers at a cost to date of nearly $50,000, as well as spending $19,500 for the services of political consultant Jonathan Rosenblum, a respected union and community organizer who ran the successful $15 minimum-wage campaign in SeaTac. “We knocked on 22,000 doors in the primary, and we aim to knock on 40,000 more before the general,” boasts Sawant’s political director Philip Locker. “We have 500 volunteers signed up, about 150 of them from Socialist Alternative, which is the backbone of this campaign. We got 52 percent in the primary, and we expect that to grow in November.” Says SEIU’s Rolf: “I don’t think there is much Banks could have done differently to win, short of not running against Sawant . . . I think Seattle’s political establishment overplayed its hand to some extent in trying to knock her off.” Christian Sinderman, a prominent Democratic political strategist who is working for Banks, concedes that Sawant has erected a political juggernaut and that his candidate faces an uphill fight. “Sawant remains a popular figure for disaffected voters, and it’s difficult to run against a symbol,” he says. “She’s built a very strong brand identity that has a lot of Wizard-of-Oz qualities to it.” On a sun-kissed early autumn morning, Banks

chose Paul Barnett Park in the Central District, where a 31-year-old man was shot in the chest on June 25, as the venue to lay out her publicsafety program, one that would employ gang members as “violence interrupters” to diffuse potentially deadly confrontations. Flanked by a group of supporters, Banks says, “As a mom and community activist, I have devoted my life and career to finding solutions that create safer, more inclusive communities. My opponent has said almost nothing about public safety.” Locker responded by e-mailing the Weekly the same comment he gave The Stranger, saying Sawant has “spoken on this issue a number of times and has met with community activists to discuss it . . . Councilmember Sawant is quite concerned about the growth of gun violence and crime throughout Seattle. It’s a concern to her.” Following the event, Banks sits at a picnic bench and talks about the campaign—more specifically, her opponent. “I’m not about getting national exposure,” she says. “I’m not a revolutionary.” Removing her sunglasses, Banks goes on, “I am canvassing 18 hours a day. The majority of her canvassers don’t even live in the district. They are bringing some of them in from out of state.” (Counters Sawant: “No, the vast majority of mine are from the city and from the district.”) “I think when people see her marching down the street and protesting the Chinese president, that’s not the kind of leadership they are looking for,” says Banks. “I’m out in the district. I’m out there talking with people.” But can you win? “I absolutely feel like I can win this.” E

econklin@seattleweekly.com

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Oregon’s pot laws are confusing in that they allow people to possess more than they can legally buy. Adults 21 and older are currently limited to purchasing, per dispensary and per day, ¼ ounce of bud, up to four clones (immature plants cut from mature ones), and unlimited seeds. However, in public, we’re allowed to possess up to one ounce; at home we can have eight. (In Washington, possession in public and at home is limited to one ounce.) For homegrows, we’re allowed to plant up to four plants, out of public view, without location restrictions—personal grow sites are exempt from any distance rules from schools and such. Delivery of homegrown cannabis is also allowed, as long as no one is compensated and it’s under an ounce.

Banks’ Shot » FROM PAGE 5

news&comment

SPORTS

Frozen Asset

After a long summer, Seattle’s hockey culture begins to thaw.

henever I walk around wearing my Montreal Canadiens hat, most Seattleites think it’s a Chicago Bears hat, occasionally yelling “Go Bears!” So it wasn’t entirely surprising to hear that The Angry Beaver, Seattle’s premier hockey bar, is having financial problems. “During the season I do great, and we absolutely kill it during the playoffs,” says owner Tim Pipes. “The problem is, the vast majority of my clientele are in here two to four nights a week, so when the Stanley Cup gets hoisted in June, the bar clears out. And that’s expected, for the first two to three weeks. But with the hot weather this summer, we were just not getting anyone coming through.” The Beaver opened in 2012 as a home for hockey fans who were tired of being relegated to watching the sport on the muted black-andwhite television at most sports bars, where the channel is inevitably changed to football or basketball before the game is over. But over the years, with a lack of off-season customers, thousands of dollars in repairs, and a somewhat tumultuous relationship with the landlords, Pipes announced on Facebook that “If something magical doesn’t happen, and I don’t believe in magic, or ghosts, or UFO’s (I kinda believe in UFO’s), my sweet beaver is sunk. What a ride though! I did my best for the hockey community here.”

That hint of futility was short-lived. “I thought, ‘You know what, this is a hockey bar,’ ” says Pipes. “Hockey players don’t go down that easy, and I’m not going down without a fight.” A GoFundMe campaign for $20,000 was started a few weeks ago to help the bar survive until the season began, and so far over $5,000 has been raised from numerous supporters. The Beaver even got a few hundred from investment banker Ray Bartoszek, a member of the group trying to bring the NHL to Tukwila. “Much to my amazement, it blew up really quickly,” says Pipes. Bartoszek is one among the flock of business

people interested in landing a local hockey team, including hedge-fund manager Chris Hansen, NHL power broker Jac Sperling, commercial realestate magnate Victor Coleman, and resourceless freelance writer Chason Gordon. (I just wanted my name in the same sentence as those guys.) Many of the proposed deals have stalled or fallen through, so the NHL didn’t receive any expansion applications from Seattle groups by the July deadline. Only Las Vegas and Quebec City submitted. According to KING 5, however, the “Seattle Arena” has been granted design approval, and next awaits a recommendation from SDOT and the City Council. In a recent interview with ESPN, Boston Bru-

SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

BG 56 C-E HANDHELD BLOWER

CHASON GORDON

BY CHASON GORDON

No, we won’t turn on basketball.

ins owner Jerry Jacob said, “I’d love to see us in the West to be up in Seattle. Seattle’s a natural.” Are The Angry Beaver’s struggles a harbinger of issues to come for a future Seattle hockey team? “Not at all,” says John Barr, a hockey writer who runs the popular nhltoseattle.com. “If you go during the hockey season, it’s packed.” “The hockey community here is kind of diluted, because everyone roots for different teams,” says Barr. “Rarely do we get into a spot where we’re all watching the same game. And so The Angry Beaver provides this unique experience of getting together with hockey fans even if you’re not rooting for the same team. It’s not the end-all, be-all of the hockey community, but it’s certainly important, and it provides this community get-together situation.” The off-season has been an issue since the beginning, especially when the bar found itself inadvertently opening during the 2012 NHL lockout. To help fight the annual woes, Pipes has

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he’s learned plenty from all the feedback he’s received. But the one suggestion he won’t take is to stop being a hockey bar and just become a regular sports bar. “That’s not the point, that’s not why I opened this place,” says Pipes. “If you walk in here during the season—we’re big Seahawks supporters, and we do NFL on Sunday—but if you come in here during a weeknight and there’s hockey games on, no, I’m sorry, the Mariners will not be on our TVs. No, I’m sorry, the NBA will not be on. It’s going to be hockey and hockey only.” The NHL season begins Wednesday. E

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MASS’ APPEAL Washington state’s most popular meteorologist thinks you deserve the truth about climate change. And that’s the problem.

Cliff Mass, seen here in his UW office, thinks activists are over-hyping climate change to their own detriment.

et’s dwell on a figure for a moment: 1,718. That’s the number of square miles burned by wildfires in Washington state this year. It’s an area large enough to cover Rhode Island and leave 500 square miles to spare. Were you to draw a vertical rectangle on a map of western Washington containing 1,718 square miles, the top of it would stretch from Ballard to Kirkland and the bottom all the way down to Oregon. As it was, the vast majority of the destruction was east of the Cascades, some of which had already been beleaguered by a devastating fire season in 2014. Another figure: In Okanogan County alone, 1,040 square miles have burned between last year and this, 20 percent of the entire county. The human toll of the fires has been equally staggering. Hundreds of homes lost. Three firefighters killed. Countless livelihoods—of ranchers, farmers, restaurateurs, and lodge owners—devastated. The mayor of Chelan, a tourist town badly hit by fire this year, estimated that each tourist business there lost an average of $10,000 this year; this comes on the heels of summer 2014, which brought thick smoke into Chelan’s picturesque basin. Those living amid the destruction see a bleak trend emerging. “The fact is that we’re in a very dangerous situation with our dry winters. That cheat grass was 3 feet tall this year. It ignites over nothing,” mayor Robert Goedde said by phone last week. “Can this happen again? Yes, this can happen again.” The 2015 fire year was a disaster for which the human psyche demands reckoning, tragedy for which meaning must be found—beyond the clear and present meaning that hot, dry weather produces fierce fire. Timber interests were quick to argue that more logging was necessary. “Unmanaged forests quickly become overcrowded and unhealthy. Fighting for water, less able to fend off pest infestations, those forests often become stockpiles of combustible material,” an outfit called the Working Forests Action Network noted in an e-mail to supporters and press. And land managers argued the huge fires exposed state and federal budgets that skimp on firefighting resources. But this year the theme that everyone else—the press, politicians, and land managers alike—kept returning to was climate change. As Washington’s fires raged, national news organizations shipped out correspondents hungry for a story of global warming made manifest, concrete examples of the carnage wrought by the defining environmental crisis of our time. Filing a story from Walla Walla, a New York Times reporter—while dubiously suggesting that eastern Washington summers are “known for soaking skies and cool summers”—made repeated but vague references to climate change’s role in the fire season (“Officials have warned about the potential for more catastrophe in months ahead, as drought and climate change push high temperatures higher, drying already-arid lands”).

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Mass’ Appeal » FROM PAGE 9

SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

somewhat confounding assessment when discussing Washington fires and climate in July: “Climate experts say the current conditions in the Pacific Northwest are part of a short-term climate phenomenon, but they warn that temperatures are rising everywhere.” “Washington state’s terrifying new climate threat: ‘Urban Wildfires,’ ” read a headline on Salon.com in July, attached to a story that had as its only source an eastern Washington fire chief who prefaces his remarks by saying he’s not a climate scientist and is unqualified to say whether this year’s fire conditions were related to anthropogenic global warming. It was all enough to drive Cliff Mass a little mad. After reading story after story in July and August declaring this year’s fire season “the new normal” due to climate change, the prominent University of Washington atmospheric scientist took to his blog in late August and pounded out an exhaustive post that set out to prove that climate change had little to nothing to do with the forest fires in eastern Washington. Yes, he wrote, this year was hot and dry. But it was an anomaly, not part of a wider trend of rising temperatures. “There is no reason to expect that greenhouse gas-caused warming will produce more fires during the next few decades,” Mass wrote (in boldface). “This year does NOT represent the culmination of a trend toward heat waves and low snowpack, but a huge anomaly, one that is associated with natural variability.” (Emphasis his.) Anyone who follows Mass’ blog, and many do, shouldn’t have been surprised by the post. For years Mass has used his position as possibly Seattle’s best-known scientist to bat down what he sees as irresponsible claims by the media, politicians, and even other scientists when it comes to the current effects of climate change. While it avoided his scorn in his wildfire post, The Seattle Times is easily Mass’ favorite whipping boy for climate-change coverage he finds spotty. A few weeks after the fire post, he laid into a story from the Times’ front page featuring a scientist whose research suggests that Pacific Northwest glaciers are melting at a “disastrous” rate. “Glacial melting has been going on a long time and humans have not been the main cause of the glacier retreat most of the time,” Mass wrote, accompanied with graphs showing that Pacific Northwest glaciers have been retreating since the late 1800s. “I can show you a dozen more of these kinds of figures from other scientists, but the bottom line is clear: the retreat of glaciers [has] been going on for more than a century. It started before mankind could have been the cause.” He can seem fixated on the topic—“driven to distraction,” by his own telling. Blogging about the recent windstorm that ripped through Seattle, he scorned those who would tie the storm to climate change, though no one seemed to be doing anything of the sort. The impetus behind this particular crusade, Mass says, is moral. He is convinced that the media, and the scientists who enable them, are purposely exaggerating the current effects of climate change as part of a well-intentioned but ill-conceived effort to scare people into taking action to address climate change. “It really bothers me—a lot of the media is saying stuff that’s not even true,” he says in the New York accent Seattle got to know well from

GENNA MARTIN / THE HERALD

The Los Angeles Times offered readers this

Severe wildfires across Washington this summer left many wondering if this is the “new normal” in our region.

his 15 years as a contributor on KUOW. “They are using extreme weather as a tool to push their political and social view. Lying to people is not a good idea.” Cliff Mass is not a “denier”—that is, someone who denies humans are contributing to climate change through the release of greenhouse gases like CO2. He’s defensive on that point, concluding one phone interview with Seattle Weekly by imploring, “I’m not a denier!” But he is something of a not-yet-er, arguing that the effects of climate change will be felt decades in the future, not now. Needless to say, this isn’t a universally accepted stance—even if it is one that gets heard globally:

“The role of people in my field is to tell . . . the best science. We shouldn’t be lying to the public to get them to do the right thing.” Such is Mass’ high public profile that some of climate research’s biggest players are well aware of him. Upon hearing his name when contacted for this story, prominent climate scientist Kevin Trenberth, a lead author of two of the U.N.’s definitive reports on man’s effects on the climate, interrupted to say that Mass was a “weather scientist, not a climate scientist.” Shortly after receiving an e-mail query, a climate activist who lives out of state called the Weekly from Bonn, Germany, where preliminary meetings to the United Nations’ Paris Conference on Climate Change were taking place. He declined to go on the record, but wanted to register his annoyance that Mass was using his bully pulpit to raise technical issues of causality between weather events and climate change, which only distracted from the broader point that man is irreversibly changing the atmosphere. In August, local environmental blog Deep Green Resistance wrote in a post that received considerable attention online: “Cliff Mass is a Professor in the Atmosphere Sciences Depart-

ment at the University of Washington . . . He is also a dangerous new breed of climate skeptic.” That was similar to a comment left under his post about the Times glacier story: “Cliff Mass, your blog on this glacier article is a dangerous disservice.” Welcome to the new climate debate, where the stakes are high and the weatherman is dangerous.

hen he’s not lecturing, Mass works out of a small office on the sixth floor of the University of Washington’s Atmospheric SciencesGeophysics Building. His walls are covered with drawings by his sons, all of which depict weather: rainbows, sunshine, puffy white clouds. His shelves are packed tight with thick binders of research. It’s an early Wednesday afternoon in September; the campus is still enjoying the easy calm of summer break. Mass wears a short-sleeved shirt with a palm-tree motif, his curly hair an uncombed, handsome mess. Asking me to stand by a moment, he clicks away on his mouse. Working on another blog post? “No, I’m just grabbing some photos for my new book,” he says. Mass is a communicator. He possesses a special knack for talking hard science in a way that’s accessible to the layperson—a craft he learned from its master, Carl Sagan. Mass received his undergraduate degree from Cornell, where he worked with the renowned astronomer to create a model of the Martian atmosphere. His specialty is weather, and he’s literally written the book on the weather patterns of the Pacific Northwest: The Weather of the Pacific Northwest. During his 15 years appearing weekly on KUOW, for which he was never paid, he earned a reputation as someone who could forgo the bouncy routines of television weathercasts and deliver something far more insightful and satisfying to a community largely defined by its weather (what The New York Times might call soaking skies and cool summers). His program was popular enough that it played a small part in Where’d You Go, Bernadette, Maria Semple’s best-selling portrait of Seattle (the precocious protagonist always looks forward to listening to

Mass’ show in the car, and a storm he warns listeners of proves to be a major plot point). In 2008, Mass started to blog, a medium through which he, again, struck a nice balance in explaining science, conversational but not pandering (if a little cheesy in that special way only college science professors can be). In one recent post, he explained how the clash of El Nino with a mass of warm air sitting off the Pacific coast will affect Seattle’s weather this winter by casting it as a pitched battle between, respectively, Godzilla and a menacing blob. El Nino wins, but Mass says “Deep down we will be sad for the vanquished BLOB.” Mass’ blog, which bears a title as creative as his textbook—Cliff Mass Weather Blog—prominently features a traffic counter in the top right corner; in early September it exceeded 20 million pageviews, and has gained another 300,000 since. But while weather has always been Mass’ bread and butter, he is a man with wide interests befitting his vast intellect—a fact that’s been no small source of controversy. KUOW dropped him as a weekly contributor in 2011 due to what station managers said was a too-common tendency to use his radio time to talk about other, touchier, topics—specifically the Seattle School District’s math curriculum, over which he and other parents were suing the district. After being let go, Mass started another blog, KUOWgate.blogspot.com, and argued that he’d address non-weather topics only when asked by host Steve Scher. He’s continued to blog occasionally about what he sees as the declining state of public radio. Clearly, climate change is not such a large leap from his expertise in weather, and Mass has published peer-reviewed papers in journals that contribute to what we know about man’s impact on the atmosphere. (One paper in The Journal of Climate is titled “A High-Resolution Climate Model for the U.S. Pacific Northwest: Mesoscale Feedbacks and Local Responses to Climate Change,” in case you’re in the mood for some deeper reading.) A firm understanding of natural weather variability is a prerequisite to understanding what sort of variability humans are, or will be, introducing. It’s arguably the most controversial scrum he’s entered yet, but in the style of his former professor Sagan, Mass is not one to withhold an opinion just because it might draw disagreement. When it comes to those he feels are exaggerating climate change, Mass says, “I could stand back and let them. But that bothers me on a few levels. The role of people in my field is to tell [the public] the best science. We shouldn’t be lying to the public to get them to do the right thing— supposedly the right thing.” Mass’ first public foray into the debate came in 2007 after then-Mayor Greg Nickels published an op-ed that claimed snowpack in the Cascades had decreased 50 percent since the 1950s. While a colleague of Mass’ was the first to raise questions about that figure, Mass joined him in his effort to correct the figure, and was outspoken about why he thought doing so was important. While the alarming number was a great way to get attention for climate change, Mass told The Seattle Times at the time, it ultimately put climate science, and the politicians who wish to act on it, at risk. “To allow him [Nickels] to be out there with numbers that are unsupportable, it’s setting him up to walk the plank,” Mass told the paper. Since then, questioning alarming claims about climate change has become almost a second vocation for Mass. Two years ago, the Times published a deeply reported four-part series on the increased acidity of the ocean due to the huge amounts of CO2 it was absorbing from the

atmosphere. It was an enviable piece. Beautifully produced online, with elegant photography and informative infographics, the story by reporter Craig Welch delivered a frightening and convincing account of the ways in which acidification was already manifesting in Puget Sound. “Ocean acidification—the lesser-known twin of climate change—is helping push the seas toward a great unraveling that threatens to scramble marine life on a scale almost too big to fathom, and far faster than first expected,” Welch wrote.

“The bigger danger is not that somehow there’s too much urgency and science being manipulated to support it. There’s not enough urgency.” Mass’ rebuttal—delivered on his blog—was longer than usual, befitting the length of the piece he intended to discredit. His most salient critique stemmed from Welch’s profile of oyster farmers whose shellfish were dying as larvae because the waters’ pH balance had changed. It had gotten to the point that some oyster growers were moving to Hawaii, where the effects of ocean acidification have been less pronounced, and Welch called them the ”closest thing the world has seen to ocean-acidification refugees.” Mass pointed out that Puget Sound has always seen wider swings in acidity than other areas, and that clams and oysters native to this region—razor clams, for example—were actually producing bumper crops in recent years. Only non-native species—like the oysters that Welch reported on—were having trouble. “Could it be

that our native species are far more accustomed to the naturally varying pH of our region and that the imports are not?” Mass asked. The Times clearly worried that Mass’ rebuttal was undercutting its credibility. Welch took the unusual step of responding to Mass with a blog post of his own, asking his scientific sources about their responses to Mass’ critiques, and came away with the conclusion that he’d gotten the story right (yes, Craig’s sources said, acidification swings widely in Puget Sound, but climate change pushed it beyond what used to be habitable for the shellfish). Mass, meanwhile, sticks by his story, and was emboldened when news broke earlier this year— again by the Times—that many of the region’s shellfish growers were spraying dangerous pesticides on their beds to kill a native shrimp that hurt their production (of, again, non-native shellfish). “I told them! You’re making these guys into victims but they’re doing bad stuff,” he told me. Mass is not the only scientist who harbors such reservations about the current climate-change conversation. John Michael Wallace, a UW professor of atmospheric science, says he fears that some scientists and activists are threatening the credibility of climate science by being too quick to attribute events to manmade CO2. “January 2014, when we had all that cold weather in the central and Eastern part of the country, was a good example,” he tells me. “There were a number of people in our field who were suggesting this was a bizarre response to global warming. . . . This is a genuine topic of conversation in the scientific community and I don’t blame the people who hypothesized it, but the press really picked it up and ran with it, and the beneficiary of it was Fox News and the right-wing press, who point out how silly it looks to blame cold weather on global warming.”

While Mass says, simply, that he isn’t a denier, Wallace is outright hostile to deniers, and was one of 20 scientists to call on the FBI to open a racketeering investigation against corporations and scientists who may have collaborated to obscure the public’s understanding of climate change. Despite his signing of the letter, he says he worries that scientists aren’t allowing enough open debate on climate change for political reasons. “I’m 100 percent behind [Mass] on his feeling that there’s a need to have an open debate and we can disagree with ourselves, and it’s very dangerous if we lose that natural scrappiness in our culture as scientists,” he says. “It supports our credibility, the fact that we argue amongst ourselves. We don’t have to be politically correct.” Others aren’t so certain that Mass’ contribution

to the debate is a positive one. Reflecting the congenial face academia loves to maintain, scientists interviewed for this piece were loath to criticize Mass directly, apart from snippy asides. Trenberth says he doesn’t know very much about the man, his almost reflexive snipe about Mass being a weather scientist notwithstanding. But they made one point clear: Climate change is affecting the Earth, now, in profound ways, and scientists have proven it. “What goes on is still dominated by the weather, in day-to-day events. But the manifestation of that weather is systematically being influenced by climate change,” Trenberth says. “So in drought, what you might regard as normal variability in some sense, there’s an additional component of it related to climate change . . . It makes the drought more severe. It increases the risk of wildfire. There are systematically more and more of these kinds of events.”

Trenberth is perhaps best known for his research into how Hurricane Katrina, and later Hurricane Sandy, were influenced by climate change. “These storms have gone beyond the bounds of previous existence, and we can document, with considerable certainty, that some of the environmental changes that we know exist— warmer sea temperatures, warmer water below the surface, warmer air—those are worsening factors,” he says. “I’m not saying the storms came into existence or were more frequent. But once we’re given such a storm, then its consequences are somewhat graver.” Of this summer’s wildfires, Trenberth says models show that warmer weather is going to evaporate water on the ground more quickly, making everything drier and more susceptible to severe fire. That’s not to say grass doesn’t always get dry in the summer, or that climate change is causing the grass to catch on fire. But it does contribute. “It doesn’t cause it, it increases the risk. Something comes along like lightning, that can ignite these things and trigger a wildfire,” he says. Richard Gammon, a UW professor in oceanography and atmospheric science, says he thinks scientists, if anything, are being too conservative with their modeling on the present effects of climate change. “Young scientists don’t want to be extreme,” he says. “The IPCC [the UN’s Intergovernmental Panel on Climate Change] is more conservative than the personal opinions of most climate scientists. Most climate scientists are scared and depressed, and they wish the message would get out.” Now in emeritus status, Gammon says he feels it incumbent to shed the cloak of disinterest and become an activist based on what he knows about

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political coalition that might actually take action on carbon in the state, as well at take steps now to mitigate the impact of global warming in the future. He cites as an example a recent talk he gave to the Yakima Rotary Club. “These guys are climate change. “Do I lose my objectivity a little bit? apple-growers,” he says. “I think there’s a middle Maybe. But I’m doing this for my kids,” he says. ground that’s accessible. You can’t come at this in ashingtonians don’t have to look a way that’s hyping things that are false.” beyond their own borders to see The complicating factor of all this is that cliMass has become an outspoken supporter of that Trenberth is correct. mate change, and the science around it, has clear I-734, Carbon Washington, which would place a Anchored by a city that prides political implications. tax on carbon and reduce taxes elsewhere in the itself on its environmental bona Everyone spoken to for this article, including state. For Mass, that campaign—which has come fides and run by a governor who has made Mass, agrees that action needs to be taken now under attack from the left because it does not climate change his personal crusade, even Washby governments to curb the amount of carbon raise revenue that could go toward helping poor ington has found it difficult to make meaningful being emitted. Doing so will require some kind people most impacted by climate change and strides on carbon emissions. Last legislative sesof centralized control over energy. Beyond its carbon taxes—has become representative of the economic implications—higher gas prices, loss of sion, Gov. Jay Inslee’s ambitious cap-and-trade larger battle over climate change, in that it shows bill, which would have heavily taxed carbon jobs in the coal industry—increased government how the left’s approach has been radicalized to emitters in the state, failed to pass even in the involvement is anathema to many Americans. the point of political futility. He notes that, like state House, controlled by his fellow Democrats. Anyone who wonders why so many of us resist himself, I-734 has been able to bring conservaBut Mass argues the political malaise on clisteps toward controlling carbon has a very poor tives to the table on climate-change legislation, mate change isn’t due to deniers, but the failure of grasp of our nation’s political landscape. among them the Washington Policy Center, a strategy that hypes the science. He touches on That said, there is hope among many climate which typically takes conservative, pro-business this point in our interview at UW, but expands on activists that over time the scientific consensus it, without prompting, in an e-mail the next morn- stances on issues. will become so overwhelming to so many people Todd Myers, director of the Center for Enviing. “I was thinking about our interesting converthat resisting climate legislation will become sation on my way home today (biking, of course!),” ronment at the Washington Policy Center, has politically untenable. served as an adviser for “The main fear is that I-734, and argues that if conservatives accept the attacks from the left show reality of climate change, an ulterior agenda for many they’ll need to accept the who cite the grave threats role of government,” Gamof global warming. “The mon says. left is actually opposing the It’s here where frustraCarbon Washington initiations with views held by tive,” he says. “The reason people like Mass really they cite is because it has boil over. In shifting the to have tax increases. It’s conversation away from the holding hostage climate reality of climate change action to new taxes. They toward smaller questions of care more about taxes than what specific phenomena, climate action.” right now, are or aren’t due However, there is no to climate change, many guarantee that moderaclimate activists see a distion will work. It’s still far A firefighter looks over some of the million-plus service to society. from certain that Mass, or acres of Washington lands burned by wildfire this year. “He is a good commuCarbon Washington, is getnicator and is widely read. ting conservatives on board with strong climate he writes. “I think I can put it all much more I think he is probably the most-read scientist action. When I air my impression that his advisuccinctly and explain what I am trying to do. The in Seattle, and has an outsized influence on sory role on I-734 means that the Washington Environmental Movement is failing. Their current what kind of information people get,” says KC Policy Center is supporting the measure, Myers approach is simply not working. GreenhouseGolden, senior policy advisor with Seattle-based quickly corrects me. “Washington Policy Center gas concentrations are rising as quickly as ever. Climate Solutions. He says that whether Mass does not endorse Carbon Washington,” he says. Fossil-fuel use is rising rapidly. For most people, means them to be or not, his posts are read in greenhouse warming is way down on their priora particular context: “Are we responding to the ity/interest list. Politicians, even supposedly liberal, Another potential downfall of moderation in climate challenge too urgently or not urgently enlightened ones, talk a lot about the problem but enough?” “I feel very strongly that we’re not messaging is that there isn’t a strong track record do very little (like grandstanding about the Shell responding fast enough,” Golden says. “I fear the of the public responding to a measured approach. platform but doing little about traffic). The politinet effect of Cliff ’s stuff is the impression that For all its shortcomings, the popular press is cal scene is increasingly polarized and frozen. Our we’re responding too urgently . . . Cliff is playing fairly good at knowing what will get eyeballs on environmental governor is getting no traction and to the demand for anyone who would tell us that stories. If a slightly alarming headline gets people making no progress. this big scary thing isn’t that big a problem to to learn more about carbon in the atmosphere, “Instead of rethinking their approach, envibegin with.” isn’t that a good thing? ronmental types are doubling down on a failed Gammon makes much the same argument: By and large, the news stories that Mass critiapproach, getting more shrill and oppositional,” “[Mass] encourages people who say it’s not hapcized in that August post on forest fires were fairly he concluded before taking on the voice of those pening here yet, so I’m not going to worry about measured in making the connection between environmental types: “Every major weather event global warming and the wildfires. The Stranger, it much.” I ask Golden whether, as some have suggested, is proof of the ‘new normal.’ ” for example, took to calling this summer’s fires the Mass’ criticism of Inslee is significant. In climate activists and scientists err on the other “front lines of climate change,” but reporter Syd2008, the then-U.S. Representative and Mass side, making the reality scarier than it actually is ney Brownstone was careful to note that natural were viewed as two of the state’s strongest voices due to political considerations—playing to the causes were playing a major role in the fires. on the realities of climate change; Inslee even demand of those who want to prove fossil fuels Sitting in his UW office, I ask Mass how he blurbed Mass’ book. That they are now intelare an existential threat. expects the media to get anyone to care about lectual adversaries may demonstrate how the “I think that’s conceivable. . . . But the bigger climate change if it’s presented in cool scientific climate-change debate has shifted in recent years. terms? danger, by far, is not that somehow there’s too Inslee could not be reached for comment. much urgency and science being manipulated to His eyes growing wide, he points to his comMass says that by resisting the urge to hype support it. There’s not enough urgency.” puter screen, where Godzilla El Nino and The climate change beyond what’s scientifically Added Trenberth: “[Mass] is right that there’s Blob are fighting it out on his web page. defensible, he’s been able to reach audiences a potential to err on that side. . . . But that hasn’t “You don’t need to hype it!” he says. “Look at that might otherwise be averse even to talking been the main risk, because the issue is not that me. I got 20 million pageviews.” E about the subject. This, he says, could help build a we’re overreacting to climate change. We’re dperson@seattleweekly.com underreacting. A number of Republicans and Tea Party members in Congress have been a complete failure to address climate change, despite the Obama administration’s efforts. “We’re not erring on that side.”

Mass’ Appeal » FROM PAGE 11

GENNA MARTIN / THE HERALD

(10/7) University Book Store: Richard Dawkins

food&drink

The Weekly Dish By Nicole Sprinkle

Tom Douglas Returns to His Roots BY NICOLE SPRINKLE

Chocolate cherry-cola cake

Grass-fed petit filet mignon

moved to Seattle in 2011, after chef and restaurateur Tom Douglas was already firmly ensconced, known for his New American food with a Pacific Northwest flair at restaurants like Dahlia Lounge and Palace Kitchen. In the years since, he’s taken on pizza, Mexican, and Japanese food, among other things—to a lukewarm reception, in some cases. But with the recent opening of his 13th “full-service” restaurant, The Carlile Room (named after local musician Brandi Carlile), Douglas is going back to his roots, and, fittingly, he’s brought on Palace Kitchen chef Dezi Bonow to lead the charge. The Carlile Room occupies prime real estate—820 Pine St., kitty-corner from the Paramount—and Douglas is smartly capitalizing on pre- and post-theater dining, reimagining it for a younger, more casual crowd. Unapologetic in its ’70s decor—1978 to be exact—it’s complete kitschy fun: A huge grey painting of Bob Dylan takes up a wall (an actual set piece from the 1972 Grammys that Douglas bought at an art gallery); a DJ corner displays LP covers of Diana Ross and Sly Stone; retro lighting dominates throughout; dish and glassware (bright orange and cut crystal) fit the milieu; and the bathroom even contains a condom machine with orange and yellow stripes. Yet you’ll also find a nod to the rustic PNW, with massive slabs of wood hanging from thick, knotted rope, running along the entire length of the bars. Aside from all the visual flash, The Carlile Room is supremely comfortable in a way very

Northwest chanterelles beneath a fried egg

FOOD PHOTOS BY TODD ROTKIS

SARAH FLOTARD

Larry Mizell Jr. at the DJ booth.

CARLILE ROOM few restaurants are these days. side ($14), juicy, with a few pieces of 820 Pine St. For starters, it’s huge and, in skin falling seductively off the flesh, New American particular, long, allowing for and a smoked apple chutney (I wish Informal two separate bar and dining there had been more of it). areas. It’s outfitted mostly with Plant entrées, of which there are 14 booths—cushy ones at that, upholcompared to seven meats, are inventive stered in soft, bluish recycled leather. and hearty, and not always completely vegetarEven bar stools have backs—those that aren’t ian. Northwest chanterelles are nestled beneath wood or plastic—covered in reddish tweed. a fried egg with one slice of melted Morbier The restaurant’s conceit demands a formidable and shored up with a smoked apple aioli and drink list, and indeed it delivers. The “Book of tart, firm pellets of pear, all of it soaking lightly Booze” categorizes cocktails as June Cleaver vs. in a “bird jus” with a piece of pecan flax toast Joan Baez, while wines—limited editions, red, to soak it up. Broccoli flowers, a huge plate of white, pink, sparkling, and glass pours—get an them, are surprisingly one of the tastiest dishes A or B side (the former “intended for stardom of all—lightly charred and seasoned with taror glory,” the latter “once in awhile becomes a hit ragon, brown butter, and lemon and served with in its own right”). Add to these beers, ciders, and a side of stracciatella cheese, which brought nightcaps, and it’s possible to avoid getting the lushness and a bit of tang. (Stracciatella is what same drink twice. My “Lower Manhattan” ($7 at makes up the stretchy, transcendental center of Happy Hour until 6) was smooth and strong. burrata cheese.) Less successful are the the two curries, served together: fried eggplant in a melon curry, and The menu is classic Douglas, anchored by chickpea masala. While the melon curry is delistandards like prime rib and rotisserie chicken. cate yet possesses a sneaky heat in the aftertaste, Yet the menu doesn’t dwell in the past, with a there’s just too much sauce and only two small considerable chunk devoted to “Plants.” In a pieces of flatbread to soak it up. The chickpea brilliant move, Douglas offers multiple price masala is perfect, but, again, needs bread or rice points for the proteins: three sizes including a for sopping. I did, however, love the details— “side,” a “regular,” and a “slab.” This means that the saffron cherries and the cauliflower pickles one can actually enjoy filet mignon for just $17 that come with it. (cooked perfectly medium rare, the side consists The only real downside to our dining experiof at least six slices, and is served with oyster ence was the sudden appearance of every single mushrooms and a horseradish jus). Likewise, rotisserie chicken is generously portioned for a » CONTINUED ON PAGE 15

nsprinkle@seattleweekly.com

COURTESY OF RANDOM HOUSE

The stylish Carlile Room pays homage to the ’70s —and to the food that put Seattle’s first celebrity chef on the map.

nyone who’s ever turned to their kitchen for solace during a rough time will immediately be transfixed by Ruth Reichl’s new cookbook, My Kitchen Year: 136 Recipes That Saved My Life (Random House, $35). Though the former Gourmet editor has penned memoirs and even a novel, this is perhaps her most personal book yet. Written after the shuttering of Gourmet in 2009, a professional and emotional blow for Reichl, it chronicles the year she spent trying to figure out what to do with herself. As she said at a lunch this week hosted by Renee Erickson at The Whale Wins, she’d spent her whole life “waiting for the next big wonderful thing,” but instead started “looking at joy in small moments”—that is, the ones she experienced holed up in her upstate New York home, cooking for family and friends, “doing what I always do when I’m scared”: heading to the kitchen. Rallied by the support of her plentiful Twitter fans in her endeavor, Reichl’s cookbook (which is divided into four seasons) is the very best kind: one that tells a story in which the recipes are key characters. Each is introduced with a tweet, placing us gently in Reichl’s state of mind—contemplative, sad, or joyous. “Slate sky. Power out. Ferocious wind. Fire blazing. Cold ham, thick bread, chunky applesauce. Hot coffee. Cream.” From there, the recipes continue the story—and range from simple meals Reichl has made over the years to ones borrowed from friends (including some famous chefs) that she’s tweaked to make her own. There’s anchovy bread when her son visits from college; shirred eggs with potato purée that consoles her on her first day home, jobless; a simple bolognese she whips up with friends when they forget to bring steaks; the sea-urchin pasta from Eric Ripert (of Le Bernardin) that she fantasizes making as she recuperates from an operation. These are no straightforwardly written recipes, however. Instead, Reichl inserts herself indelibly into each with her distinctive prose, making them beautiful vignettes to read. For Buttermilk Potatoes With Brown Butter, she says to “simmer uncovered, for about half an hour, until the potatoes are soft and slumping into themselves.” For Apple Crisp: “Peel a few different kinds of apples enjoying the way they shrug reluctantly out of their skins.” In “The Diva of Grilled Cheese”: “Press the reserved grated cheese to the outside of the bread, where it will create a crisp and wonderfully shaggy crust, giving your sandwich an entirely new dimension.” Full of life and character, this narrative cookbook will seduce you into the kitchen to try Reichl’s personal favorites, or perhaps to get out your own beloved recipes and see to which new places they might take you. E

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food&drink

BARCODE

Winter Drinks With Less Obvious Spirits You don’t have to buy all new liquors just because summer is over. BY ZACH GEBALLE

ost of us tend to group spirits into seasons: You drink gin and rum in the summer, whiskey in the winter, and tequila when you want bad things to happen that you only vaguely remember. Yet I’m here to tell you that the onset of fall doesn’t mean you have to put any ingredients away; just change a bit your approach to using them. If the prevailing theme of summer y drinks is refreshment, then the analogous fall and winter feeling is comfort. Drinks that make you feel warm and cozy are the goal, and a few interesting ingredients can come into play. For one, this time of year brings a whole range of darker liqueurs into prominence; while some of us might enjoy amaros year-round, now they’re even more enjoyable, as their nutty, medicinal notes pair more readily with the heartier fare of fall and winter. I also love to play with them in hot drinks, as heating spirits tends to open their aromatics, often the most exciting aspect of many amaros. As evidence, try combining an ounce of a richer amaro like Averna or Montenegro with an ounce of a relatively inexpensive whiskey and a half-ounce of blackstrap molasses. Stir those ingredients in with five or so ounces of hot water, and you’ll get a wonderfully rich drink that allows the aromatic notes of hazelnut, clove, and other obscure Italian herbs I don’t recognize to burst out of the glass, in a way they never would served cold. Similarly, while warm gin sounds more like a fraternity hazing ritual than the start to a good drink, lately I’ve been playing around with the idea. The key is to start with a more citrusforward gin, as opposed to those dominated by juniper or hard spices. Locally, I think Oola’s is a good choice for the following drink: Stir two teaspoons of honey into five ounces of hot

» FROM PAGE 13

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playbill (“paybill”) with “The Carlile Room” emblazoned on it, my daughter offered the hostess her finished coloring sheet—of a peace symbol, of course—which they kindly propped up against a neon sign. Yes, perhaps counter-intuitively, kids are welcome at this boozy lounge. In fact, Douglas even customizes menus based on current shows playing at nearby theaters (he just did a menu for Annie). Besides the show specials, there’s a bar menu that runs until midnight, a lunch menu, a happy-hour menu, and even a “Hunter’s Breakfast” (as in Hunter S. Thompson) for $25: prime rib and eggs, bacon, fries, toast, milk, a cream puff, half a grapefruit, and a cup of coffee. Add $15 for a li’l bloody mary and a margarita. In short, there’s something for every moment of the day and for everyone you know at this stylish but accommodating restaurant—perhaps best defined as “retro–Tom Douglas.” E

nsprinkle@seattleweekly.com

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dish we ordered delivered at once by two servers: six large plates vying for table space and our attention. It was overwhelming to the point that we finally asked to have a couple removed and brought back later; it was impossible to make space, and some dishes were going to get cold lest we eat like starved wolves. Our server apologized profusely and was a dear about it, though she earnestly told us that she hadn’t thought our order necessitated holding anything back. So, you’ve been warned: If you’re planning to order multiple dishes to share, figure out a game plan and relay it carefully to the waitstaff. We splurged on dessert, despite being completely full, and it’s fortunate we did: The chocolate cherry-cola cake has a rich fudge sauce imbued with a just-detectible taste of cola, oozy spiced cherries, and a dollop of root-beer ice cream that’s well restrained in flavor. It was playful and perfect, and exactly what I’d expect here.

water. Then add an ounce and a half of gin, a half-ounce of lemon juice, and a half-ounce of Cardamaro, another Italian offering. The drink’s scent makes me think of one of my favorite fall treats—roasted squash with just a touch of brown sugar. While those loose variants on the hot-toddy recipe show drinkers a different side of a spirit, coffee-based drinks offer almost the opposite opportunity: the chance to mute otherwise over-the-top ingredients. There are few better examples than the combination of coffee and peppermint schnapps. If you, like me, might have been a bit desperate (or foolhardy) in high school, you’ve tried drinking schnapps on their own, and have been wary of them since. Yet I actually think coffee drinks even better enable us to enjoy bitter ingredients; if you really want a minty drink, consider coffee and Fernet (about an ounce and a half ), probably with some sugar (a teaspoon or so) added to keep things tasty. Other similar bitter liqueurs like Cynar can be employed similarly, and doing so exposes totally different aspects of ingredients you might think you already know. Here’s to repurposing your liquor cabinet! E

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food&drink

Foodie Field Trips A south-end resident brings culinary adventures to her neighborhood.

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ambria Cox, a resident of Seattle’s south end, noticed a need in her community for hands-on, foodcentric classes for adults. “I live in the Seward Park/Columbia City neighborhood,” says Cox, “and I felt like there were interesting classes in Ballard, like at The Pantry at Delancey, and I was seeing various classes around town, but I wasn’t seeing anything in this neighborhood.” So for the past year, she’s been spending her time creating events—field trips—for adults, from mushroom-foraging to pie-making to an introduction to braising techniques. Thus The Field Trip Society was launched in September, featuring instructors and guides like authors/ chefs/adventurers Amy Pennington, Langdon Cook, and Kate Lebo. “There are ample opportunities for things to do for kids in the city,” Cox says, “but there aren’t the same opportunities for adults. I wanted to create things for people to do other than going to a bar or signing up for lessons at REI. “I was taking my own little field trips with friends,” she explains. “We’d go to a dumpling house in Factoria, for example, and it struck me last fall that this could be a business that I think people would be very interested in. I thought, ‘My friends and I aren’t the only ones who would want to do this!’ ” “I reached out to people that I would want to take a class from, like Kate and Langdon,” she says, “and I found that people who are passionate about topics want to share what they know.” “I’m always excited to introduce people to nature,” says Cook, an expert on mushroom foraging in the Northwest who is writing a book on salmon (he’s also the author of the awardwinning The Mushroom Hunters). “And I fully endorse the basic premise of Cambria’s business—field trips aren’t just for school kids!” Lebo, a published poet and frequent pie-making teacher, will instruct students in a Seward Park home of a friend of Cox’s on how to bake the “perfect crust” and “make the classic apple pie from scratch,” says the Field Trip class description. Cook’s class on foraging for wild edibles will include “an easy hike in the Cascade foothills

A pie class with Kate Lebo is one of the offerings.

of Seattle, discovering nature’s pantry along the way.” Pennington’s class, “The Whole Grain Kitchen,” taught in Columbia City’s Le Medusa restaurant, aims to give confidence to students looking to cook gluten-free meals or dishes with quinoa, spelt, and barley groats. Other classes for the Society’s first round: modern macramé with Tara Graham in her own design studio and Braising 101 with Danielle Kartes, also at La Medusa—which was chosen because it’s a neighborhood favorite and Cox wants to focus on restaurants unused Sundays, Mondays, and during the daytime. Lebo says she has a lot of faith in Cox as an organizer, and finds her offerings enticing. “I want to take all the other Field Trip classes!” she says. “Not only are Cambria’s teachers at the top of their game, they’re people I want to share a room with so I can figure out how they got to be so awesome.” Cox, who’s always had a love of food and gardening, says the first teacher she reached out to was Pennington, author of Fresh Pantry, a seasonal guide to cooking and working with vegetables. “I had one of her books,” Cox says, “and I saw she was doing interesting classes this summer through the King County library system about creating your own reality and manifestations, and thought this might be helpful for starting a new business.” She went to Pennington’s workshop, contacted her afterward, and found out “she was full of energy and really inspiring.” She then inquired how to start a business, and the rest fell into place. Cox—who has worked as a wardrobe stylist for 15 years for businesses like Nordstrom’s and has her own wardrobe-consulting business—says she hopes to organize other classes in the future: modern calligraphy, field trips to the San Juan Islands and Portland, and a trip to Emerald Downs to learn about horse betting and to throw a Kentucky Derby party. “The only limits of the class.” she says, “should be the limits of people’s curiosity.” E

food@seattleweekly.com

Classes begin October 18 and range from $65–$125. For more information, see fieldtripsociety.com.

arts&culture

COMIX23 LADIES FIRST24 REVIEWS27 CALENDAR31

f you’re around my age—and if I were Carol Burnett, I’d make a joke here and say “26”— you’re just the age to have grown up with the comic legend’s CBS variety show: old enough to stay up that late, but not yet old enough to have anything else to do on a Saturday night. The Carol Burnett Show ran 11 seasons, the first five of which have been unavailable on DVD until September. The Carol Burnett Show: The Lost Episodes

The Last Queen of Variety A new DVD set makes clear the debts our splintered TV market owes to Carol Burnett. BY GAVIN BORCHERT

now comes in a basic package of 16 episodes on six DVDs (Time-Life, $60; more elaborate box sets offer 21 episodes on 10 discs, or 45 on 22). These collections prove that, however begrudgingly CBS agreed to honor the variety-show clause in her contract—arguing that hosting was a man’s domain— Burnett knew from the start what she wanted her show to be. The Sept. 11, 1967 premiere already sets both the format and the fondly remembered details: the cold open with audience questions; the sentimental charwoman character; the musical grand finales; the autograph book and farewell ear-tug. Burnett’s roots, and thus her show’s, were in theater. Her clowning was so flamboyant, you forget what a voice she had; one torch number, “Nobody,” from a 1968 episode, proves she had some serious pipes. In tone and style TCBS drew heavily on the classic Broadway musical (this set offers numbers from West Side Story, The Fantasticks, and How to Succeed in Business Without Really Trying), and reached further back, to Tin Pan Alley, vaudeville, burlesque, and operetta, but also pulled from the current pop charts (“The Look of Love,” “Georgy Girl”). It was surely the last TV series to parody Nelson Eddy/Jeanette MacDonald musicals and salute Mack Sennett comedy silents, but also surely the first to present a Sgt. Pepper medley—in October 1967, four months after its release—with Burnett, Bobbie Gentry, Gwen Verdon, and Phyllis Diller in astonishing Beatles drag straight off the album cover, complete with mustaches and satin uniforms. Not all TCBS ’s cultural references were so iconic; keep your smartphone close at hand and get ready to Wikipedia . . . George Murphy? Jane Withers? The King Family? One ultra-arcane running gag is based on the fact that Barbara Bain won three Emmys in a row for Mission: Impossible, so there you are. (The name of Bain’s character, you may recall, was Cinnamon Carter; Burnett spoofs her as “Oregano Farber,” a name which had me laughing for half an hour.) The show’s satire stuck to the calmer waters of mass culture and never touched politics; that they left to The Smothers Brothers Comedy Hour (1967–69), which got canned for just that reason; Laugh-In (1968–73), considered far hipper at the time, but now dated into near-unwatchability; and later Saturday Night Live (1975– ). Compared to these, TCBS developed a cornball reputation, which, however affectionately remembered, it’s never shaken off. (SNL was Richard Pryor, George Carlin, Frank Zappa; TCBS was Steve & Eydie.) There are no drug references (though some of those production numbers do look like they were devised by men on mushrooms) and mere glancing mentions of Vietnam. Racial issues are acknowledged only via Burnett’s guest stars—though Flip Wilson (who soon after hosted his own variety show) and singer Nancy Wilson each get off a good sharp line. The show went a bit further with sex, with a naughty double entendre here and there; one burlesque sendup, at least as racy as Goldie Hawn’s gyrations over on Laugh-In, ends with Burnett in a nude body stocking and a Godiva-style knee-length wig.

» CONTINUED ON PAGE 18

arts&culture

The Lavender Pimpernel to the rescue! Burnett (as “Gabrielle Pomme de Terre”) and Reynolds.

SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

» FROM PAGE 17

But here too are the bland “Carol & Sis” sketches, with Burnett and Harvey Korman as a bickering couple raising Vicki Lawrence (hired especially to play Burnett’s sister because of the resemblance), which drew on hack comedy tropes from domestic sitcoms of a decade prior: Sis goes on a date; Korman ogles a friend’s bombshell wife; Burnett is driven nuts by his boorish poker buddies. (These were eventually phased out in favor of the uproarious and wincingly painful “Eunice & Ed” sketches of later seasons, which I’d really like to have in a DVD collection.) There is one area, though, in which TCBS certainly broke ground; it was arguably the gayest show on TV until Will & Grace followed it two decades later. Even early on (alongside all those showtunes), there was tons of innuendo. There was Korman, who could swish with the best of them—especially as the “Fairy Godfather” in a 1969 Cinderella spoof that openly utters the G-word, a mere five months after Stonewall; announcer Lyle Waggoner, overtly hired as beefcake; Bob Mackie’s over-the-top costumes, the look that launched a thousand drag queens; all those handsome male Ernest Flatt Dancers, Castro clones avant la lettre ; and drag, drag, drag everywhere. (Korman as a Jewish yenta spanking Paul Lynde is almost too much gay to handle.) Korman’s hot-pink Godfather getup is reused in a later episode by, of all people, Burt Reynolds, the era’s avatar of machismo—game and startlingly funny as “The Lavender Pimpernel.” (He plays the aide-de-camp to Korman’s French nobleman, who asks for “a little more aid and a little less camp.”) So what happened to the variety show? Why was Burnett’s the last example to achieve mainstream success? (On English-speaking American TV, that is: Last month Univision’s Sabado Gigante ended a run of 53 years.) Sonny and Cher—together and, weirdly, individually—and Donny and Marie hung on to the formula in its decadence. None saw out the ’70s, and that, but for freakish anomalies here and there (please don’t make me discuss Hee-Haw), was that. But the variety show didn’t die, exactly—it was disassembled and sold for parts, mostly to realitycompetition shows, where the components, ironically, are today as popular as ever. Dancing With the Stars got the splashy production numbers; American Idol showcases up-and-comers; America’s Got Talent and the like borrow the omnibus music/ comedy/dance/etc. template. Sketch comedy went to late night and cable— where the prime practitioner now is Amy Schumer,

whose self-deprecating willingness to look goofy and protean skill as a comic character actress is not too dissimilar from Burnett’s, though of course her trenchant focus on gender issues is. (Plus, song and dance are what make variety; and as far as I know, she doesn’t do either.) SNL was conceived largely as a reaction to, not a descendant of, Burnett; yet as politically incisive as its skits can still be (Saturday’s season premiere kept the promise), it now unabashedly follows pop culture rather than leads it—its musical guests drawn exclusively from the top of the Billboard charts, its host, usually, whoever has a comic-book movie opening that weekend. Nobody, though, took Broadway, which now has no TV connection except for the annual Tony telecast. Which means that the theater-bred, multiplethreat entertainer, the variety show’s indispensable anchor, is no more. (Even on Broadway it seems to be no more; name anyone with Burnett’s level of all-around musical-comedy expertise younger than Matthew Broderick, age 53.) Rosie O’Donnell tried to resurrect the genre in 2008 (a much-derided failure), Maya Rudolph in 2014 (charming), and Neil Patrick Harris last month (labored). All were intended as pilots, but all ended up as one-offs, though Rudolph’s, with a light retro touch and a dash of sendup, absolutely deserved more attention. Burnett’s one true heir is Tracey Ullman, whose brilliant The Tracey Ullman Show (1987–90) is also overripe for DVD release. First famous as a British pop singer, Ullman included musical numbers (though only within the context of a sketch, not for their own sake), and her character work, satires of ’80s female archetypes, makes her a sort of bridge to Schumer. But this criminally underrated series has been overshadowed by the success of The Simpsons, which began on TTUS as interstitial shorts before it spun off. When Ullman played Princess Winnifred in a 2005 TV production of Once Upon a Mattress, the role that had launched Burnett’s career in 1959, it was like the passing of a torch— especially since Winnifred’s antagonist, Queen Aggravain, was played by Burnett (still alive and touring at age 82, by the way). Then again, maybe one reason the variety genre has dwindled is simply that everyone realizes that TCBS was its unsurpassable zenith. Take a look at the list of winners of the Emmy for Outstanding Variety Series—before Burnett, they were all series; after Burnett, all specials or talk shows. (The Daily Show With Jon Stewart won for 10 consecutive years, probably because of all those fabulous musical numbers.) As George Bernard Shaw once said (in a very different context): “Anybody, almost, can make a beginning: the difficulty is to make an end—to do what cannot be bettered.” E gborchert@seattleweekly.com

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Uproarious and Soaked in Loyalty On its new album, Industrial Revelation takes us to New Orleans, outer space, and a medieval West African kingdom. BY JAKE UITTI

CHRIS DAVIS

It’s a fresh breeze build with an equal sense of height and breadth. of a track that To release the new album, IR worked with turns celestial Sam Anderson of Hey Marseilles and Pearl Jam and space-aged in its break. The song maintains an guitar tech Josh Evans, both of whom helped underlying steadiness, though, with rock-solid, ’90s during the mixing process. The recordings took hip-hop bass from the track’s writer, Flory-Barnes. place in several locations around Washington, “I debated whether to call the song ‘Service including the famed Robert Lang Studio with Industry Crush’ or ‘Amelia,’ ” he grins. “On the engineer Homero Gonzalez. Nri is a more one hand, it’s describing that feeling when you polished production than their last album, Oak go into a bar or cafe and you see someone special, Head; it may in fact be the starting point of a and on the other hand there’s meeting Amelia and new, elevated trajectory for the group, which has getting to know her.” already received a great deal of local acclaim. No matter what happens in terms of success, Lewis says the members of IR wish The song’s mood and title speaks to to remain loyal to their hometown, the group’s conscientious core and though traveling in support of the the relationships they’ve built with Industrial Revelation record and scheduling a November Seattle folks of all backgrounds. Album Release tour is on the forefront of their “Relationships over time get stronFrye Art Museum. Free. minds. “I love living in Seattle,” ger, bonds grow,” explains Lewis. All ages. 7 p.m. Fri., Oct. 9. Lewis smiles. “We all have expressed “We are always trying to keep that if Industrial takes off in some that machine oiled. With the band, way—and we don’t know what ‘take off ’ we’re all so busy day-to-day, but we means, exactly—but we’re all here in Seattle make time to hang even if we can’t play or and that’s good for the city.” rehearse. I feel like we’ve done that more so the This sentiment makes sense: The band’s essence past few years—we know our strengths and weakis soaked in loyalty. It’s their secret weapon as writnesses. We know what works.” ers and entertainers—the quality you notice first This intimate knowledge is what allows the four when seeing them perform and the thing most to effortlessly transition between genres of sound, acutely remembered when the gig is done. They’re to build a crashing crescendo from a lighthearted brothers on- and offstage, pushing one another to piano riff. To turn a lark into a thunderous 22-minget to that next place, one step higher in the musiute jam complete with staccato drum solos, lightcal climb, to find the most powerful phrase to make ning trumpet strikes, and quaking bass riffs that each other go, “WHOOAAHH!” —a perfectly sonically recall laughter, solidarity, and surprise. timed cymbal crash, the deep pluck of an open bass “We’re constantly putting out our best and still string, a screeching melody from horn or keyboard. trying to get better and better,” Lewis admits. “It’s The record’s first single, “Amelia,” is named after almost overwhelming the love we get. But we Amelia Bonow, a veteran service-industry worker want to try and reciprocate that—somehow. To and co-founder of the viral #ShoutYourAbortion just try and keep it going as best we can.” E movement with Oluo’s wife, writer Lindy West. music@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 7 — 13, 2015

cid jazz lurches down the hallway of the Seamonster Lounge. The band—a Bellingham outfit called Celestial Navigation—plays in the far corner of the club, and its sound is like a rhino smashing through a series of Pollock paintings. A few minutes pass and D’Vonne Lewis, drummer and founder of Seattle avant-jazz band Industrial Revelation, pops through the front door. Lewis’ unique speaking voice sticks in the mind after hearing only a few words. It’s kind, imbued with wisdom, and playful. He sits with a beer and we start to talk about his group, now in its 10th year, and its new record, a 20-track double album called Liberation and the Kingdom of Nri. “There’s some cuts on there, man,” he says. No doubt. Industrial Revelation features four of the city’s most accomplished and adept musicians. Along with Lewis, who comes from a family of Seattle jazz players, there’s double bassist Evan Flory-Barnes, keyboardist Josh Rawlings, and trumpeter Ahamefule J. Oluo. Among them, they’ve played with Macklemore, Allen Stone, Hey Marseilles, Meklit Hadero, and countless others from varying musical worlds—rock to rap to classical. In fact, Oluo recently released a punk-rock record under the name The Honorable Chief, and it was his family’s Nigerian heritage that influenced the title of the new IR project. Historically, the Kingdom of Nri is known as a peaceful, medieval West African state whose leader used no military force over his people. “They were just about acceptance and love,” Lewis explains. “We liked this idea, especially paired with the idea of liberation, which is also the name of a song I wrote for the record.” “Liberation” is an epic, all-out New Orleans carnival. Its uproarious feeling is complimented by tracks like “I Jam 4U, My Love,” a slower

APPROVED by

OCTOBER 9 - NOVEMBER 18 Tomeka Reid, Nicole Mitchell, & Mike Reed FRIDAY, OCTOBER 23 CHAPEL PERFORMANCE SPACE, 8PM

FRIDAY, OCTOBER 9 VERA PROJECT, 7PM

Three key figures of Chicago’s new Black avant-garde. (Presented by Nonsequitur.)

Jazz Festival Kick-off with Seattle’s newest blast of jazz educators and top school-aged players.

Frank Catalano Quartet

Old School / New School - All School Jazz Jam

FRIDAY, OCTOBER 9 & SATURDAY, OCTOBER 10 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Thomas Marriott with McTuff

Tough soul-jazz with a re-vamped McTuff, super-boosted by Seattle’s finest jazz trumpeter. SATURDAY, OCTOBER 10 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM SUNDAY, OCTOBER 11 WHITE CENTER FIELDHOUSE, 6PM

Wayne Horvitz: Some Places Are Forever Afternoon

Wayne Horvitz @ 60, with a major new work inspired by the poet Richard Hugo. White Center performance is free.

SATURDAY, OCTOBER 10 SEATTLE ART MUSEUM, PLESTCHEEFF AUDITORIUM, 8PM

Somi

“The earthy gutsiness of Nina Simone blended with the vocal beauty of Dianne Reeves” (JazzTimes). SUNDAY, OCTOBER 11 BENAROYA HALL, S. MARK TAPER FOUNDATION AUDITORIUM, 8PM

Wayne Shorter Quartet

One of the most influential artists in jazz, in the brilliant company of Danilo Pérez, John Patitucci, and Brian Blade. (Co-Presented by 88.5 KPLU.) TUESDAY, OCTOBER 13 EDMONDS-WOODWAY HIGH SCHOOL LITTLE THEATER, 7:30PM

Edmonds-Woodway High School w/ Kathy Kosins

Swinging jazz vocals with the perennially strong high school jazz program. (Presented by Edmonds-Woodway High School Music Boosters.) TUESDAY, OCTOBER 13 ROYAL ROOM, 7:30PM

Ornette Coleman Tribute: Action Figure / Focus on Sanity

Top Seattle artists salute the late, great jazz provocateur.

THURSDAY, OCTOBER 15 MEANY STUDIO THEATER, 7:30PM

Ted Poor Quartet / UW Scholarship Ensemble

The newest UW jazz professor is joined by first-call New York musicians and a student ensemble. (Presented by UW School of Music.) FRIDAY, OCTOBER 16 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM

Edmar Castañeda / Jovino Santos Neto

Rare solo sets by the amazing Colombian harpist and Seattle’s brilliant Brazilian pianist. FRIDAY, OCTOBER 16 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Kareem Kandi Trio

Steaming, blues-drenched B-3 jazz with Delvon Lamarr and Adam Kessler. SATURDAY, OCTOBER 17 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Mark Taylor & Dawn Clement Group

Sure proof that Seattle jazz outshines most American cities. SATURDAY, OCTOBER 17 TOWN HALL SEATTLE, 8PM

Charles Lloyd, Wild Man Dance

Another riveting séance – brilliant and transcendent – as Gerald Clayton, Kendrick Scott, & Reuben Rogers help the master bring the jazz tradition deeper into the mystical. SUNDAY, OCTOBER 18 SEATTLE ART MUSEUM, PLESTCHEEFF AUDITORIUM, 8PM

Myra Melford’s Snowy Egret

The singular pianist with towering talents: Ron Miles, Liberty Ellman, Stomu Takeishi, and Tyshawn Sorey. SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

MONDAY, OCTOBER 19 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM

Kris Davis Trio

The darkly energetic and nuanced pianist with her new trio of Tom Rainey and John Hébert. TUESDAY, OCTOBER 20 ROYAL ROOM, 7:30PM

The Big Band Music of George Stone

One of the premier jazz composers with 17 of Seattle’s finest jazz musicians. WEDNESDAY, OCTOBER 21 CHAPEL PERFORMANCE SPACE, 8PM

Gary Stroutsos: Tribute to Paul Horn

A tribute to the Taj Mahal suite, inside in the pristine acoustics of the Chapel. THURSDAY, OCTOBER 22 NECTAR LOUNGE, 8:30PM (DOORS OPEN 8PM)

Pedrito Martinez Quartet / Picoso

High-octane Cuban percussion with hip-hop and jazzgroove sensibilities. FRIDAY, OCTOBER 23 ROYAL ROOM, 8PM

Seales Brothers Band

A festival-only throwdown w/ Marc and Jesse Seales, Tom Marriott, Moyes Lucas Jr., and Evan Flory-Barnes. Schedule subject to change. Check www.earshot.org for updates.

FRIDAY, OCTOBER 23 & SATURDAY, OCTOBER 24 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Rippin’ and runnin’ tenor sax, back by popular demand. SATURDAY, OCTOBER 24 ROYAL ROOM, 8PM

Being John McLaughlin

Six Seattle mavericks brilliantly reprise music of Mahavishnu Orchestra. SATURDAY, OCTOBER 24 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM

Julian Priester 80th Birthday Celebration

The trombone legend’s many Seattle-area friends pay tribute to his long career. There will be cake. SUNDAY, OCTOBER 25 SEATTLE ART MUSEUM, PLESTCHEEFF AUDITORIUM, 8PM

The Westerlies / Skerik

The brilliant brass quartet returns to the festival stage with new music and an opening solo set from Skerik. SUNDAY, OCTOBER 25 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Jessica Lurie Ensemble

One of the greats of Seattle jazz returns from New York. MONDAY, OCTOBER 26 ROYAL ROOM, 7:30PM

Monktail Creative Music Concern 15th Anniversary One of the region’s leading voices in adventurous and entertaining jazz. TUESDAY, OCTOBER 27 CHAPEL PERFORMANCE SPACE, 8PM

Nate Wooley & Paul Lytton

Remarkable trumpet and drum duo from the European and Brooklyn improv scenes. WEDNESDAY, OCTOBER 28 TEATRO ZINZANNI, 7:30PM (DOORS OPEN 6PM)

Chano Domínguez Trio

The internationally known Flamenco jazz pianist debuts a new Seattle group. (Presented by Teatro ZinZani.) WEDNESDAY, OCTOBER 28 CHAPEL PERFORMANCE SPACE, 8PM

Mimi Fox

Mastery and style in an intimate solo guitar performance. THURSDAY, OCTOBER 29 BENAROYA HALL, S. MARK TAPER FOUNDATION AUDITORIUM, 7:30PM

Sonic Evolution: Seattle Symphony Orchestra w/ Bill Frisell, Shaprece, & Derek Bermel w/ Roosevelt High School Jazz Band

A not-to-miss collaboration: The Seattle Symphony Orchestra, with director Ludovic Morlot, premieres a new work by Wayne Horvitz with soloist Bill Frisell. Plus: Derek Bermel’s riveting Migration Suite featuring the Roosevelt Jazz Band, and a set of soulful jazz/R&B/electronica from Shaprece. (Presented by the Seattle Symphony Orchestra.) FRIDAY, OCTOBER 30 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM SATURDAY, OCTOBER 31 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Joel M. Ross Quartet

Edgy, surprising, and hugely likable jazz vibes with band mates Jeremy Corren, Jalon Archie, and Ben Tiberio. FRIDAY, OCTOBER 30 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Jacob Zimmerman Sextet

Solid and burning, with Raymond Larsen, Jake Svendsen, Nate Parker, Evan Woodle, and Katie Jacobson. SUNDAY, NOVEMBER 1 SEATTLE ART MUSEUM, PLESTCHEEFF AUDITORIUM, 8PM

Andy Clausen’s Shutter Project

New music inspired by photography, with Riley Mulherkar, Gregg Belisle- Chi, Mitch Lyon, and Gregory Uhlmann. MONDAY, NOVEMBER 2 CHAPEL PERFORMANCE SPACE, 8PM

Brad Linde’s straightHORN / Brockman & Halberstadt Duo: Strayhorn Favorites

In tribute to Billy Strayhorn, Kate Olson and Jessica Lurie join Brad Linde and Patrick Booth in a soprano sax quartet. Michael Brockman and Randy Halberstadt open. TUESDAY, NOVEMBER 3 TRIPLE DOOR, 7:30PM

Garfield High School Jazz Band

One of the region’s finest school jazz programs has raised the bar for the whole country. WEDNESDAY, NOVEMBER 4 TRIPLE DOOR, 8PM

Seattle Women’s Jazz Orchestra w/ Mimi Fox

SWOJO welcomes guitarist Mimi Fox and winners of its composing competition. (Presented by SWOJO.)

WWW.EARSHOT.ORG

Reimagined popular songs of Seattle’s Nihonmachi (pre-WW2) Japantown. THURSDAY, NOVEMBER 5 & FRIDAY, NOVEMBER 6 ROYAL ROOM, 8PM

Jacob Fred Jazz Odyssey & Skerik

JFJO’s Battle For Earth psychedelic musical comic book is just out. THURSDAY, NOVEMBER 5 NECTAR LOUNGE, 8PM

Blades / Ciotti / Coe w/ DJ Logic / Industrial Revelation

A burning B3 organ group and a band of Seattle geniuses. Hellofa night of music. (Presented by Nectar Lounge.) FRIDAY, NOVEMBER 6 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM

Art Lande Quartet

A one-off reunion of the great Seattle post-bop band of the early 1980’s. FRIDAY, NOVEMBER 6 & SATURDAY, NOVEMBER 7 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Ed Reed & Anton Schwartz play Hartman and Coltrane

A salute to one of the great vocal jazz albums of all time — John Coltrane and Johnny Hartman.

SATURDAY, NOVEMBER 7 BENAROYA HALL, ILLSLEY BALL NORDSTROM RECITAL HALL, 7:30PM SUNDAY, NOVEMBER 8 KIRKLAND PERFORMANCE CENTER, 2PM MONDAY, NOVEMBER 9 EDMONDS CENTER FOR THE ARTS, 7:30PM

Seattle Repertory Jazz Orchestra presents Lush Life: Celebrating Billy Strayhorn’s 100th Birthday Seattle’s top big band salutes Duke Ellington’s brilliant right-hand man, with readings by Lush Life author, David Hajdu. SATURDAY, NOVEMBER 7 CHAPEL PERFORMANCE SPACE, 8PM

Torsten Mueller & Phil Minton

Two giants of the improvising scene, Vancouver-based German bassist Mueller and the inimitable English vocal shaman, as compellingly idiosyncratic as any musicians you’re likely to hear. (Presented by Nonsequitur and Polestar.) SUNDAY, NOVEMBER 8 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM

Jay Clayton in and out

Dawn Clement and Julian Priester join Clayton for originals, standards, electronics, poetry, and a tribute to Ornette Coleman. MONDAY, NOVEMBER 9 TOWN HALL SEATTLE, 7:30PM

James McBride and The Good Lord Bird Band

The saxophonist and celebrated author of The Color of Water. (Presented by Seattle Arts & Lectures and Seattle Times.) TUESDAY, NOVEMBER 10 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM

Anat Cohen Quartet

The brilliant Israeli-born clarinetist with her new band. THURSDAY, NOVEMBER 12 ROYAL ROOM, 8PM

Wayne Horvitz @ 60

A fascinating triple bill of new solo, trio, and sextet work. THURSDAY, NOVEMBER 12 SEATTLE ART MUSEUM, BROTMAN FORUM, 5:30PM

Billy Strayhorn Project

Vocalist Tyrone Brown celebrates Billy Strayhorn, in a free concert at SAM. FRIDAY, NOVEMBER 13 TOWN HALL SEATTLE, 8PM

Brad Mehldau Trio

One of the greatest modern jazz pianists. (Presented by Earshot Jazz and 88.5 KPLU.) FRIDAY, NOVEMBER 13 & SATURDAY, NOVEMBER 14 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Larry Fuller Trio

The in-demand New York pianist returns to Seattle. SATURDAY, NOVEMBER 14 TRIPLE DOOR, 7:30PM

Scott Amendola Band w/ Nels Cline & Jenny Scheinman

Powerhouse drummer Scott Amendola, guitar icon Nels Cline, violinist Jenny Scheinman, guitarist Jeff Parker, and bassist John Shifflett. SUNDAY, NOVEMBER 15 TRIPLE DOOR, 7:30PM

Chris Potter Trio

“One of the most studied (and copied) saxophonists on the planet” (DownBeat). MONDAY, NOVEMBER 16 TRIPLE DOOR, 7:30PM

Sara Gazarek & New West Guitar Group

Seattle-reared vocalist with the New West Guitar Group. (Presented by Triple Door.) TUESDAY, NOVEMBER 17 & WEDNESDAY, NOVEMBER 18 TRIPLE DOOR, 7:30PM

Hugh Masekela

The legendary South African trumpeter/flugelhornist/bandleader closes out this year’s festival. (Presented by Triple Door.)

SE ATTLE WEEKLY • O CTOBER 7 — 13, 2015

THURSDAY, NOVEMBER 5 PANAMA HOTEL, 6PM

Paul Kikuchi: Songs of Nihonmachi

conversation

Decibel Founder Says Adieu

A pillar of Seattle’s electronic-music scene on his sudden decision to head to L.A. BY BROOKLYN BENJESTORF

SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

SW: Why the move to L.A.? Why leave Seattle?

Horton: I had already sold my home and resigned from my job at PlayNetwork after 13 years in preparation for the move to Portland, neither of which were [revocable] decisions. It put me in an incredibly precarious situation of being homeless and unemployed come October 1, two days after Decibel Festival ended. Though I had received several offers to rent and/or couch-surf until I found a place, the lack of career opportunities in Seattle was a major concern. I have a fairly unique skill set tied to Decibel, PlayNetwork, DJing, and music engineering/composition that simply isn’t in high demand in Seattle at the moment. If I were a computer programmer, game developer, app developer, graphic designer, or in any other technical field, it would be another story. Though the people of Seattle have been incredibly supportive of Decibel (thank you!), the city itself has yet to offer any kind of economic or promotional support over our 12-year history. In fact, we’ve paid out tens of thousands in taxes to the city over that time, which has only contributed to my personal debt. I’ve always been a bit baffled by the lack of support from a city we’ve brought millions in revenue into through hotels, travel, taxis, food, retail, alcohol, insurance, permits, ticket sales, taxes, etc. I know for a fact other major cities like Detroit, Montreal, Chicago, Toronto, San Francisco, and Los Angeles offer economic incentives and breaks for arts festivals like Decibel. Knowing the kind of impact you’ve had on the Seattle electronic-music scene and the people within it (as witnessed in the comments section on your Facebook post about your move), is it hard for you to walk away?

I really wasn’t anticipating that kind of outpouring, which was moving to say the least. I hope people understand that leaving Seattle is the most difficult decision I’ve ever had to make. I’ve lived here 15 of the past 20 years of my life. It’s where I flourished as a festival curator, music supervisor, producer, DJ, performer, creative director, composer, fisherman, and person as a whole. It’s the people of Seattle and its natural beauty that I will long for the most. Many tears

Sean Horton blows out the candles at his 40th birthday party on the Friday of this year’s Decibel Festival.

BROOKLYN BENJESTORF

ast weekend Seattle lost Sean Horton, a major player in the electronic-music community, to the sunny streets of Los Angeles. As the founder of the internationally renowned Decibel Festival, which just wrapped its 12th and possibly most successful run just over a week ago, Horton is responsible for putting Seattle on the map for a style of music more associated with cities like Berlin, Chicago, and Horton’s hometown Detroit. Originally, Horton’s plan was to move to Portland to join his fiancée in marital bliss after this year’s festival, with the greater goal of expanding Decibel down the West Coast. Things went bellyup when his engagement abruptly ended just a few days before Decibel kicked off, forcing him to make some massive decisions about his future on the fly. I sat down with Horton to chat about what his move to L.A. means for Seattle’s electronic music scene.

have been shed over the past two weeks, and many more will be as I make this transition. Will the move be permanent? That I can’t say. What I can say is that after 20 years in the Pacific Northwest, I’ve seen it change substantially. Though some of the changes are necessary, the cost of living, traffic, and changing cultural landscape make it a less attractive city for creatively driven people like myself. What does the future hold for Decibel?

2015 was personally my favorite program to date, and Decibel will continue, that I can assure you. In terms of the location, dates, size, and scope—that remains to be seen. Seattle makes the most sense as that’s where the business is still held and where the team resides. We also have 12 years of experience producing the festival in Seattle. In terms of L.A., I’m certainly open to looking at options to host satellite events in the future that are tied to Decibel. As for a full festival program, that remains to be seen. I really know very little about L.A., so there’s going to have to be a learning period I need to go through before I can make any decisions. How do you think the absence of Decibel would affect the electronic-music scene in Seattle? Does Seattle need Decibel?

Just to be clear, Decibel as a business entity will remain based out of Seattle for the time being. In fact, we already have events scheduled for October and November. I’ll also be returning for DJ gigs this fall in Portland and Seattle. Flights between Seattle and L.A. are only $200, and I wouldn’t dream of staying away for too long. I left my heart in Seattle and will be making frequent appearances. I hope to see many Seattle friends coming to L.A. to visit as well. One of my goals with this move is to try and bridge the gap between the two cities, which I think will ultimately lead to a more unified underground electronic-music community on the West Coast. E

music@seattleweekly.com

comix in the city

PEACHES

10/7

with U.S. GIRLS + ONONOS

MATOMA with PRINCE FOX + BOEHM

10/16

KURT VILE AND THE VIOLATORS

8:30 PM

DA808 PRESENTS

COMMON KINGS with SAMMY J + 10/8+9

LEILANI WOLFGRAMM

10/18

8PM (10/8) 9PM (10/9)

BLUES TRAVELER

8:30 PM

DJANGO DJANGO

10/20

with MATT JAFFE & THE DISTRACTIONS

10/10

WITH CASS MCCOMBS+ HERON OBLIVION

9PM

with WILD BELLE

8:30 PM

SHOWBOX AND KEXP PRESENT

DOOMTREE DEERHUNTER

10/14

9PM

with ASTRONAUTALIS + SISTER CRAYON

with ATLAS SOUND

8:30 PM

10/21

SHOWBOX SODO NEW POLITICS + ANDREW MCMAHON IN THE WILDERNESS with THE GRISWOLDS + LOLO

10/13

ALL YOU CAN EAT TOUR

6:35 PM

10/22

STEEL PANTHER

8PM

CREATURE CARNIVAL TOUR

SHOWBOX AND KNITTING FACTORY PRESENT

TECH N9NE BEATS ANTIQUE 10/18

with MOON HOOCH + PINKY D’AMBROSIA

with KRIZZ KALIKO + KNOTHEAD + NEEMA

10/20

with BORN OF OSIRIS + BATTLE CROSS

10/31

9PM

GHOSTLAND

7:45 PM

OBSERVATORY

11/7

9PM

MADISEN WARD & ALL TIME LOW + THE MAMA BEAR SLEEPING WITH SIRENS with ZACH GORE (of Brite Lines)

10/14 – COLUMBIA CITY THEATER

with NECK DEEP + ONE OK ROCK

8PM

10/28 – SHOWARE CENTER

SHOWBOXPRESENTS.COM

8PM

SE ATTLE WEEKLY • O CTOBER 7 — 13, 2015

GWAR

8PM

ladies first

THEESATISFACTION’S MONTHLY MUSIC COLUMN

Unprepared Pop Sensation Viral web fame is launching more and more music careers— but if your moment came, would you be ready?

KELTON SEARS

BY CAT HARRIS-WHITE

SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

hat if you became famous tomorrow? Say one of the songs you posted online catches the eye of a big A&R agent, and suddenly your music is everywhere—all over the major pop radio stations, blogs, and even on TV. Your inbox is bursting at the seams with offers for record deals, live shows, and interviews. Your moment to shine has finally come, but are you ready? Are you prepared to take the big leap into stardom? Do you have any specific ideas or plans for where you would like your career to go? And if you don’t, are you OK with potentially signing away your life to someone else to do that on your behalf? If your answer is “No” to any or all of these questions, that’s OK. The thought experiment I just ran you through may seem extreme, but it happens oftener than you think in the age of the Internet. Much of the music that’s played on radio was created by a YouTube or Soundcloud sensation who is not yet ready for the limelight. It’s very important to create a foundation for your career. Start by making a plan. Brainstorm your grandest ideas and dreams about your career, then map them out. The mapping process should be realistic and include a budget. How much time will it take to get there? What kind of expenses should you prepare for? Then there’s practice. Practice whatever your skill is. Doesn’t matter if you are a vocalist or an instrumentalist, craft a creative regimen. Stretch your body and run through some sort of warm-up. Basic warm-ups often include scales, but you can also run through a simple song in different keys. Whatever your instrument is, it should be in tiptop shape. Develop a schedule where you warm up, practice, and then create—or even create, then practice. Switch it up and find what is most comfortable for you. Always warm up first so you don’t injure yourself during this process. Similarly, consider renting rehearsal space with huge mirrors and recording your performance. Study the video and discover what you loved and disliked about it. This may seem narcissistic, but it’s very helpful. As artists we are typically our own worst critics, so put that trait to work! However, don’t overdo it. Sometimes too much self-

criticism can be detrimental. Be kind to yourself as an artist; consider where you are currently and where you would like to be. Then take small steps to upgrade your performance. When you feel comfortable with your stage show, test it out at a local open mic or jam session. Take note of how the audience reacts. Which songs/pieces get the most response? What kind of demographic seems to be receiving your message? Use this information to continue to perfect your artistry. Another important key to building a foundation is doing some on-the-ground research. Go to shows and concerts. See artists who have a similar sound to yours and inspect their live performance. Check out their crowd and their response. All your favorite pop musicians did/do this. See your favorite performers play. What do you love about it as an audience member? What would you change? What did you take away from the show? Create a mission statement for yourself. Even if you don’t post it on your site or share it with anyone, it is important to know what you stand for as an artist. Write a list of “never-ever”s: Think of extreme situations and what you would and would never, ever do. This way, if someone was to offer you $1 million for a certain project that resides in some ethical grey area, you already know your boundaries and limits. Read up on the musicians who inspire you. Look into how they prepare or prepared for performances and take notes. Remember, you can learn from others’ mistakes and experiences. This kind of information can be found via interviews or in an autobiography. Use your newfound knowledge as a tool to become the artist you wish to be. These concepts will build a strong foundation for an artistic career. Cultivating a creative regimen/routine will ultimately lead to opportunities like licensing, music placement, and label or distribution deals. With a developed vision and healthy work ethic, anything is possible. If you’ve followed all these steps, you’ll be ready for that life-changing moment should your music go viral. E

music@seattleweekly.com

reviews

VISUAL ARTS

Lead Pencil Studio’s Thereafter

SuttonBeresCuller’s You Always Leave Me Wanting More

PHOTOS BY MARK WOODS

In a Strange Land

The Stranger has a museum show with no concept beyond its own brand. But do unifying themes even matter anymore? BY BRIAN MILLER

evident.) The ambient music makes you yearn for couches where you might lie down and close your eyes. The political component is vague, but it’s a welcome gallery to chill and contemplate. Urban change and Seattle’s booming economy are on everyone’s mind. In Studio X, Victoria Haven documents on video the cranes and construction outside her doomed South Lake Union studio. The images will update through January, but they’re already old news. It feels like a random Facebook feed that fails to engage cause or effect—or assign blame. With considerably more graphic punch, SuttonBeresCuller’s You Always Leave Me Wanting More has big red arrows erupting from the gallery floor, bedecked in lightbulbs suggesting carnival funhouse signs. Upward growth becomes an obscene gesture, and part of the ambivalent appeal is that we—like all carnivalgoers—love the action and excitement, even as the thrusting arrows threaten to pierce the ceiling and ruin the museum. It’s obvious, but with a bright PopWarholian melancholy: We can’t resist the thing that will destroy us. That notion of relentless, irresistible growth— there’s your curatorial theme, or it should be—is expressed most clearly and cogently by Lead Pencil Studio. Inside the museum, three large black-and-white drawings depict the erosion and destruction of our familiar cityscape. Sinkholes, building foundation pits, and eerie construction lights are the new markers of a city in transition— what LPS’ Annie Han calls “the new American landscape of parking lots” and building sites. In a fundamental sense, to build is to destroy. Thus my favorite work on view, also by LPS, located in a gravel lot just outside the museum.

Thereafter is a big dirt mound, topped by some pavement and a streetlight, recalling the final remnants of the Denny Regrade during this city’s last great boom. Was razing a hill to create the flat future Belltown a stupid idea? Of course, yet everyone was on board with it at the time. Thereafter thus functions like a rebuke and a reminder of such hubris. Han and partner Daniel Mihalyo designed the thing to slump, erode, and degrade during the fall rains (if there are any). Even as this city is sprouting ever upward in SLU and beyond, our dour old climate discourages such optimism. First we had the Alaska gold rush, then Boe-

ing and the WWII boom. Today it’s Amazon, Microsoft, and Starbucks. Those are the brands that will endure over the next century. What the self-appointed tastemakers of The Stranger (or the Weekly) now say won’t matter then—if we still exist. And who among these artists and institutions will last? Sherman Alexie, maybe. PNB will still be around; not Scarecrow Video. The Frye, I hope. So to the question above—does this show work for today’s visitor?—I’d say yes to the parts, no to the whole. The Genius list simply doesn’t reflect any unique critical judgment on the part of the paper (or the museum). It’s both random and familiar. If you asked me—or my counterparts at the Times—to name 65 notable Seattle artists and institutions, the roster wouldn’t look much different from The Stranger’s (which oddly excludes SAM). There’s only so much talent in this town, and we all keep covering the same names again and again and again—until they leave Seattle in search of lower rents or bigger markets. See them now, before they’re gone. E bmiller@seattleweekly.com

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thing. Like the museum’s #SocialMedium show egardless of quality, the individual last year, for which the public selected favorites artist always gets lost—should get from its collection, this is a way to chase an lost—in a good group show. What untapped demo that generally shuns museums, matters more is the strength of the concert halls, galleries, indie cinemas, and so forth. patron, promoter, curator, or conceit. You can have Desperate times call for populist measures. a clear historical category, like the Impressionists But apart from The Stranger’s and the Frye’s now at SAM. Or you can try to craft a thesis— evident self-interest, does the exhibit serve the artsay, how notions of Freud and the subconscious ists? And does it reward the spectator? To the first led to Abstract Expressionism during the postwar question, what matters is the opportunity to create era. But there’s generally an argument made, a something new. The value lies in the fresh commisposition being advanced. Critical boundaries sions funded by the Frye, 25 in total, about a are staked out. Which brings us to the Frye’s dozen presently installed in the museum’s newly opened show Genius/21 Century/ galleries, with filmic, theatrical, musical, Seattle, comprising some 65 locals Frye Art and dance happenings to follow. bestowed with a Genius Award by Museum The Stranger from 2003 to last year. 704 Terry Ave., 622-9250, Now The Stranger and Seattle For instance, the dance duo fryemuseum.org. Free. 11 Weekly are supposed to be dread zoe | juniper’s We were is a pleasa.m.–5 p.m. Tues.–Sun. enemies. Yet I accept the show’s antly immersive video projection of (Open to 7 p.m. Thurs.) self-aggrandizing origins, the selfpast performances on five dangling, Ends Jan. 10. validation inherent in the Genius beaded silos/scrims. You can walk awards. If this show further helps The around them, almost like circulating on Stranger’s brand, fine—that’s what every smart a dance floor in search of a partner. It’s cool, newspaper needs to do during these twilight days musical, but also archival—a documentation of of print. The New Yorker has its festivals; we have prior process. All artists are in love with their old Voracious and Best of Seattle. Journalism is a notebooks (dance diagrams are chalked on the business, after all, and my job is to celebrate good walls), while the audience wants to see choreogart where I see it. That The Stranger claims these raphy performed live, not on video. Which zoe | disparate artists as its own, wrongly; that a label, juniper will do, so wait for that. “genius,” is not the same as a reasoned critical More successful is the softly inviting installation judgment, has little bearing on this highly variable SonicArchiTextile. Textiles and a Ishmael Butler but worthwhile show. soundtrack (Ecdysis) commemorate the 50th anniThe Frye and its two lead curators are upfront versary of Malcolm X’s assassination. Nep Sidhu’s about the association. “Erika [Dalya Massaquoi] colorful hanging tapestries—also presented in the and I did not pick the art in this show,” says round—remind you of the bright, optimistic AfriFrye director Jo-Anne Birnie Danzker. They’ve can national flags following colonial independence. outsourced the job, which is not necessarily a bad (Traces of Islamic art and calligraphy are also

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Opening Friday PThe Creeping Garden

This Slime Will Not Be Denied!

Gordon-Levitt in a rare moment of repose.

Spanning History’s Divide The Walk reclaims ’70s magic, but takes decades to get there. BY BRIAN MILLER

towers becomes like Jack and the Beanstalk, David and Goliath. Anyone alive in 1974, like me, may prefer realism, but this isn’t that movie. (And in fact, Man on Wire relies heavily on reenactments.) The upbeat narration and score are slathered on thick, as is the joie de vivre. All is forgiven, however, in the thrilling last

20 minutes, which begin in silence split by the creaking 140-foot cable. The towers are magically restored, and Petit achieves a blissful Zen state of grace. Crucially, Zemeckis doesn’t overdo the 3-D; the mere fact of 110 stories below those delicate, toe-first steps gives all the tension we need. (Though he can’t resist—and nor should he—the corny old arrow-into-the-camera trick when Petit’s crew sends the first fishing line across.) It’s an enchanted interval, even if we know the safe outcome. Inevitability works in The Walk’s favor, in part because we, like Zemeckis, want to see that lost New York moment restored—to freeze the happiest frame in history’s cruel newsreel. Though Petit here keeps insisting on the artistry of his feats, as opposed to vulgar stunts, The Walk puts you in mind of the physical nature of Chaplin’s and Keaton’s cinema. This blandly written Walk would work just fine—possibly better—as a silent movie. Gordon-Levitt and company are just a little too broad and antic, like clowns being projected at the wrong speed. Yet Petit’s real daring is like those real clowns of the silent era who performed their own stunts—often, like him, without a net. So while The Walk uses the very newest digital tricks and techniques, it’s also a satisfyingly old-fashioned picture. 1974 never looked so good, so happy, so innocent—and isn’t it nice to remember it that way? E

bmiller@seattleweekly.com

Slime molds should not be classified with fungi, actually, as they were long ago determined to be a separate family. After the shock of that wears off, we can ask: What is slime mold? As we learn here, it’s a substance somewhere between vegetable and animal, a gunky goo that lives in dark places in the forest. When confronted with a food source—in the lab, they really dig oats—slime mold will move inexorably toward the object of its appetite until it overwhelms and absorbs it. In other words, The Blob was less fantastic than anyone dreamed. (The premise of Invasion of the Body Snatchers, of spores drifting through space, gets support, too.) Directors Tim Grabham and Jasper Sharp use time-lapse photography to show how slime mold extends its tendrils and crawls along (it can work its way through a maze), all the while throbbing uncannily. Slime mold even makes music, of a sort; we hear its murmurs digitized and then played on a piano. The movie itself has a terrific, DavidLynch-on-Forbidden-Planet soundtrack devised by Jim O’Rourke. The Creeping Garden is also notable for its people, including artist Heather Barnett and an erudite early-cinema expert. And there’s a young American working in the Kew archive, cheerfully obsessed with his collection of samples. (He brings to mind Henry Fonda’s herpetologist in The Lady Eve, who avers that “Snakes are my life” while Barbara Stanwyck is trying to seduce him.) They’ve all been absorbed by slime mold, you might say. For 81 minutes, you will be, too. (Grand Illusion. Not rated.) ROBERT HORTON

He Named Me Malala Don’t Worry, She’ll Survive This Movie, Too

A few years ago I revisited a book I hadn’t looked at since an assigned high-school reading many years earlier. Which is how I was reminded that Anne Frank’s diary is not only an important Holocaust document, but a magnificent piece of writing by a singular author. So much official veneration had stuck to Anne Frank over the years that it was startling to hear her lively, witty, soulful voice come springing off the page. She deserves better than to be relegated to sainthood. I had similar thoughts while watching this

SE ATTLE WEEKLY • O CTOBER 7 — 13, 2015

Petit has a half-dozen merry accomplices, t was an ordinary Wednesday like any other and each gets a note or two to play, but they’re at the World Trade Center. America was immediately forgotten when he steps into the newly at peace, and Nixon would resign void. (Ben Kingsley’s grumpy Slavic circus the following day, stealing the headlines mentor doesn’t even cross the pond.) This is a from a different sort of lawbreaker. So while love story, or two of them: one between wire-walker Philippe Petit would become Petit and the towers, the other world-famous at age 25, he receded between Zemeckis and the golden from memory until that terrible Continues at past. His best movies, including Tuesday in 2001. The twin towers Pacific Science Center, Forrest Gump and the Back to had been invested with “a soul” Thornton Place, Sundance, the Future trilogy, have always by Petit’s 1974 feat, argues The and others. been filled with a nostalgic yet Walk, which draws from his 2002 Rated PG. commercial yearning. Born in book To Reach the Clouds (as did 123 minutes. 1951 (two years after Petit), he’s the Oscar-winning 2008 doc Man evoking an America he knows is on Wire). Thus director Robert Zemgone. Though here he gets to expand eckis is seeking to restore some of that his retro palette to the miniskirts, Gauloises, vintage soul, though rendered with IMAX 3-D digital technology—a far cry from Petit’s stealthy and Citroëns of post-de Gaulle France, to an almost Euro-Disnified extent. If Petit pedals handiwork. around Paris on a unicycle wearing a mime’s The Walk opens with Joseph Gordon-Levitt costume and black top hat, you might think, in your face, and if you’re put off by this relent“No, that’s just too stereotypical to be true.” lessly chipper, French-accented narrator, you But we see the same scenes in Man on Wire— may want to duck out of the theater until the Petit is a performer who believes firmly in the 20-minute finale. The ebullient Petit is, as we conventions of his craft. (His obdurate, childknow from the doc, a tremendously animated ish optimism makes him the anti-Evel Knievel fellow. He’s a showman who’s essentially been of their day, when airplane hijacking was comdining out on his coup for 40 years. Gordonmon and security lax.) Levitt is strenuously charming in the role, Also, in an age before YouTube and GoPro, which Zemeckis sugarcoats with still more Petit documented most of his rehearsals and charm during the long Parisian preliminaries, feats on film—giving both Marsh and Zemand the effect is like watching Amélie 30 times eckis an impeccable template to follow. The in a row. So much jollity and good cheer is Walk thus feels faithful to Petit’s story, espeexhausting. Perhaps sensing our fatigue—get to cially to those who’ve seen the doc, though the the towers already!—Zemeckis keeps cutting ’70s now seem CG-scrubbed and sanitized. back to Petit’s narrative perch on the torch of This isn’t the festering New York of the folthe Statue of Liberty. (Manhattan’s cropped lowing year’s Daily News “Ford to City: Drop skyline is kept at a discreet distance.) The Walk Dead” headline; Zemeckis is aiming for a takes a mostly chronological approach to reach mythic sheen—burnished and heightened by August 7, unlike the suspenseful intercutting of more than just memory’s glow. Petit and the James Marsh’s Man on Wire.

Let us dispense with the jokes about films with unusual topics: Yes, if you have to see one movie about slime mold this year, this is it. Yes, The Creeping Garden is the Citizen Kane of slime-mold movies. Now that that’s out of the way, let’s state that Garden is indeed a fascinating film about slime mold, and that it fulfills the documentary objective of informing us about a subject we know little about. The film flies bravely in the face of the world’s ignorance of slime mold, in fact. We visit a British specimen collection in the fungus department of an archive in Kew Gardens, where the curator wistfully notes that very few people request access to the slime-mold section. Those who do are in for a treat: dozens of tiny, dried samples of slime mold, resting in wee boxes with labels handlettered by some long-forgotten enthusiast from the 1920s.

» CONTINUED ON PAGE 28 27

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new documentary about Malala Yousafzai. She was 15 years old when she became world-famous © 2015 PEACE OFFICER, LLC PEACEOFFICERFILM.COM after being shot in the head by the Taliban; she SEATTLE SUNDANCE CINEMAS SEATTLE had offended their religious beliefs by speaking 4500 9th Ave NE, Reserved Seats +21 All Shows www.sundancecinemas.com 1424 Queen Anne Ave N out in favor of education for girls. Since recovering from her injury, she’s published a book, bonded 1424 Queen Anne Ave N with Bono, and secured a Nobel Peace Prize. And I repeat: She deserves better than sainthood. 2.31" X 3" WED 10/07 He Named Me Malala is directed by Davis GugSEATTLE WEEKLY genheim, who copped an Oscar for the Al Gore lecture An Inconvenient Truth. The film takes the DUE MON 4PM bainbridgeperformingarts.org stock documentary approach, with interviews and music and animated sequences. But it’s a pleasure Book and Lyrics by Gerome Ragni and James Rado to watch, solely for the sake of seeing Yousafzai in Music by Galt MacDermot • Produced for the Broadway Stage action and in interviews. She still has some nerve by Michael Butler • Originally Produced by the New York damage from the 2012 attack, yet appears just as Shakespeare Festival Theatre • Produced by special sharp and articulate (and funny) now as in footarrangement with Tams-Witmark Music Library, Inc. age taken before the shooting. She’s bossy when she lords it over her two younger brothers, girlish AE: (circle one:) Artist: (circle one:) ART APPROVED when she refuses to admit that her fascination Emmett Heather Carrie Jane Josh AE APPROVED with certain handsome cricket players might have something to do with how hunky they are. Ronnie Steve Maria Tim CLIENT APPROVED The film is meant to be inspirational, so there isn’t much to moderate the adoring portrait. GugConfirmation #: genheim raises a few probing questions: How dark did it get for Yousafzai during her recuperation? Did her activist father rush her into the role of rebellious spokesperson, a dangerous spot for a female in Pakistan? (Their family now lives in exile in England.) These issues are not pushed—this isn’t investigative journalism, but a film with a cause. (The cause is female empowerment, but it would be nice to be WALK-INS reminded that offending someone with speech WELCOME! should not be a capital crime.) The delightful thing 7 DAYS A WEEK! is that Yousafzai is too distinctive to simply stand on 10 AM - 8 PM a pedestal for a do-gooder movie. Her quick, observant personality comes shining out of this project, as though eager to move past her biographer and get on with it. She’ll be heard from again. (Guild 45th, Lincoln Square, and Lynwood-Bainbridge Is). Rated PG-13. 88 minutes.) ROBERT HORTON

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99 Homes Would You Buy From This Guy?

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American director Ramin Bahrani is unusual among his peers for having such strict concern for what might be called the moral failings of capitalism. All his films show us small players pitted against large, uncaring economic forces. It doesn’t always work dramatically. Man Push Cart (2005) had a sparse, neorealist integrity, while the recent saving-the-farm picture At Any Price felt more didactic and melodramatic. So here comes the Great Recession, being felt in the collapsed real-estate bubble of 2010 Orlando. Bahrani has something to say about subprime lending and collateralized debt obligations, about profitable foreclosures and defrauding Fannie Mae, and he

Our heroine in her new English home.

wants to make the human cost very clear. This is not the same thing, however, as writing vivid characters and dialogue. As was the case with so many houses sold before 2008, 99 Homes presents well, but you soon start to notice the structural defects. Clear villain, clear hero: Rick (Michael Shannon) is the real-estate shark who specializes in acquiring, emptying, and flipping homes in foreclosure; Dennis (Andrew Garfield) is the construction worker who will lose such a home and, per screenwriting contrivance, later find himself in Rick’s shady employ. (This secret he keeps from his mother, played by Laura Dern, for most of the movie, because her belated reaction is ours—Are you fucking kidding me?!?) Shannon’s reasons for signing on are clear: He’s expecting a delicious evil role, an indictment of the whole rigged game. And he gets those damning lines to deliver, only without the villainous poetry of Gordon Gekko or Ricky Roma. Such memorable creations by Oliver Stone (in Wall Street) and David Mamet (Glengarry Glen Ross) stood on their own, apart from the dishonest system. “America doesn’t bail out losers,” says Rick, while tempting Dennis to the dark side. “America bails out winners.” True, but might we not expect such cynical screen winners to be more eloquent than Trump? Leaden rhetoric aside, what stays with you here is the stinging shame felt by evicted families having their possessions dragged to the curb. Bahrani plays that primal scene repeatedly, along with a sad montage of seemingly real faces whom Dennis is unhappily evicting. (He and his homeless family drive like the Joads to a cheap motel, full of stunned fellow evictees.) It gets numbing, which is partly Bahrani’s point. But pathos is easy, just as later pulling out a gun is a shortcut to drama. Plumbing the depth of the financial crisis, or of character, is a much harder job. Dennis hasn’t got the dimensions of a tragic figure; and the lightweight Spider-Man graduate Garfield can’t provide any heft or real anger. Shannon is excellent as always, fire glinting in his eyes, but Rick’s bitterness also comments on the movie. Can’t we do better? he implicitly asks. And Why are we stuck with this crummy system? (He would’ve been better cast as Dennis, perhaps with Alec Baldwin as Rick.) Bahrani’s intentions are entirely admirable, and 99 Homes will be viewed with sympathetic, fresh-seared memory. (As an interesting companion piece at the Varsity this week, see Time Out of Mind, with homeless protagonist Richard Gere.) If the movie doesn’t work, Rick’s advice about buying houses is still sound: “They’re boxes. Don’t get emotional about real estate.” (Sundance, Meridian, and Oak Tree. Rated R. 112 minutes.)

BRIAN MILLER E

film@seattleweekly.com

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rthur Miller’s well-wrought lyrical tragedy still resonates, though at different frequencies than in 1956. Back then, the issue of informing on illegal immigrants was mostly symbolic. New York theater audiences would know how the famously liberal Miller refused to name names during the HUAC hearings, three months before A View From the Bridge debuted as a revised two-act. He lost his passport privileges and was denied a visa in retaliation. Times have changed, and yet they haven’t. Scott Bradley’s set for this kitchen-sink Potter and Zeisler in a downfall is a striking collage of disparate marital stalemate. elements, like the neighborhood it synecEddie starts with some personal dignity dochizes, Brooklyn’s Red Hook waterfront. despite his already outsized feelings for CathTo the audience’s left, giant tunnel openings erine. One could imagine that if he could just gape within towering stone walls. Midstage, a keep her like a faithful pet under his roof, nothsmall living room seems squeezed from all directions. Above are tenement windows, steel girders, ing sexual would ever need transpire. (More’s the pity for Bea, who sorely misses his attentions.) and hints of skyline that induce Joseph StellaBut Catherine wants to work, which Eddie takes like vertigo. The sidewalk below and a steep, as a personal slight, and with the arrival of the fateful staircase to our right add more precarious handsome guests, his bonhomie officially starts planes. Together they frame a living, breathing to curdle. There are some hilarious Archie Bun3-D family portrait with epic overtones, realker-like moments when Eddie suffers ized with great tension and sensitivity by the younger men’s talents—RodolBraden Abraham. Seattle pho’s singing and Marco’s brute Quick summary: Eddie Carbone Repertory strength—like so many root canals. (Mark Zeisler)—part everyTheatre Eddie, vanquished in his armchair, man longshoreman, part figure 155 Mercer St. (Seattle laments about Rodolpho, “He’s a of mythical torment—loves his Center), 443-2222. cook, too.” Could Eddie’s obsesniece Catherine (Amy DanSee seattlerep.org sion with Catherine be masking neker), whom he and his devoted for schedule. his own homosexuality? A scene wife Bea (Kirsten Potter) have been Ends Oct. 18. where Abraham has him help Beatrice raising since the 18-year-old’s parents undo wreath ribbons—unlikely in the died when she was a child. Eddie loves ’50s—hints as much. Catherine a lot, which is to say too much (can For the role of Bea, whose suffering must we say obsession?), while she loves him about the permeate the room even when not spoken of, right amount (normal filial affection). Into this it helps to have an actress with a tragic “restimbalance pour Bea’s two cousins, straight off ing face.” When I saw this play at Long Wharf the boat from Sicily: Marco (Brandon O’Neill) in New Haven in (gulp) 1982, Rose Gregorio must work to send money home to his impoverbrought that naturally endowed agony, in the ished wife and sick children; singleton Rodolpho spirit that Anna Magnani did for so many films. (Frank Boyd) is meanwhile free to enjoy the Potter’s prodigious talent must compensate for fruits of his own (illegal) labor. Rodolpho and the devastated topography her face lacks, and Catherine hit it off and want to get married. to a laudable extent it does. Her heavy bearing Eddie hits the roof, and the rest of the play follows the chain reaction—surprisingly engrossing, contrasts effectively with Danneker’s kinetic, almost spastically enthusiastic Catherine. In that though surprise-free—as the volatile human role she’s a revelation, all features and limbs and ingredients detonate. smarts. She easily sells Catherine as both Eddie’s Abraham’s cast is delectable, starting with muse/enchantress and Rodolpho’s gullible mark. Alfieri, the sage lawyer in this tight-knit Ital(Boyd cultivates just enough moral ambiguity for ian community, who comments on the action. Rodolpho that we can’t dismiss Eddie as being He’s played by Leonard Kelly-Young with such completely paranoid.) crinkly-faced bemusement that we would autoImmigration, as we know from Trump and matically take interest in anything that interests company, is back in the news. This makes View him. His oracular tone and lofty references to almost but not quite topical. (Would the Miller the commingling of ancient Greek, Roman, and estate permit a free update—with the Carbones African influences in Sicily draw us skyward— becoming the Hernandez family, newly arrived the higher to fall from. Alfieri confides to us that from Ciudad Juárez?) The play remains wrenchhe “settled for half,” by which he means he laid ingly cathartic, if not a transcendent classic. But down his tools of vengeance in exchange for the the set’s high walls do suggest a barrier forbidlaws and conveniences of civilization. It’s a tradding enough to please the GOP. I only wish the eoff that some other Italians in the hood haven’t text also bridged us to current conflicts. E made, as they welcome illegal relatives and retain pistols and knives for settling grievances. stage@seattleweekly.com

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HANDEL MESSIAH WEDNESDAY, DECEMBER 30, AT 7:30PM SATURDAY, JANUARY 2, AT 8PM

BEETHOVEN SYMPHONY NO. 9 THURSDAY, NOVEMBER 5, AT 7:30PM FRIDAY, NOVEMBER 6, AT 12 NOON SATURDAY, NOVEMBER 7, AT 8PM

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BRAHMS VIOLIN CONCERTO SUNDAY, NOVEMBER 8, AT 2PM

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THURSDAY, APRIL 21, AT 7:30PM SATURDAY, APRIL 23, AT 8PM

TCHAIKOVSKY ROMEO & JULIET THURSDAY, APRIL 28, AT 7:30PM SATURDAY, APRIL 30, AT 8PM

BEETHOVEN PIANO CONCERTO NO. 4 FRIDAY, MAY 6, AT 8PM SATURDAY, MAY 7, AT 8PM

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SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

IN RECITAL

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JAMES OWEN’S

BRUCH VIOLIN CONCERTO NO. 1

CLASSICAL MYSTERY TOUR: A TRIBUTE TO THE BEATLES

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WITH THE SEATTLE SYMPHONY

THURSDAY, DECEMBER 3, AT 7:30PM SATURDAY, DECEMBER 5, AT 8PM SUNDAY, DECEMBER 6, AT 2PM

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PICKLIST

Thursday-night series, in its 38th year, continues tonight with Robert Montgomery’s sizzling 1947 Ride the Pink Horse, with the director playing a mysterious, vengeful stranger. (The title refers to a carousel ride at the town carnival.) Noir influence extends all the way to David Fincher’s brooding and twisted Zodiac (2007), which concludes the retrospective. And you’ll see the evolution of the genre through signature films including One Way Street, Nightfall, and The Bigamist. (Through Dec. 10.) Seattle Art Museum, 1300 First Ave., 6543121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m. SCOTT JOHNSON

OCTOBER 9

Friday

PHIL CARUSO/LIONSGATE

Patrick Wensink

OCTOBER 7

Wednesday Grand Rapids Ballet

Patricia Barker was a cornerstone of Pacific Northwest Ballet for more than 20 years, honing her skills as a ballerina while past artistic directors Kent Stowell and Francia Russell built the company from a scrappy regional ensemble to one of the major ballet companies in the U.S. When Barker retired in 2006, she took all those experiences with her to the Midwest. As artistic director of the Grand Rapids Ballet, she set about replicating some of the lessons she learned here. She’s bringing the results back to Seattle when her company performs a pair of bills this weekend, including fellow PNB alum Olivier Wevers’ lighthearted A Midsummer Night’s Dream. (Through Sunday.) Cornish Playhouse, 201 Mercer St. (Seattle Center), 800-838-3006, brownpapertickets.com. $52–$57. 7:30 p.m. SANDRA KURTZ

Her sophomore LP, Burn Your Fire for No Witness, not only boasted one of 2014’s great album titles, but was one of the year’s best records, period. In a mix of sparse, vulnerable dirges and chugging indie rock, Olsen segues from chanteuse to riot grrrl, Leonard Cohen to PJ Harvey, across the album’s 11 tracks, which were recorded mostly live in an old building, her delicate soprano filling the cavernous space. The 28-year-old grew up in St. Louis before relocating to Chicago, where she found work as a backup singer with Bonnie “Prince” Billy, which provided a glimpse into the life of a touring musician. “You could be in the most beautiful, exotic place ever,” she told Slug magazine about the experience, “but you still want to play an awesome show. And if a sound guy pisses you off, your night could be ruined.” She’s since moved again, this time to Asheville, N.C., where she’s working on her follow-up LP. “There’s room to breathe here. Chicago’s such a great town, but when you come back from tour, it’s not a very

soft landing.” Neumos, 925 E. Pike St., 709-9442,

neumos.com. 21 and over. $16. 8 p.m. DAVE LAKE

OCTOBER 8

Thursday Seattle Lesbian & Gay Film Festival

Though not quite old enough to drink (at 20), this year’s SLGFF should inspire plenty of post-film drinking and conversation among festivalgoers. Among those topics should be: Julianne Moore, playing the martyr/victim again? Yes, hot off her Oscar-winning Alzheimer’s weepie Still Alice, she’s a New Jersey cop with terminal cancer in the festivalopening Freeheld, in which lesbian partner Ellen Page (really?) battles for the pension rights, this being the pre-marriage-equality era. (The 2007 short Freeheld told the same true story.) But those bad old days are gone, and there’s much to celebrate on the SLGFF slate. Kristen Wiig stars in the dark family comedy Nasty Baby, from Sebastián Silva (The Maid, Crystal Fairy), who knows how to upset polite conventions. Also to recommend are the roundelay Beautiful Something and Portrait of a Serial Monogamist, which take very different approaches to hook-up culture among men and women, respectively. And for those who abhorred Stonewall ’s version of history, docs here include the fabulous The Cellulloid Closet (also 20 years old), Tab Hunter Confidential, Out to Win (about gay athletes), and Drag Becomes Him, which profiles local drag star Jinkx Monsoon. Over 50 features and 100-odd shorts shorts run through October 18, with various parties, panel discussions, and performances on the schedule. (Venues also include Pacific Place and Northwest Film Forum.) SIFF Cinema Egyptian, 801 E. Pine St., three dollarbillcinema.org. $30–$33 (includes afterparty at Grim’s). 7:15 p.m. BRIAN MILLER

Steven Pinker

Famed for his unruly hair, big brain, and wideranging interests, this Harvard polymath usually tends to write on weighty subjects—the acquisi-

tion of language, the origins of human violence, etc. New in paper, Pinker’s The Sense of Style (Penguin, $17) is a more practical manual on a subject too often neglected in academia and the broader culture: clear prose. From the ancient Greeks through E.B. White, lucid literary style has been revered and upheld against barbarians, but it seems everywhere under assault today on Facebook and Twitter, in text messages, and everywhere else sentences are mistyped (or errantly supplied by the auto-fill function). Pinker isn’t telling the Internet to get off his lawn. Rather, using charts, diagrams, popular examples, and even cartoons, he takes a modern, reasonable approach to the evolution of language during turbulent times. (The book’s subtitle: “The thinking person’s guide to writing in the 21st century.”) For example, when it comes to the dreaded he/she/they pronoun trap, he cites canonical instances from Jane Austen and George Bernard Shaw where the singular they—encompassing both sexes, extending a sentence’s scope to all humanity—is perfectly fine and even preferable to restricted gender. “Indeed, ‘singular they’ is a misnomer,” Pinker writes. He compares it to a variable like x in a mathematical equation. Uncertainty is baked into the pie . . . er, sentence. And if you don’t want that variability, turn the pie/sentence around. Thus Austen’s “Every body began to have their vexation” becomes Pinker’s “Every body began to have a vexation.” Does it read as well? No, but he wants you to consider the difference. Town Hall, 1119 Eighth Ave., 652-4255, townhall seattle.org. $5. 7:30 p.m. BRIAN MILLER

Nightfall

Brooding nightclubs, dark alleyways, private detectives, femmes fatales, gravel-voice narrators, and mysteries abound in SAM’s annual fall noir celebration. Sure, the genre’s golden period lasted from the ’40s through the ’50s, arguably ending with Touch of Evil, but its legacy lives on. You cannot look at recent films like Sin City or even Drive without feeling its influence. This

N.E., 523-0210, ravennathirdplace.com. Free. 7 p.m. MARK BAUMGARTEN

OCTOBER 10

Saturday Wayne Horvitz

His new album Some Places Are Forever Afternoon (Songlines, $14) comprises 12 instrumentals for seven players, each linked to a poem by the iconic poet Richard 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 in The Triggering Town, 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 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.” These two Earshot Jazz Festival concerts also celebrate Horvitz’s 60th birthday. Each of Hugo’s dozen source poems will be read after the compositions they inspired. Cornish College, 710

E. Roy St., earshot.org. $14–$28. 8 p.m. (Also: Steve Cox Memorial Park, 1321 S.W. 102nd St. Free. 6 p.m. Sun.) GAVIN BORCHERT E

SE ATTLE WEEKLY • O CTOBER 7 — 13, 2015

Angel Olsen

Page (left) and Moore in Freeheld, which opens Friday at the Guild 45th.

Three years ago, Wensink rocketed to the top of the Amazon bestseller list by the most unlikely means: a cease-and-desist letter from Jack Daniel’s that politely requested the Louisville author change the cover design of his second novel, Broken Piano for President, which bore a striking resemblance to the whiskey’s trademark black label. Wensink, a humorist who employs the tools of improvisation in his absurdist novels, complied with the request but shared the letter with the Internet to keep the gag going. “Yes, and . . . ”, as it were. Fortunately for the thousands who snatched up the first pressing with the illicit cover, Wensink is actually a delight to read. His characters are larger than life, sometimes deeply flawed, but always rooted in a humanity. Wensink always keeps the jokes tethered to reality and steeped in empathy. His latest, Fake Fruit Factory (Curbside Splendor, $16.95), is an ode to the author’s Rust Belt roots, a story about a small Midwestern town in decline and under threat from an earthbound satellite. It’s funny, compelling, and maybe not as ridiculous as it first seems. (Also appearing, Chris Bower will read from his story collection Little Boy Needs Ride.) Ravenna Third Place, 6500 20th Ave.

CALENDAR

ing teacher Fiona (Jonelle Jordan) while trying to cure his cat fetish. The other three intersecting stories we see enacted are written by Dave (cartoonishly badly) as homework for Fiona’s class, and take place in 1) the ancient Greece of Leda’s marriage to boorish Tyndareus, 2) Michelangelo’s Renaissance Italy, as the artist paints the swan scene, and 3) Edwardian England, where the painting hangs in the home of a stuffy mogul and his wife. In concept, exploring the shame and comedy of deviance through what the Leda myth means to a series of personable pervs sounds serviceable, if not exactly ravishing. In practice, though, it founders on multiple fronts and loses dramatic momentum. Ali Mohamed el-Gasseir directs Rosenstock’s fractured mishmash. MARGARET FRIEDMAN 12th Avenue Arts, 1620 12th Ave., 325-5105, washingtonensemble.org. $15–$25. 7:30 p.m. Mon.–Thurs. Ends Oct. 12.

KATHYGRIFFIN.COM

SKID ROAD: ASH TO GOLD

Don’t pretend you’re too good for Kathy Griffin, Sunday at the Snoqualmie Casino.

STAGE Openings & Events

BECHDEL TEST BURLESQUE The

informal rule of thumb for determining how a film treats its female characters is the basis for “the geekiest, most feminist burlesque show in the history of burlesque shows.” Re-Bar, 1114 Howell St. $20–$35. 7:30 p.m. Fri., Oct. 9–Sat., Oct. 10. CARNIVAL An evening of burlesque to benefit Planned Parenthood stars Luminous Pariah, Randi Rascal, and many others. ACT, 700 Union St., brownpapertickets.com. $40–$100. 7 p.m. Sat., Oct. 10. DEAR BRUTUS A reading of J.M. Barrie’s 1918 play by the Endangered Species Project. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$25. 7 p.m. Mon., Oct. 12.

SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

ELEPHANT & PIGGIE’S “WE ARE IN A PLAY!” A new musical

adaptation of Mo Willems’ book series. Seattle Children’s Theatre, Seattle Center, 441-3322, sct.org. $22–$40. Preview Oct. 8, opens Oct. 9. 7 p.m. Thurs.–Fri., 2 & 5:30 p.m. Sat., 11 a.m. & 2:30 p.m. Sun. Ends Nov. 29. FELT-A-CON A day of puppetry activities (10 a.m.–5:30 p.m.), ending in a Fussy Cloud Puppet Slam performance at 8. Theatre Off Jackson, 409 Seventh Ave. S., theatreoffjackson. org. $55–$70. Sat., Oct. 10. ■ KATHY GRIFFIN Down-anddirty Hollywood dish. Snoqualmie Casino, 37500 S.E. North Bend Way, Snoqualmie, snocasino.com. $55–$85. 7 & 9 p.m. Sun., Oct. 11. HAIR “The American tribal loverock musical” returns. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. $19–$27. Preview Oct. 8, opens Oct. 9. 7:30 p.m. Fri.–Sat., 3 p.m. Sun., plus 7:30 p.m. Mon., Oct. 19. Ends Oct. 25. IMMERSIVE EVENING Stories of the Asian-American immigrant experience in conjunction with Seattle Rep’s A View From the Bridge and staged in the rooms of the Wing Luke Museum, 719 S. King St., 443-2222, seattlerep. org. $20. 7 p.m. Tues., Oct. 13.

KEEP IT UP! Stripped Screw

celebrates six years of ecdysiasm. Columbia City Theater, 4916 Rainier Ave. S., strippedscrewburlesque.com. $22–$26. 9 p.m. Sat., Oct. 10. KEITH AND THE GIRL Keith Malley and Chemda, from NYC, bring their podcast comedy talk show to Conor Byrne Pub, 5140 Ballard Ave. N.W., keithandthegirl.com. $21.50–$48.40. 6:30 p.m. Fri., Oct. 9. MOLLY SWEENEY A blind woman regains her sight in Brian Friel’s 1994 drama. Presented by KTO Productions. Theater Puget Sound, 305 Harrison St., brownpapertickets.com. $15–$18. Opens Oct. 8. 7:30 p.m. Thurs.–Sat. plus Mon., Oct. 12. Ends Oct. 24.

Current Runs

THE ADDAMS FAMILY The musical based on the “altogether ooky” sitcom family. Burien Actors Theatre, 14501 Fourth Ave. S.W., Burien, 242-5180, burienactorstheatre.org. $10–$20. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Nov. 1. ■ AMERICAN IDIOT Though this rock musical’s source material, Green Day’s angry album about post-9/11 America, was recorded in 2004, its lyrics gained currency six years later on Broadway. The pardonably puny plot has aspiring rockers Johnny, Tunny, and Will fleeing their ho-hum suburban lives. However, this leads each to their personal Dante’s inferno. Under Eric Ankrim’s expert direction, the energetic 32-person ensemble encapsulates the gloom of a generation growing up in a polarized, post-Patriot Act America. ALYSSA DYKSTERHOUSE 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. THE ART OF BAD MEN Vincent Delaney’s new WWII POW camp drama is based on interviews with actual prisoners—German ones, from a camp in Minnesota. theLAB@ Inscape, 815 Seattle Blvd. S., maptheatre.com. Name your own price. 7:30 p.m. Thurs.–Sat. Ends Oct. 17. ■ BAD JEWS There’s nothing fiercer (and potentially funnier) than an interfamily squabble, unless it’s an interfaith squabble. Joshua Harmon’s 2012 comedy is both those things, as

devout Vassar student Daphna (Anna Kasabyan) battles her secular cousin Liam (Ian Bond) for possession of a recently deceased grandfather’s notvery-valuable but deeply symbolic heirloom chai necklace that survived (with him) through the Holocaust. Which cousin more deserves the precious keepsake? Daphna is the aggressively “good Jew” who casts grad student Liam—who’s ill-advisedly brought along his shiksa girlfriend Melody (Molli Corcoran), from a ski trip, no less! Do Jews even ski?—as the bad variety. However pious Daphna may claim to be, she batters poor Melody mercilessly. And Liam (birth name Shlomo) must defend himself, his faith, and his punching bag of a girlfriend. (Daphna to Melody: “Where did your family come from before they moved to Delaware to commit genocide?”) Eventually Liam’s meek brother Jonah (Ben Phillips) reluctantly enters the fray, directed by Shana Bestock. Let’s hope your Passover gathering isn’t anywhere near as fractious, or familiar, as this one. BRIAN MILLER Seattle Public Theater, 7312 West Green Lake Dr. N., 524-1300, seattlepublictheater. org. $17–$34. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Oct. 25. BLACK FLAG Jet City’s “interactive pirate comedy” asks for your help with the details. 5510 University Way N.E., jetcityimprov.org. $12–$18. Opens Oct. 1. 8 p.m. Thurs.–Fri. Ends Nov. 20. ■ BLOOMSDAY Spritely 20-year-old Caithleen (Sydney Andrews) is leading a Ulysses walking tour through “James Joyce’s Dublin”; on the tour is American academic Robert (Peter Crook), who loathes the book. In the confusing first act of Steven Dietz’s premiere, he’s toying with time, though the purpose of this temporal tango is frustratingly murky. MARK BAUMGARTEN ACT Theatre, 700 Union St., 292-7676. $15–$20. Runs Tues.–Sun.; see act theatre.org for schedule. Ends Oct. 11. BRASS The first chapter in Louis Broome and John Longenbaugh’s England-set, steampunk-tinged serial. Theater Schmeater, 2125 Third Ave., 800-838-3006, battlegroundproductions.org. $10–$29. 10:30 p.m. Fri.–Sat. Ends Oct. 10.

CAMPFIRE Unexpected Productions improvises ghost stories. Market Theater, 1428 Post Alley, unexpected productions.org. $10. 8:30 p.m. Thurs. Ends Nov. 19. THE COMEDY OF ERRORS opens Seattle Shakes’ 25th anniversary season. Seattle Repertory Theatre, Seattle Center, 733-8222. $27–$50. 7:30 p.m. Wed.–Sat. plus weekend matinees; see seattleshakespeare.org for exact schedule. Ends Oct. 11. DRACULA A new adaptation of Bram Stoker’s vampire classic. Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Oct. 31. LISTENING GLASS Seattle Immersive Theatre invites you to 2724 Sixth Ave. S. to watch a realistic-aspossible police interrogation. seattle immersivetheatre.org. $35. 8 p.m. Thurs.–Sun. Ends Oct. 30. ■ THE MEMORANDUM When Václav Havel wrote this 1965 satire, his target was the communist bureaucracy. This adaptation is aiming a little closer to home—maybe South Lake Union. In a generic modern office, Josef Gross (Galen Joseph Osier) receives a memorandum seemingly written in gibberish. But it’s Ptydepe, a new language that has been adopted by the company to promote efficiency—and the MacGuffin of a searing critique of bureaucracy that should delight word nerds and office drones alike. MARK BAUMGARTEN 12th Avenue Arts, 1620 12th Ave., 800-838-3006, strawshop.org. $18–$36. 7:30 p.m. Thurs.–Sat. Ends Oct. 10. 99 WAYS TO FUCK A SWAN In this Washington Ensemble Theatre production, playwright Kim Rosenstock takes as her point of departure the old Greek myth: Zeus comes down from Olympus in the form of a swan to—depending on your perspective—rape or seduce Leda, who’s already married to the King of Sparta. She then then refracts the sexually perplexing myth through four parallel comedies set in different eras. The contemporary (main) one concerns sheepish kink-er Dave (Ryan Higgins), ambivalently courting his playwrit-

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.) 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. ■ TEATRO ZINZANNI Plus-one called it the best ZinZanni show he’s seen, and I see no reason to disagree. In “Hollywood Nights,” the company channels silver-screen glamour as Ron Campbell plays movie director Cecil B. DeGrille, who invades the theater with his crew and inspires dreams of stardom among the performers. In a TZ show, everyone multitasks, and here not only are the cirque stunts as dazzlingly skillful as usual, but the character work overall is a cut above the norm. I wish all opera singers were as comedically ferocious as soprano Juliana Rambaldi, who then turns around and delivers a sumptuous “Con te partirò.”And I still can’t figure out how Wayne Doba makes tap-dancing so affecting; his “Rainbow Connection” number is the show’s emotional high point, and I’ve never even liked the song. GAVIN BORCHERT Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends Jan. 31. TWILIGHT REALM Unexpected Productions’ improv parody of The Twilight Zone. Market Theater, 1428 Post Alley, unexpectedproductions.org. $10. 8:30 p.m. Sun. Ends Nov. 22. A VIEW FROM THE BRIDGE SEE REVIEW, PAGE 29. WATERFALL This new musical love story is set in the 1930s and based on the Thai novel Behind the Painting. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $15 and up. Previews begin Oct. 1, opens Oct. 15. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.– Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Oct. 25. WHAT WE TALK ABOUT WHEN WE TALK ABOUT LOVE Book-It begins

its 26th season with Jane Jones again directing her adaptation of Carver’s famed 1981 collection (updated from its last staging in 1998-99). Though fame came late, Carver was this state’s biggest literary star, an icon of Northwest letters. BRIAN MILLER Center Theatre

at the Armory, Seattle Center, 216-0833. $25–$50. 7:30 p.m. Wed.–Sat., 2 p.m. Sun., plus other matinees; see book-it. org for exact schedule. Ends Oct. 18. WORST TRIP EVER IN ALL CAPS!!! Jet City takes off on hilari-

ously negative online travel reviews. 5510 University Way N.E., jetcityimprov. org. $12–$18. Opens Oct. 3. 10:30 p.m. Sat. (except Halloween). Ends Nov. 21.

Dance

SAVANNAH FUENTES This fla-

menco dancer’s new show, with live music, is “Northern Lights.” Columbia City Theater, 4916 Rainier Ave. S., columbiacitytheater.com. $23. 8 p.m. Wed., Oct. 7. ■ GRAND RAPIDS BALLET SEE THE PICK LIST, PAGE 31. ■ 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. SANDRA KURTZ Velocity Dance Center, 1621 12th Ave., velocitydancecenter.org. $15–$50. 8 p.m. Fri., Oct. 9–Sun., Oct. 11. CARMONA FLAMENCO Traditional music and dance. Café Solstice, 4116 University Way N.E., fanw.org. $15–$20. 8 & 9:30 p.m. Sat., Oct. 10.

BOLSHOI BALLET AT THE MOVIES

Giselle on the big screen; see fathom events.com for participating theaters. $12.50–$15. 12:55 p.m. Sun., Oct. 11.

Classical, Etc.

SEATTLE SYMPHONY Strauss’

Also sprach Zarathustra, his sprawling, Nietzsche-inspired tone poem (I seem to recall it was used in some movie once), plus Britten and Dvorak. Benaroya Hall, Third Ave. and Union St., 215-4747, seattlesymphony.org. $21–$121. 7:30 p.m. Thurs., Oct. 8, 8 p.m. Sat., Oct. 10. ■ ETHEL This new-music string quartet is joined by Native American flutist Robert Mirabal. Meany Hall, UW campus, 543-4880, uwworldseries.org. $35–$40. 8 p.m. Thurs., Oct. 8. SEATTLE SINGS! Three days, 34 choirs, all free. Whew. St. Mark’s Cathedral, 1245 10th Ave. E. See seattlesings.org for full lineup. 7 p.m. Thurs., Oct. 8–Fri., Oct. 9, 10 a.m.– 9 p.m. Sat., Oct. 10. EASTSIDE SYMPHONY AllTchaikovsky; Alexei Girsh conducts. Redmond Performing Arts Center, Redmond High School, 17272 N.E. 104th St., Redmond, eastsidesymphony.org. $9–$12. 7:30 p.m. Sat., Oct. 10. ■ WAYNE HORVITZ SEE THE PICK LIST, PAGE 31. SEATTLE SYMPHONY A one-off with Lang Lang playing Grieg and Mozart piano concertos. Benaroya Hall, Third Ave. and Union St., 2154747, seattlesymphony.org. $87 and up. 2 p.m. Sun., Oct. 11. AUBURN SYMPHONY Anticipating Halloween with Night on Bald Mountain and Danse macabre. Plus some Brubeck. Auburn Performing Arts Center, 206 E St. N.E., Auburn, auburnsymphony.org. $10–$35. 2:30 p.m. Sun., Oct. 11. IWO FLUTE QUARTET More than four flutes, actually, on this concert headed by Cornish faculty member Paul Taub. PONCHO Concert Hall, Cornish College, 710 E. Roy St., cornish. edu. Free. Noon Mon., Oct. 12. ■ ANDRAS SCHIFF A bittersweet autumn program: the final piano sonatas of Haydn, Beethoven, Mozart, and Schubert. Benaroya Hall, Third Ave. and Union St., 215-4747, seattle symphony.org. $20 and up. 7:30 p.m. Mon., Oct. 12.

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IN THE ORCA BALLROOM SE ATTLE WEEKLY • O CTOBER 7 — 13, 2015

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2033 6th Avenue (206) 441-9729 jazzalley.com

calendar AUTHOR EVENTS

Seattle Center, seattlebookfair.com. 10 a.m.–6 p.m. Sat., Oct. 10, 11 a.m.–4 p.m. Sun., Oct. 11. PATRICK J. KENNEDY talks to KUOW’s Steve Scher about his advocacy for mental-health and substance-abuse research. University Temple United Methodist Church, bookstore.washington.edu. $28.95 includes a copy of his A Common Struggle: A Personal Journey Through the Past and Future of Mental Illness and Addiction. 7 p.m. Mon., Oct. 12. JULIE HOLLAND presents emotion-control advice in Moody Bitches: The Truth About the Drugs You’re Taking, The Sleep You’re Missing, The Sex You’re Not Having, and What’s Really Making You Crazy. Town Hall. $5. 7:30 p.m. Mon., Oct. 12. NADIA BOLZ-WEBER This Colorado Reverend’s plainspoken

MICHAEL GOLDING His novel A

PETER BERNSTEIN, LARRY GOLDINGS AND BILL STEWART WED, OCT 7

A hot mix of sensitivity, instinct and solid swing from three leaders of a moving trio

HOT TUNA ACOUSTIC THURS, OCT 8 - SUN, OCT 11

”Hot Tuna is a Psychedelic-Blues Institution.” - Rolling Stone

CHRISTIAN SCOTT TUES, OCT 13 - WED, OCT 14

One of the greatest jazz trumpet innovators of his generation.” - Concord

WILL DOWNING THURS, OCT 15 - SUN, OCT 18

The Prince of sophisticated soul returns in support of his new release Chocolate Drops!

FRANK GAMBALE TUES, OCT 20 - WED, OCT 21

Grammy winning guitar virtuoso! “His meteoric rise to fame is a testament to his passionpowered playing - a style Rolling Stone Magazine calls ‘ferocious’!”

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

tractor TIMES

DOORS 30-60 MIN. BEFORE. OPEN

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DALE WATSON & HIS LONESTARS

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OCTOBER 10

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SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

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TAV FALCO’S PANTHER BURNS FEAT MIKE WATT & TOBY DAMMIT 8PM - $12

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Poet of the Invisible World is set in 13th-century Persia. Elliott Bay, 7 p.m. Wed., Oct. 7. ROBERT PYLE This Washington author’s 1987 Wintergreen: Rambles in a Ravaged Land is being reissued, and he talks with David Guterson about it. Town Hall. $5. 7:30 p.m. Wed., Oct. 7; Bainbridge Island Museum of Art, biartmuseum.org. 7 p.m. Wed., Oct. 14. ■ RICHARD DAWKINS Brief Candle in the Dark: My Life in Science is the second volume of his memoir chronicling his life as a bastion of science and critic of religion. Town Hall. $33.99 (incl. book). 7:30 p.m. Wed., Oct. 7. EMILIE RAYMOND Stars for Freedom: Hollywood, Black Celebrities, and the Civil Rights Movement tells how Harry Belafonte, Sidney Poitier, and others put their careers on the line. Northwest African American Museum, naamnw. org. 7 p.m. Wed., Oct. 7. DEREK DIEDRICKSEN Housing costs getting you down? Try an idea from Microshelters: 59 Creative Cabins, Tiny Houses, and Other Small Structures. Third Place, 7 p.m. Thurs., Oct. 8. KIM HEACOX His new novel Jimmy Bluefeather is set among Alaska’s Tlingit people. Eagle Harbor Book Co. 7:30 p.m. Thurs., Oct. 8. WALLACE J. NICHOLS Living near water may have major neurological benefits. Blue Mind tells why. University Book Store, 7 p.m. Thurs., Oct., 8.

■ CAPITOL HILL ART WALK

Check out new art at Calypte, Rubix Apartments (featuring Karin Schminke), Vermillion, Dendroica (featuring drawings by Lisaann Cohn), Ghost Gallery, Richard Hugo House, and other venues. See capitolhillartwalk.com for map and all locations. 6-9 p.m. Thurs.

KAITLIN ROIG-DEBELLIS

Choosing Hope: Moving Forward From Life’s Darkest Hours is her memoir of surviving the Sandy Hook shootings. Town Hall. $5. 7:30 p.m. Thurs., Oct. 8. JULIE DEBRA NEUFFER Helen Andelin and the Fascinating Womanhood Movement tells of an overlooked corner of ’60s feminism. University Book Store, 7 p.m. Fri., Oct. 9. NIALL FERGUSON The controversial Brit talks about his Kissinger: Volume I: The Idealist, 1923–1968. Room 220, Kane Hall, UW campus. 7 p.m. Fri., Oct. 9. CHINELO OKPARANTA & MONTREUX ROTHOLTZ Poetry

from the latter; from the former, readings from her new Nigeria-set novel Under the Udala Trees. Elliott Bay, 7:30 p.m. Fri., Oct. 9.

■ THE BEST AMERICAN POETRY 2015 Sherman Alexie edited this

anthology; you surely heard the kerfuffle over his revelations about the selection process. He may offer more insight tonight. Hugo House, 7 p.m. Fri., Oct. 9. STACY BANNERMAN Homefront 911: How Families of Veterans Are Wounded by Our Wars tells of the toll on the homefront. Third Place, 6:30 p.m. Fri., Oct. 9. AMITAV GHOSH Flood of Fire concludes his historical trilogy about the opium wars. Town Hall. $5. 7:30 p.m. Sat., Oct. 10. SOPHIA AMORUSO From dumpster-diver to CEO of online retailer Nasty Gal: #GIRLBOSS is her story. Third Place, 6 p.m. Sat., Oct. 10. ■ DAVID B. WILLIAMS Why did they even bother to build a city here? Williams discusses his Too High and Too Steep: Reshaping Seattle’s Topography, about the Denny Regrade and more Seattle Public Library, 2 p.m. Sat., Oct. 10. SEATTLE ANTIQUARIAN BOOK FAIR Thousands of rare books,

prints, maps, photographs, and ephemera for sale. Exhibition Hall,

JAMIE ADAMS

JAZZ ALLEY IS A SUPPER CLUB

a.m.-6 p.m. Sat. 11 a.m.-5 p.m. Sun. Ends Nov. 30. SAM BIRCHMAN He shows new figurative paintings. Opening reception, 7-9 p.m. Weds. Form/Space Atelier, 98 Clay St., 349-2509. See formspaceatelier.com for hours. Ends Jan. 3. LAURA BRODAX Garniture shows her ner work on tile. Opening reception, 5-8 p.m. Thurs. Baas Art Gallery & Framing, 2703 E Madison St., 3244742. See baasframingstudio.com for hours. Ends Nov. 14.

Jamie Adams opens at Cloud Gallery, during the Capitol Hill Art Walk. memoir is Accidental Saints: Finding God in All the Wrong People. Seattle First Baptist Church, elliottbaybook. com. 7 p.m. Tues., Oct. 13. NANCY KRESS & BRENDA COOPER share their latest short-

story collections. University Book Store. 7 p.m. Tues., Oct. 13. ■ ROBERT SHILLER The free market may not be your friend; find out how in Phishing for Phools: The Economics of Manipulation and Deception. Town Hall, bookstore. washington.edu. 7:30 p.m. Wed., Oct. 14. ■ JOHN SEABROOK The Song Machine: Inside the Hit Factory tells you just what an industry the music industry truly is. Elliott Bay, 7 p.m. Wed., Oct. 14.

VISUAL ARTS Openings & Events

JAMIE ADAMS In Cooper’s Beastiary, he makes colorful new prints based on the work of early 20th-century type designer Oswald Coope. Opening reception, 6-9 p.m. Thurs. Cloud Gallery, 901 E. Pike St., 720-2054, cloudgalleryseattle.wordpress.com. 10 a.m-7 p.m. Mon.-Fri. 10

■ GEORGETOWN ART ATTACK

Warren Bernard presents Cartoons for Victory at Fantagraphics. Bastien Lecouffe Deharme, Marcela Bolivar, and Samuel Araya show new work at Krab Jab. Juliet Shen offers new paintings at Littoral, a new gallery opening Saturday. Jugs, a group show at the Alice, considers both the ceramic vessel and ugly faces. And all the studios at Equinox are open late. See georgetownartattack. tumblr.com for full list of venues. 6-9 p.m. Sat. TOM HOFFMANN Like Day and Night offers his watercolor scenes from city and country. Also on view, interior scenes from Anne Belov. Opening reception, 5-7 p.m. Sat. Fountainhead, 625 W. McGraw St., 285-4467. See fountainheadgallery. com for hours. Ends Oct. 31. LAURIE LE CLAIR Seeking to preserve their “spiritual DNA,” she creates small framed tableaux out of found materials (combs, pencils, broken eyeglasses, etc.) in Claim and Kin. Opening reception, 6-9 p.m. Thurs. Vermillion, 1508 11th Ave., 709-9797, vermillionseattle. com. 4 p.m.-midnight. Tues.-Sun., Ends Nov. 7.

MUSIC Wednesday, Oct. 7 ■ Whenever CAR SEAT

HEADREST comes up in con-

versation, I frequently find myself saying “Yeah, that guy came out of nowhere!”—which in reality couldn’t be further from the truth. The story of Will Toledo, a recent Virginia-to-Seattle transplant who just last month signed to venerated indie label Matador at the ripe old age of 22 is a surprise to most of us, but to his fans it was a long time coming. Toledo spent the past five years filling his increasingly popular Bandcamp page with album after album—12 sprawling records, to be exact, many with 15-plus tracks. While the style has ranged slightly between releases, Toledo’s lo-fi teenage malaise and Julian Casablancas’ cool-guy/sad-guy vocals remain a constant, a tone he’s blowing up to epic proportions on his upcoming major-label debut Teens of Style. It’s a very appropriate title given tonight’s show, a fundraiser for longtime stylish teen haven The Vera Project. All proceeds from booze sales go straight to the kiddos, but entry is free. With Tane (DJ Set). The Crocodile Back Bar. Free. 5 p.m. All ages (bar w/ID). KELTON SEARS RY COODER is an old dog, most

ANGEL OLSEN SEE THE PICK LIST, PAGE TK. With Lionlimb. Neumos. $16 adv. 8 p.m.. 21 and over.

Thursday, Oct. 8

■ Millions of Syrians have been displaced by the brutal civil war currently raging in their home country. It’s a huge problem, but it’s difficult to know what we Americans can do—aside from clicking “like” on some Trump-shaming Facebook post and turning to more immediate concerns. Here’s what you can do. Show up to this show, lay down some money for the International Rescue Committee, dance to the music of jazz-inspired synth-pop group HEATWARMER and experimental electro-saxophonist Skerik,

Seattle music fans might have caught a glimpse of Tito Ramsey a few years back when he bubbled up briefly with a few performances, including a notable one at Doe Bay Fest. But it took moving to Brooklyn for Ramsey to find his groove; he now returns to town with LEGS, a dance band that received notice last year for appearing on the soundtrack to the hit indie flick Obvious Child. The heart of the band’s sound is in disco beats and pulsing synths, but the soul is in Ramsey’s sweaty, kinetic performance and the discordant, ragged edges that frame the whole project as a truly human endeavor. With Glitterbang, Brent Cowles. Chop Suey. $12 adv./$15 DOS. 8 p.m. 21 and over. MB

Friday, Oct. 9

Thanks to local label Translinguistic Other, Seattle’s heady music fans might already know about Swahili, the Portland “space-funk” group. But it’s Seattle’s other perpetually out-there label, Debacle Records, that’s releasing the debut of Swahili synth player Joshua Lee Vineyard’s side project XUA. Mekong Moon is cobbled together out of field recordings from Vineyard’s recent trip through Southeast Asia, mixed with synth movements that sound straight out of a ’70s BBC science documentary, a creation he calls an “aural slideshow.” There’s a cheery, adventurous optimism to the album; it certainly sounds like something you’d make after some solid backpacking. With Panabrite, Joshua Medina & Paurl Walsh. Gallery 1412. $5–$15. 8 p.m. All ages. KS Nowadays, Malian guitar music has grown into a healthy niche market; you’ll find stacks and stacks of boutique vinyl featuring the stuff at your local record store. Virtuoso Ali Farka Touré, one of the sound’s OG’s, is directly responsible for bringing international popularity to the sound. He became Mali’s most celebrated musical export over his 40-year career by mixing his homeland’s hypnotic traditional scales with the soul of the American blues—styles many argue share the same DNA. Toure’s son VIEUX FARKA TOURÉ carries on his father’s pioneering style while infusing it with his own wider influences—rock, Latin rhythm, and sounds from the larger African continent, all while maintaining Mali’s unique Saharan sound. With Bigfoot Wallace and His Wicked Sons. The Crocodile. 8 p.m. $20. All ages. KS CHRISTEENE takes gender, shits on

it, puts a bow on it, and then serves it up in a shiny, lipstick-smeared package to adoring fans. The Louisiana

Wayne Shorter Quartet

Triple Shot

Three definitive acts from this year’s Earshot Jazz Festival.

Sunday, Oct. 11

BY ANDREW HAMLIN

Tuesday, Oct. 13

main events scheduled for this festival, pushes fter John Gilbreath started working Morris’ ideas of simultaneous improvisation and for the Earshot Jazz Festival as a genre-hopping forward. volunteer back in 1990, he quickly On October 10 and 11 the longtime learned the ropes from the late Gary Seattleite will lead performances of Some Places Bannister. Now the head honcho of the annual Are Forever Afternoon, which the composer event, Gilbreth can still recall the original Eardescribes as “a suite of 11 pieces, based on works shot co-founder and programmer’s professed by celebrated local poet Richard Hugo.” On operating philosophy: “a primary dedication to October 29, Ludovic Morlot will conduct the our home community; an interest in nurturing Seattle Symphony and guitar soloist Bill Frisell the long-term health of the art form by supportin the premiere of Horvitz’ Those Who ing jazz education, new and original work Remain, also inspired by Hugo. “This is a by emerging artists, and showcases of 15-minute piece in two movements,” established masters whose work has Horvitz explains, “for orchestra and pioneered advancements in the art Earshot Jazz improvising soloist. It is essentially form.” With that, here are three Festival a concerto.” artists who define the festival. Various venues,

“You’re born into this world of shit and then you die” is the cheery chorus to GRAVES AT SEA’s latest single, “Betting on Black.” Nihilism is nothing new in the metal world, but the sludgy Portland doom outfit’s incredible cryptkeeper/ Gollum vocals, via front man Nathan Misterek, set the band apart from its peers by reaching newfound raspy heights. How does Misterek sing like that and not pass out? Find out tonight as the band headlines a stacked local lineup featuring the batshit-crazy drumming of death grind group Theories and the doom folk of Thunder Grey Pilgrim. With Noctooa. Highline. $10. 9 p.m. 21 and over. KS The heydays of Thursday and Hawthorne Heights were only a decade ago. Is it too early to be nostalgic for emo acts like these? Apparently not. TAKING BACK TUESDAY emo nights have been a rampant success since they first emerged in Los Angeles, providing a safe environment for brokenhearted lovers and the forever misunderstood to reminisce about the LiveJournal era. Now the phenomenon is finally arriving in Seattle. Break out the Hot Topic arm bands and raccoon eye makeup and slamdance your feelings away while surprise guest DJs spin passionate records from Brand New and Dashboard Confessional. Chop Suey. Free before 10 p.m./$10 after. 9 p.m. 21 and over. DUSTY HENRY

■ I’ve seen the phrase “rainforest

techno” thrown around lately to describe a very particular sound emerging in the electronic world—a naturalistic take on dance music that layers beats over lush samples of rain or birds or wind. Local duo USF has elements of house, chillwave, and techno, but regardless, there’s an undeniable “rainforest” vibe to the group’s excellent new EP, Oasism, that makes me want to build a decently sized fort out of sticks and then shake my ass inside of it. Unfortunately this gig is in a bar, not a rain forest, but you should go regardless. With Ghost Soda, Lilac. Vermillion. Free. 7 p.m. 21 and over. KS E

THE MASTER: Wayne Shorter

earshot.org. Oct. 9-Nov. 18.

Gilbreath was introduced to jazz by an old Duke Ellington record his cousin hipped him to. “I used to play it real loud when everyone else was gone, and pretend that I was a radio announcer,” he says. But it was the Second Great Quintet of Miles Davis—featuring pianist Herbie Hancock and saxophonist Wayne Shorter—that hooked him for good. “That group,” Gilbreath relates, took “many of the previously established fundamentals of jazz form, ignited it with some dark and brilliant accelerant, and shot it forward into some completely new future. The synergy, the drive, and the potential, combined with a complete openness to ‘now’ and Miles fucking Davis as the dark provocateur, made chemistry that startled even the artists.” Davis, of course, is no longer with us. But Gilbreath will get a chance to welcome one third of that pivotal group when jazz master Wayne Shorter brings his quartet to Benaroya Hall on October 11. THE LOCAL: Wayne Horvitz

The International Creative Music Orchestra, under the direction of the late Butch Morris, was the first Earshot act Gilbreath worked closely with. Keyboardist Wayne Horvitz, who has two

THE STUDENTS: The Westerlies

Trombonist Andy Clausen counts Horvitz as a mentor from his early days in Seattle—and even included fresh takes on Horvitz’s music on the 2014 debut album from his brass quartet, the Westerlies. Now living in NYC, Clausen is returning to his hometown for two shows, including an October 25 performance with the Westerlies. “We all grew up in Seattle and went to Roosevelt and Garfield,” Clausen says of the Westerlies. “When we ended up in NYC studying at Juilliard and the Manhattan School of Music, we decided to form the group as an outlet to perform chamber music at the intersection of jazz, classical, and American folk music.” On November 1, Clausen takes a different approach with his improvising ensemble SHUTTER, comprising trumpet, trombone, cello, and two guitars. “Each piece we play is inspired by a photograph,” Clausen says. “I discovered a compositional process for this ensemble a few years ago in which I compose a short piece of music inspired by my initial visceral reaction to a photograph. We perform the pieces in conjunction with projections or jumbo prints of the photos.” Three of the five members are from Seattle: trumpeter Riley Mulherkar, guitarist Gregg Belisle-Chi, and Clausen himself. E

music@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 7 — 13, 2015

highly regarded for his slide-guitar work found on a catalogue that stretches back to the ’60s and traverses the roots. But the Santa Monica native has always been up for a new trick or two, as evidenced by a body of work that finds him dipping into film scoring and African folk music and includes a producing credit for the landmark film Buena Vista Social Club. For this tour he’s picking up the banjo for the first time, and joining Sharon White and Ricky Skaggs to play gospel songs with a seven-piece dance band. The Moore. $36.50–$82.50. 8 p.m. All ages. MARK BAUMGARTEN

and keep talking about the Syrian refugees. With Debaucherauntes. Lo-Fi. $8 and up. 8 p.m. 21 and over. MB

ERICA GANNETT

CHONA KASINGER

Car Seat Headrest

native and “drag terrorist” has been terrifying and enthralling crowds since 2011’s titillating “Fix My Dick” music video, but it wasn’t until next year’s “African Mayonnaise” that her mission statement was explicitly laid out: “I am your new celebrity/I am your new America/I am the piece of filthy meat/That you take home and treat to yourself.” Her mutant Cajun rap/pop/dubstep/punk onslaught and her striking undead-beauty-queen routine have provoked very strong positive and negative reactions—the Facebook event page for tonight’s Chop Suey show is marked by a long, heated discussion kicked off by a post accusing the performer of transphobia. But as Christeene told Dangerous Minds in an interview, “I was called racist, homophobic, transphobic, classist . . . But at the same time it’s fuckin’ gorgeous and necessary. The work being done here is an uncontrollable expression of something very heavy inside of me . . . it’s not created to merely shock, to splash dick and ass in your face for a laugh. It’s made to make you fuckin’ think about the state of things . . . the state of our interwoven communities in the LGBTQIA world and beyond.” With Jackie Hell. Chop Suey. $12 adv./$15 DOS. 9 p.m. 21 and over. KS

calendar SE AT TLE

FILM

4500 9TH AVE. NE • 206-633-0059

Opening Friday

BIG STONE GAP Ashley Judd stars

in this small-town dramedy, set in 1978, with Jane Krakowski, Patrick Wilson, and Whoopi Goldberg. (PG-13) Meridian, Southcenter, Alderwood 16

A BRILLIANT YOUNG MIND

English child “mathletes” compete in a big international competition. Sally Hawkins and Eddie Marsan provide adult supervision. (NR) SIFF Cinema Uptown THE FINAL GIRLS Todd StraussSchulson directs this genre-skewering horror flick in the same ’80s vein as Halloween. (PG-13) SIFF Film Center FINDERS KEEPERS Yes this is a true story: filmmakers Bryan Carberry and J. Clay Tweel follow Shannon Whisnant, who found an amputated leg inside a barbecue grill he bought—then set out to locate its owner. (NR) Varsity FREEHELD Peter Sollett’s timely, true-life drama stars Julianne Moore (dying) and Ellen Page (battling for her pension). With Steve Carrell as their lawyer. (PG-13) Guild 45th, others MOOSE: THE MOVIE A gentle Alaskan herbivore turns into a maneating beast in this new horror-com. (NR) Ark Lodge PAN Time for another trip to Neverland, but this time it’s Peter before Pan. Hugh Jackman promises an over-the-top performance as Blackbeard. Magical? Maybe. Necessary? Probably not. (PG) Opens wide PEACE OFFICER In this new documentary about the militarization of police, Brad Barber and Scott Christopherson follow a former sheriff who’s grown to question the SWAN unit he founded. (NR) Sundance

Two Ways To Save At Sundance Seattle 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 $6 ($6.50 for 3D) Admission All Day. Tickets Avail at Box Office Only. THE MARTIAN in 3D / 2D THE WALK in 3D / 2D

99 HOMES PEACE OFFICER

YAKUZA APOCALYPSE SICARIO

MEET THE PATELS THE INTERN EVEREST in 2D / 3D

BLACK MASS

TRAINWRECK

*Tickets available at the box office.

ALLISON ROSA/IFC FILMS

SEATTLE WEEKLY • OCTOBER 7 — 13, 2015

SUNDANCECINEMAS.COM

when director Ward Serrill became fascinated by the winning techniques of Bill Resler, a UW tax professor moonlighting as head coach for the Roosevelt girls basketball team. Resler, who tutored his own three daughters at the game, is charismatic, wide-eyed, and wryly exasperated as his teen players do the opposite of what he orders. Heart gets its real focus with the arrival of Darnellia Russell, a ninth-grade basketball prodigy made shy by the nearly all-white Roosevelt environment. Blazing on the court, she finds her footing, along with the camaraderie of teamwork, by her sophomore season. We in the audience find a complicated, tenacious, extraordinary young woman to pull for, on the court and eventually in the courtroom—through her next three tumultuous years. I am blown away by how powerfully Heart works, especially as it considers the far-from-level playing field of life. (NR) SHEILA BENSON SIFF Cinema Uptown, $7-$12. 7 p.m. Tues. (Series ends Nov. 30.) THE FAST AND THE FURIOUS

This food-centric screening, hosted by Munch, takes us all the way back to the 2001 progenitor of the surprisingly successful enduring petrol-head franchise. (PG-13) Central Cinema, $10-$12. 8 p.m. Thurs. THE GREEN SLIME From 1968, Kinji Fukasaku’s sci-fi horror-com is basically a lift from The Blog, pegged to this week’s slime-mold documentary The Creeping Garden. (NR) Grand Illusion, $5-$8. 9 p.m. Fri. & 3 p.m. Sat. ■ IRMA VEP Screned in conjunction with the soon-to-close (Sunday) Irma Vep, The Last Breath, a video installation Michelle Handelman, this is the 1994 film-set comedy by Olivier Assayas, strring his then-wife Maggie Cheung as a catsuit-wearing thief. Both Assayas and Handelman are drawing upon the WWI-era silent serial Les Vampires, directed by

sheep, then the Quay Brothers are the dark, surreal American counterparts who craft films with terrifying dolls, haunting images, and cryptic, Kafkaesque messages. Their style is wholly unique, as they masterfully balance puppetry and stop-motion animation. Since the ’70s, Stephen and Timothy Quay have crafted deliriously pleasing shorts, here including Street of Crocodiles (with its Lynchian tone and sinister-looking dolls), The Comb (another nightmarish dollhouse world), and In Absentia (a fever-dream reminiscent of Ingmar Bergman). This 67-minute program was curated by director Christopher Nolan and also includes his mini-documentary Quay, in which he explores the brothers’ twisted and oneiric work. (NR) SCOTT JOHNSON SIFF Film Center, $7-$12. Runs Fri.-Thurs. See siff.net for showtimes.

SEATTLE POLISH FILM FESTIVAL

Food events and cultural activities are part of this annual festival. Among a dozen-plus features, and even more shorts, director Maciej Bochniak will appear with his spoof of post-communist Pland in the early ’90s, called Disco Polo. (NR) Northwest Film Forum & SIFF Cinema Uptown. Runs Wed., Oct. 7-Sun., Oct. 18. See polishfilms.org for tickets and schedule.

Ongoing

BLACK MASS At 52, Johnny 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. 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

Richard Gere as the homeless, damaged hero of Time Out of Mind. TIME OUT OF MIND Richard Gere

plays a damaged and disoriented street denizen in this worthwhile drama by Oren Moverman (The Messenger, Rampart). (NR) Varsity YAKUZA APOCALYPSE Shockmeister Takashi Miike returns to bloody themes with this vampireinflected mobster movie. (R) Sundance

Local & Repertory

• BIG SCREEN CLASSICS A

somewhat complicated schedule (see siff.net) continues with 2006’s The Heart of the Game. This astonishing homegrown saga began

Louis Feuillade, as the UW’s Jessica Burstein will expalin in her companion lecture. (NR) Henry Art Gallery (UW campus), $6-$10. 6 p.m. Thurs. THE LOST BOYS Jason Patric battles California vampires in this enjoyable 1987 horror-com, capably directed by Joel Schumacher. WIth Coreys Feldman and Haim. (R) Central Cinema, $7-$9. 7 p.m. Fri.-Tue. & 3 p.m. Sat.-Sun.

■ THE QUAY BROTHERS ON

35MM If Aardman is the whimsi-

cal, family-oriented British studio that produces humorous, crowdpleasing shorts with rebellious chickens, goofy dogs, and lovable

with no redeeming qualities, Bulger was sheltered by the a corrupt FBI agent (Joel Edgerton) handlers until a Boston Globe exposé sent him underground for 16 years. Depp gives a fine, disciplined performance in what’s otherwise a familiar, listless Mass. Journeyman director Scott Cooper has made a tired copy of too many gangster movies we’ve seen before, including Martin Scorsese’s South Boston crime saga The Departed (no masterpiece). Here we just wait for their corpses to fall. (R) BRIAN MILLER Lincoln Square, Meridian, Sundance, Thornton Place, others

EVEREST Almost 20 years after

writing, but in the against-the-grain 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. And special mention goes to Sam Elliott, who delivers a knockout scene at Grandma’s midpoint, meeting Tomlin’s fury with his own courteous rage. (R) B.R.M. Seven Gables, Kirkland, Bainbridge, others THE INTERN It’s gratifying to see how Robert De Niro has freed himself, in late career, from the Mantle of Greatness by doing more comedies. Some are mediocre (e.g., the Fockers flicks) and others quite good (Silver Linings Playbook). Nancy Meyers uses him to fine effect in her latest distaff comfort movie, in which Anne Hathaway plays the multitasking Park Slope mommy trying to manage her fashion startup. De Niro’s Ben is her unwanted 70-year-old intern, who inevitably proves himself a trusted aide and companion to the stressedout Jules. There are no surprises here, the comic and story turns are rote, but The Intern—like courtly, punctual, and observant Ben—never fails to please. What Meyers also gets right is the kindred discrimination both Ben and Jules face in the New Economy, he for being too old (cue the Facebook jokes), she for being a woman (and too young, and neglecting her daughter, etc.). The movie also charms in positing a nonsexual romance between the two. She’s married, he’s a widower being pursued by Rene Russo’s masseuse, so they can chastely bond over Singin’ in the Rain in their bathrobes together on a business trip. Though lounging on the same hotel bed, in a sly nod to Old Hollywood, Meyers even has chivalrous Ben keep one foot on the floor. He may even bring pocket handkerchiefs back into style. (PG-13) B.R.M. Sundance, Pacific Place, Admiral, Majestic Bay, Lincoln Square, Cinebarre, Kirkland, Bainbridge, Cinebarre (Mountlake and Issaquah) others THE MARTIAN This is a problemsolving movie: Stranded on Mars, how will castaway astronaut Mark Watney (Matt Damon) figure out the fundamental problems of food, shelter, and communication? Ridley Scott’s movie doesn’t waste much time worrying about issues of loneliness; after we’ve spent time with Watney, who has a complete lack of introspection and neurosis, it’s no wonder. Apart from his survival efforts, The Martian spends a lot of time back on our planet, where nervous NASA honchos played by Chiwetel Ejiofor, Kristen Wiig, and Jeff Daniels are plotting out a rescue mission. There’s also the departed spaceship, slowly making its way back to Earth and peopled by the usual diverse crew: Jessica Chastain, Michael Peña, Kate Mara, et al. I like movies about solving problems, Damon gives a skillful performance, and Scott’s ability to put you in the middle of a howling Martian gale is impressive. But man, is The Martian corny. Its jokes are telegraphed a mile away, and its many inspirational moments are underscored by heart-tugging reaction shots. (PG-13) ROBERT HORTON Cinerama, Sundance, Ark Lodge, Majestic Bay, Kirkland, Bainbridge, Big Picture, Admiral, others MEET THE PATELS This amusing documentary by Ravi and sister Geeta Patel (the latter mostly unseen) tracks a particularly fraught moment in his family’s life. Ravi

is 29, and his parents—humorous dad Vasant and anxious mom Champa—are antsy about him meeting a nice Indian woman and getting married. They come from a culture of arranged marriages, and since that system’s already in place, why bother with the complicated American dating game? Eventually So the Los Angeles-based Ravi, who recently broke up with a redhead from Connecticut, reluctantly agrees to travel to India and make the dating rounds—where practically everyone asks him why he isn’t married yet. Meet the Patels is a funny, lightweight look at the weight of cultural traditions. (Ravi has never told his parents about dating white women, it seems.) What keeps me from loving it is the way the storyline feels forced onto the documentary form. I couldn’t help sensing that Ravi was flirting with the idea of an arranged marriage because it would make a funny, lightweight documentary. Which it is. (PG) R.H. Sundance ■ 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. Seven Gables SICARIO We’ve had depressing dramatic sagas from Steven Soderbergh (Traffic) and Oliver Stone (Savages), and this new one from Denis Villeneuve isn’t lifting the mood. Instead, a feel-bad spirit of arid futility and double-dealing informs the efforts of Arizona-based FBI agent Kate Macer (Emily Blunt) to put a dent in the border trade. She’s recruited by some shadowy government spooks (Josh Brolin, Benicio Del Toro, etc.) who refuse to name their branch of service (easily guessed). She’s flattered to be on their team, even if her partner (Daniel Kaluuya) is more sensibly skeptical. On her new assignment, Kate radiates an angry sense of WTF bewilderment. She’s better than this. Our side is supposed to be better than this, yet she’s confounded by everything she sees: Gitmo-style torture, illegal crossborder raids, killings on the sly (“sicario” means assassin), and a general cozening up to the bad guys. French-Canadian director Villeneuve rubbed our noses in Pennsylvania vigilantism-gone-wrong in Prisoners; now he grids our faces further into the smothering sands of American sanctimony. Kate—and the audience—are left with a grim imperative: Get over your moral qualms, or get out of the game. (R) B.R.M. Meridian, Lincoln Square, Sundance, Ark Lodge, Thornton Place, Kirkland, Bainbridge, others

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Jon Krakauer’s book about the Everest disaster of ’96, followed by a flood of rival accounts (and a bad TV movie), its lessons are well established. Respect the mountain, defer to the weather, stick to your turnaround time, and make sure your logistics are buttoned up. Director Baltasar Kormákur and his screenwriters respect Krakauer’s book and try, unsuccessfully, to condense its sprawling cast of characters. Among them are guide Scott Fischer (an unusually hammy Jake Gyllenhaal, looking like a Spin Doctors roadie), client Doug Hansen (gentle John Hawkes, doomed), Krakauer (astringent Michael Kelly), guide Rob Hall (calm, stoic Jason Clarke), and worried women on the radio/phone (Keira Knightley and Emily Watson). There are no Cliffhanger heroics or R-rated hijinks in Base Camp, and most everyone is treated fairly. Even brash Texan Beck Weathers (Josh Brolin) finds a little redemption. The facts are laid out with graphics relating the altitude, day, and time; and the endless calls to Base Camp provide de facto narration, too often telling us what we’ve just seen higher up the mountain. This isn’t a good climbing film (try Meru for that); it’s more like a Grand Hotel melodrama in the Death Zone. (PG-13) B.R.M. Sundance, Lincoln Square, Cinebarre, Meridian, Pacific Science Center, Thornton Place, others GOODNIGHT MOMMY Pay attention to their names. Austrian child actors Lukas and Elias Schwarz, twins, play 9-year-old twins Lukas and Elias. Lukas seems to be the leader, slightly bolder, Elias his follower. In a chic empty country house, far from their former home in Vienna, their bandaged mother returns to recuperate from plastic surgery—mommy become mummy. The kids are understandably freaked out. There is no father, only reference to “the separation.” Oh, and their house is for sale. Originally titled I See, I See, this is a gradually building thriller of perception (or rather, misperception), directed by Veronika Franz and Severin Fiala. The directors provide early clues that lead to final horror, but the film’s real fascination lies in the fraying corporeal bonds between the twins and their mother, whom they deem to be fake—an imposter. “We want our mom back!” shrieks Elias. There’s something here as old as the Brothers Grimm, and the shock still works. This eerie, slow-creeping film’s final trick—though hardly original—will be detected early by some, but I can’t condemn it. As in Stephen King’s Misery, every atrocity is committed for love. (R) B.R.M. SIFF Cinema Uptown ■ GRANDMA 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. 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.) Grandma is one of those indies with a very familiar Hollywood arc. Its main pleasures aren’t in the

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ctober 1 was supposed to be a day of historic joy in Oregon, as legal sales of marijuana were finally allowed, ending decades of Prohibition in one of the states leading the charge on the issue. Instead, the celebration was interrupted by a shooting at Umpqua Community College, where (yet another) mentally disturbed young man went on a mass killing spree with a semiautomatic weapon. Hard to stand in line for an ounce of primo weed, high-fiving budtenders, and fellow stoners at a recreational store when friends and neighbors next door are unsure if their own children are among the dead. Now, not being able to celebrate legalized cannabis is hardly the point, but the crushing reality of gun violence and the number of dampened dreams it represents surely is. Family members and loved ones are hitting the airwaves, followed by mayors and clergy and those damn pundits, to grieve and vent and pass the blame. Eventually then the experts and advocates and peaceniks will speak clearly and articulately of the fact-based changes that surely should be made, including assault-rifle bans, waiting periods, gun safety training, and closing whatever the hell the fucking gun-show loophole is. Those propping up Reefer Madness are full of hate and denial and lies which obscure not only the truth, but the will of the people. The four states thus far that have legalized cannabis have overcome odds, clichés, and a massive industry not willing to change—in this case the pharmaceutical companies that make billions off fixing our ailments with addictive, toxic substances that can’t be grown at home, and the prison-industrial complex that thrives on a War on Drugs and the 650,000 (mostly black) Americans who are arrested each year for marijuana-related offenses. Gun control’s fierce and well-funded minority opponent is well-known: the National Rifle Association. No real reason to go into the litany of strategies and threats and bullying and buying-off of politicans that the organization employs; you’ve heard them all before—I’d be preaching to the masses. And yet . . .

Insanity is said to be doing the same thing over and over and expecting a different result. So. As of today, October 7, in the first 280 days of the year, we’ve had 294 mass shootings (in which four or more people are killed or injured by gunfire) in the United States. In all, 10,000 have been killed and 20,000 injured in almost 40,000 episodes of gun violence so far this year. And counting. The President, who is, like all of us, to blame for inaction on the issue, got as pissed as you’ll ever see him when, for the 15th time in his presidency, he had to hold a press conference after a mass shooting. “This is a political choice we make to allow this to happen every few months in America,” he said. “We are collectively answerable to those families, who lose their loved ones, because of our inaction.” Democracy, related to any issue of concern, requires participation, and not in an “I vote every four years” kinda way. Each of the four states that have legalized recreational marijuana—Washington, Alaska, Colorado, Oregon—had to do so through citizens’ initiatives, as lawmakers saw no political advantage to taking the lead and lobbyists for Captains of Industry paid them handsomely to stay mute on the issue. Even among the 23 states with medical-marijuana laws—which more than 80 percent of the public now supports—all but 10 had to do so via ballot measures. And so it seems that may have to be the path forward on gun regulations, an issue in which a huge majority supports common-sense restrictions. Until then, I urge joining the Coalition to Stop Gun Violence. It also can’t hurt to directly contact your congressperson to demand she or he introduce and support strong gun-control laws. We can change the course of history, overcome corporate opposition, and win on the issue of gun violence—no, terrorism—that’s tearing our country apart. And when we do, then we can really celebrate, without interruption. E For more Higher Ground, visit highergroundtv.com.

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