Seattle Weekly, October 15, 2014

OCTOBER 15-21, 2014 I VOLUME 39 I NUMBER 42

SEATTLEWEEKLY.COM I FREE

LOVING LIFE & KILLING A PIG » PAGE 19 ALL ABOUT LENA DUNHAM » PAGE 23

HEARING SPEAR THE ELECTION ISSUE » PAGE 9

WHY AREN’T THERE MORE SCIENTISTS IN POLITICS?

BY KELTON SEARS

WOULD RENT CONTROL WORK? CAN IT EVEN BE DONE?

BY NINA SHAPIRO

JESS SPEAR MIGHT BE A LONG SHOT FOR OFFICE, BUT HER CANDIDACY IS FILLED WITH POLITICAL POSSIBILITY.

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SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

inside» October 15-21, 2014 VOLUME 39 | NUMBER 42

» SEATTLEWEEKLY.COM

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news&comment 5

CLASS STRUGGLE

BY NINA SHAPIRO | How charter

schools are faring two years after an initiative legalized them. Also: bike-share FAQ, and a response to Satya Nadella from a fellow Indian American.

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ELECTION 2014

BY SW STAFF | All you need to know

for November 4: the rise of Jess Spear, the rent-control controversy, the Dems’ strategy to get the state Senate back, and clashing gun initiatives.

food&drink

19 REQUIEM FOR A PIG

BY PATRICK HUTCHISON | The pain and poetry of killing your own food.

19 | FOOD NEWS/THE WEEKLY DISH 20 | THE BAR CODE 21 | CITIZEN FOOD

arts&culture 23 ALL ABOUT LENA

BY SW FRIENDS AND CONTRIBUTORS | Is the Girls girl

overrated or what?

23 | THE PICK LIST 25 | OPENING NIGHTS | Two shows

about showbiz.

30 FILM

OPENING THIS WEEK | Brad Pitt goes to war, Adam Sandler discovers online porn, and Bill Murray is Bill Murray.

34 | FILM CALENDAR

36 MUSIC

BY DAVE LAKE | Why Dylan matters;

rap in three flavors.

38 | THE WEEK AHEAD 40 | CD REVIEWS

odds&ends 43 | CLASSIFIEDS

»cover credit PHOTO OF JESS SPEAR

BY MORGEN SCHULER

»40 Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Intern Jeanny Rhee, Abby Searight Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Roger Downey, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Megan Hill, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, John Longenbaugh, Jessie McKenna, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael Stusser, Jacob Uitti

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news&comment

Where Are the Charter Schools?

While the state sees a dramatic decline in applications, Tacoma and Seattle worry about those already approved.

Three Things You Need to Know About Our New Bike-Share

BY NINA SHAPIRO

BY MATT DRISCOLL

year ago around this time, an ambitious young educator named Hannah Williams was getting ready to take advantage of the state’s new charter-school law. She had a master’s degree from Harvard, a plan for a freewheeling, projectbased curriculum, and a $100,000 grant.

Last month she announced that she was suspending her effort. After getting turned down once by the state Charter School Commission, she decided not to apply again. Other oncehopeful charter-school founders made similar decisions. Whereas the commission received 19 applications last year—its first following the 2012 charter initiative—it took in just four this year.

In the end, as the commission sat to evaluate those applications last week, it approved just one—for a school in South Seattle to be run by California’s Green Dot Public Schools. Spokane Public Schools, the only district in the state that also acts as a charter “authorizer,” approved another one. Still, the total is paltry when you consider that the law allows eight new charter schools each year—a figure hit in the first round of approvals after turning down 12 applications.

In the aftermath, Williams says, she unexpectedly found herself spending all her time developing a board. “That’s not my strength,” says the former Aki Kurose Middle School theater and music teacher. She says she had trouble finding people with financial skills, and didn’t even get around to actual fundraising.

And fundraising is something a new charter school has to do. While by law charter schools get the same per-pupil state allocation as other public schools, that funding only starts flowing once a school is already open and the state has students to count. Before that, a school has to do many things, commission chair Steve Sundquist explains: “find students, hire teachers, find a building, begin lease payments, maybe retrofit the building.”

“It’s a big lift,” he acknowledges. And even once a school starts getting state funding, it won’t receive local levy money until voters tax themselves anew (the rationalization being that they weren’t voting for charter-school funding when they taxed themselves the last time). That’s a significant chunk of the budget for regular public schools—about 25 percent in Seattle, according to Sundquist, a former school board member here.

If that weren’t daunting enough, the commission added a new requirement this year: Applicants have to show that they are already engaging the community they intend to serve, not just that they plan to do so. The intent, Sundquist says,

eattle’s new bike-share program was unveiled Monday with a celebratory press conference and widely distributed photos of Mayor Ed Murray looking dorky in a bike helmet. Pronto, the nonprofit organization behind the program, now offers 500 blue and green bikes at 50 stations throughout the city. It’s a pretty big deal, considering the work of bringing a bike-share program to Seattle began way back in 2011.

It’s so exciting! And it’s so new! Here are three things you need to know.

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was “to make sure that the potential school is going to find a good reception.”

First Place Scholars, the only charter school in the state yet open, located in Seattle’s Central District, was previously a private school, and so had an existing student population not drawn from the public schools. That’s not the case, though, with two more schools set to open in Seattle. Those— Green Dot’s and one by another California operation known as Summit Public Schools—eventually plan to enroll a combined 1,700 students.

“It could have a very damaging impact,” Peaslee says.

nshapiro@seattleweekly.com

KELTON SEARS

On Monday, Mayor Murray signed a proclamation recognizing the city’s first Indigenous Peoples’ Day, ostensibly ending the weeks-long debate over the fate of Columbus Day by kicking that longtime holiday to the curb. Our readers responded. “Good for those who lost so much . . . ” —Janeyre “Seattle, you are more embarrassingly PC than Bellingham, and that is saying something.” —PocketCommie “About damned time.” —Randi “If Columbus hadn’t made the trip, America as we know today probably wouldn’t have been created, so it’s worth celebrating.” —Dervid “Can’t ‘discover’ something that was already known.” —Kbro2 “Fools—all of you . . . ignorant fools.” —AntiSoros

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It’s hard to say how many more charter schools might be coming down the pike, given the dropoff in numbers. Still, the Tacoma board is considering lobbying the legislature to change the law in a way that instructs the commission to consider how many charter schools are in any given city.

Commission Executive Director Joshua Halsey says the state body could also insert language into its next request for proposals that will encourage applications from under-served areas.

At the same time, Bellamy-McClain says she’s hoping that the Tacoma district, at least, will warm to charter schools. Hers targets a predominantly poor, minority student population that she says is largely “underperforming” in regular public schools.

Why not let SOAR Academy take a crack at it?

“I continue to believe we will be able to come together with Tacoma Public Schools and talk about wonderful opportunities and partnerships,” she says. E

purchase a basic annual Pronto membership for $85, a 24-hour pass for $8, or a three-day pass for $16. But it’s not that simple. Bikes must be returned to a Pronto station within 30 minutes of being checked out or additional costs rack up. Keeping a bike from 30 minutes to an hour will run an extra $2, while a 60-to-90-minute checkout costs an extra $7. Each additional 30 minutes runs $5. Any rental lasting eight to 24 hours will incur a $77 charge; anyone who keeps a bike longer than 24 hours will alert the system of a possibly stolen bike, which could cost the user $1,200.

App for that Seattle’s bike-share program offers a fairly awesome phone app to help users navigate the system. Using the free app on Monday, I was able to see that the Pronto station at City Hall had four bikes available. Then, after renting my bike, I was able to see that the station at Sixth Avenue and King Street near Seattle Weekly’s office had 10 empty bike docks, so I knew I’d have a place to return it. I could also tell when the information was last updated, so I knew it was current. The app can also search and display stations by proximity, and will keep track of your bike rental with a timer and alarm, which is important (see above).

It’s the law It’s illegal to ride a bike in Seattle without a helmet, so Pronto came up with an honor-system plan that offers helmets at each station free of charge. Bins at each station will offer clean, wrapped helmets that are checked for safety before each deployment. Seattle Police spokesperson Patrick Michaud tells Seattle Weekly that no additional effort is planned to make sure Pronto riders are wearing helmets, but any helmetless rider runs the risk of a $30 fine. “Anybody who rides a bike is subject to the same rules,” says Michaud. “If you’re riding a bike, you’ve got to wear a helmet.” However, Michaud also says that “a lot of times it ends up just being a warning,” because the officers’ main goal is ensuring safe bike ridership, not writing tickets. E

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mdriscoll@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

Meanwhile, however, some feel the numbers are already too high—not so much because of the latest approvals, but because of the eight green-lighted in the last round, most of which are just now recruiting students for a planned 2015 opening.

“It’s full steam ahead,” enthuses Kristina Bellamy-McClain, founder of SOAR Academy in Tacoma and a former principal of Seattle’s Emerson Elementary. She’s launched a website and planned community forums, and is asking volunteers to talk up the school at farmers markets and carnivals. In less than two weeks of trying, she’s received nine applications. “I’m feeling pretty good about that,” she says.

She hopes to get 100 students this year— and 450 by the time she phases in all grade levels of the planned K-8. Two other approved charter schools in Tacoma hope to enroll another 1,000 combined. And that’s got the school district there very nervous.

By law, charter schools receive money from the state on a per-pupil basis. If Tacoma’s three charters fill up, their total funding will add up to $10 million a year, says Karen Vialle, a former Tacoma mayor now serving on the school board there.

That’s $10 million that the district won’t get.

“We will be laying teachers off,” Vialle says, adding that larger class sizes will result.

The same could happen in Seattle, says this city’s school board president, Sharon Peaslee.

new day rising » Indigenous Peoples’ Day Inspires and Infuriates

• • •

COURTESY SOAR ACADEMY

SOAR Academy’s Kristina BellamyMcClain (right) back in the planning stage with future charter starters Maggie O’Sullivan (left) and Brenda McDonald.

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news&comment» Guest Opinion

WELCOME TO

Karma Meets Capitalism

SEATTLE

How Satya Nadella sounds a lot like my brother.

And why that is not a good thing.

OFFICIAL LEWEB PHOTOS VIA WIKIMEDIA COMMONS

BY SONORA JHA

Assembly on September 28, when thousands of elite Indian Americans in New York City’s Madison Square Garden roared in a spectacular song-and-dance welcome for India’s free-marketfocused Prime Minister Narendra Modi—a leader who was until recently banned from entering the country by the United States government for his reported role in a Hindu-supremacist pogrom against Muslims in his home state of Gujarat.

Like Modi in NYC, we have “arrived,” the Indian community said at Madison Square Garden. And Nadella is the poster boy for what it means to introduce Indian privilege to American privilege. As he himself stated in that interview on Thursday, who would have believed that a South Asian could have made it to the position of CEO of a corporation like Microsoft?

I would. And so would Indra Nooyi, the Indian-American CEO of PepsiCo, another Indian of Brahmin caste. The difference between the two is that Nooyi was asked—by her mother—to check her privilege by “removing her damned crown” before she entered her home, to be mother and wife. Nadella’s privilege, of crown and coronation, goes unchecked. While Nooyi must know when to play woman, Nadella gets to tell women to keep playing woman.

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Let’s move on, said one Indian-American

Satya Nadella at LeWeb conference in 2013.

I

sage before. I had heard it over and over in the lessons I was taught growing up in India: be a good girl, be undemanding and uncomplaining, and trust that as a female, my special karma had my back. As my brother was allowed to go out and be just another boy, I was told by society that I could be a deity, a goddess, superior on account of my sacrifices. When I hear Nadella talk about these “superpowers” that women have, I cannot help but hear, despite his hip Americanized accent, that same call to rise above it all, like a Durga in waiting, a Draupadi for whom Krishna would one day arrive with yards of sari. “That’s the kind of person I wanna trust,” Nadella said.

“That’s the kind of person I really wanna give more responsibility to.” I hear him asking women to be Lakshmi, to be content with his reverence, as she waits, with deific patience, this Goddess of Wealth, for a raise in her own paycheck.

The remarks were not, as he later said—in what one suspects was a scripted message swiftly crafted by the crisis-communication experts of Microsoft—“inarticulate.” They were not unfortunate or uninformed or clueless. They were, in fact, a clue hinting at the unchecked baggage of privilege that some of us immigrants brought with us to a country that holds special rewards for exactly this privilege, nursed as it is on the perfect milk of karma’s confluence with freemarket economics.

Far from being inarticulate, the remarks provide an uncorrupted view of the Indian-American dream that played out at the U.N. General

news@seattleweekly.com

Sonora Jha is a journalism professor at Seattle University and the author of Foreign, a novel about farmers’ suicides in India. She is currently writing a memoir about raising her son outside the influences of patriarchy.

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had just emerged from teaching a class in media studies at Seattle University last Thursday when I saw numerous posts on social media about remarks made by Satya Nadella. The recently installed Microsoft CEO was acting as the keynote speaker at a female-focused technology event when he was asked if he had any advice for women who are uncomfortable asking for promotions.

“It’s not really about asking for the raise, but knowing and having faith that the system will actually give you the right raises as you go along,” he said. “That might actually be one of the superpowers that women who don’t ask for raises have, because that’s good karma.”

I felt like someone had reached out across continents, punched me in the gut, and stripped me of all sense of accomplishment in my chosen home. Yet my next response was to protect Nadella, to shield him from any orientalist backlash over his South Asian roots.

In the next few hours, as apologists came out of the woodwork in his defense, and even as his own “apology” had me searching in vain for the word “sorry,” I grew increasingly uneasy. I could no longer hide my head in the sand over the fact that his remarks—and his almost-instant recovery—was a naked spectacle of the CEO’s uppercaste Hindu Brahmin male privilege reaching out across continents to high-five his American capitalist male supremacy.

Watching the video of Nadella’s remarks, I couldn’t help but feel that I had heard his mes-

woman after another on my Facebook page— feminists, all of them, before this episode. But we all knew what we were doing: covering up for our South Asian brother, playing nice, the way we had done back home. Even Kavita Krishnan, secretary of the All India Progressive Women’s Association, delivered a tempered Facebook update: “Microsoft CEO @satyanadella misogyny isn’t a case of ‘Indians’ anti-women bias’, it’s capitalism, mansplaining itself to women!

Capitalism always tells women & workers to trust to karma/the system, not fight for a raise!”

Maria Klawe—president of Harvey Mudd College, mathematician, computer scientist, and the woman who interviewed Nadella on Thursday— told NPR the day after that she felt “guilty” for the way the whole episode played out. She, a Microsoft director, swept aside notions that Nadella’s remarks were aimed at women at all.

She attributed it to “a cultural belief which, you know, fits in well with where he comes from, South India, that you shouldn’t ask for things, you shouldn’t demand things.” And then she said she was sorry that he said what he did.

The trouble is, we don’t want to hear Klawe say she’s sorry. As NPR reporter Melissa Block reminded her, Nadella himself hadn’t said “sorry.”

Klawe, Krishnan, the feminists on my Facebook wall—all of us are lining up in a merry dance we have been taught to do, to tell ourselves that it will all be OK if we just learn to forgive. But, in the Bhagavad Gita, when the God Krishna introduces the notion of karma to the warrior Arjuna, it is to exhort him to go to war and not question the consequences. Nadella is asking women not to go to war. And look how we’re falling in line.

Karma’s consequence now demands that Nadella sign up for a training program in gender discrimination. And, on his next trip to India, ask a few questions of a sister or two. E

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SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

THE ELECTION ISSUE

SP THE FAC EA R TO R Why is Jess Spear the only scientist running for office?

BY KELTON SEARS

C

BY NINA SHAPIRO

I

there, the Governor will plead with the scientists in the audience to get involved in politics, given their dire research findings.

“A scientist has to be neutral in his search for the truth,” Inslee tells the crowd, quoting British chemist C.P. Snow, “but cannot be neutral as to the use of that truth when found.” ”You’re supposed to have this integrity and neutrality when you’re looking at the data; you’re not supposed to come at it with an activist perspective or an agenda,” Jess Spear tells me at Broadcast Coffee, looking out the window at the small park nearby. She’s remembering her paleoceanographic research on foraminifera, oceanic microfossils that serve as indicators of past climate change.

“I’ll be honest,” she says, lowering her voice and leaning in as if she’s about to tell a secret. “In some ways it’s been refreshing stepping out of climate science, because it’s scary when you’re in it. Stepping out and actually being in an advocacy position and pushing things forward on a policy level has such a sense of empowerment.”

Spear has reason to feel empowered right now—in the past two years, she’s been up to some unquestionably audacious business.

After working as a researcher at the U.S. Geological Survey and the Burke Museum, she left to become organizing director of Seattle’s 15 Now chapter, which—to the nation and the federal government’s utter astonishment—saw the passage of a $15 minimum wage in Seattle only a year after the campaign started. Also thanks in part to Spear’s organizing skills, socialist Kshama Sawant was elected to the Seattle City Council in that same period, similarly baffling our two-party country.

But after all that, Spear still hasn’t returned to her successful science career. She’s decided to do something even more audacious: challenge Frank Chopp, the 20-year veteran Democratic Speaker of the House, for his 43rd District seat, running under the Socialist Alternative banner. If elected on November 4, she’d be the only scientist in the Washington legislature. (In the U.S. Congress there are only three—two physicists and a microbiologist.)

While her distinction as a scientist-turnedpolitician might be singular now, according to her and her colleagues in the climate-science community, you might be seeing a lot more of this very soon.

“Naomi Klein wrote this article about why the science is telling us to revolt,” Spear explains.

“She highlighted a talk that was given at the

American Geophysical Union fall meeting in San Francisco, one of the largest conferences for paleoceanographers, paleoclimatologists, the people that study past climate and climate today. One of the presentations was titled ‘Are We Fucked?’ It was presented by this young graduate student about

» CONTINUED ON PAGE 10

n the late aughts, a college student named Tiffany Johnson ran into her upstairs neighbor, Bernard, in a hallway of the San Francisco apartment building they shared. They chatted about opera. He played his music loudly, so that it reverberated through the building. She liked it. Then they got onto the subject of rent.

She and her boyfriend paid $2,000 a month for their one-bedroom. Bernard, he revealed, paid only $800. “For the exact same apartment!” she stresses, recalling the encounter.

Bernard lived in a rent-controlled apartment. She didn’t. And where was the justice of that? She didn’t know what Bernard did for a living, but she assumed from the way he dressed that he had a good job. Her boyfriend had a good job too, but she was still smarting from years of working two low-paying jobs to afford scummy, high-priced apartments while going to school. She once got so desperate that she considered stripping.

Did Bernard deserve this real-estate advantage just because he had lucked into a rent-controlled apartment a dozen years prior and held onto it for dear life? And why should she, as she saw it, “subsidize” Bernard with her higher rent? These questions remain with Johnson, even though she moved far away from Bernard and his cheap apartment several years ago. Now she owns a home in Seattle, but is once again thinking about rent control, mostly because of a woman named Jess Spear.

Spear is the 32-year-old socialist making a long-shot bid against veteran House Speaker Frank Chopp in Seattle’s 43rd District by running on a platform centered on rent control—“an extremely controversial subject anyplace, even in crazy, liberal Seattle,” observes Seattle City Councilmember Sally Clark.

This isn’t the first time Seattle has toyed with the idea. A rent-control initiative made it onto the ballot in 1980, though it was defeated. And then the idea was obliterated by the state, which passed a law the following year that prohibited rent control at the city or county level. This isn’t stopping Spear. The law—or overturning it—is rather propelling her run.

“Rent control is an emergency measure,” she elaborates, meeting one day at Voxx Coffee in Eastlake, the neighborhood where Spear and her husband now live, having moved from a Capitol Hill apartment after their monthly rent rose from $1,500 to $1,675. And Seattle, she contends, has on its hands a full-blown “housing emergency.”

She’s far from the only one who thinks so.

The U.S. Census recently announced that Seattle’s average rent increases are the highest of any big city in the nation. Mayor Ed Murray, who last month launched a three-pronged plan of

» CONTINUED ON PAGE 13

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

liff Mass has the unusual honor of maintaining a universally beloved meteorology blog, if you can imagine such a thing. One of his most popular recent posts explores whether or not the Pacific Northwest will become a climate refuge for a flooded, sun-parched, and drought- and hurricane-stricken U.S. in the next 80 to 100 years. The answer, based on models from the most recent Intergovernmental Panel on Climate Change report and the 2014 U.S. National Climate Assessment: inevitably yes.

Between the blog, teaching atmospheric science at the University of Washington, and doing research, Mass is a busy man. I manage to catch him for a couple of minutes between sessions of the 5th Annual Pacific Northwest Climate Science Conference, where he’s spent the day so far listening to a litany of bad news about the state of our ecological systems. I have a question for him.

“Have you heard of Jess Spear?” I ask him.

“She’s a climate scientist running for office in Seattle who originally got into politics because of a Carl Sagan essay.” Mass has indeed heard of her.

“Why do you think more scientists aren’t running for office?” I ask. “Especially when it seems like the world is about to catch on fire.”

Mass answers almost immediately. “It would be a really good thing if there were more scientists in the political realm,” he confidently tells me.

“There’s an acute lack of scientific knowledge, and particularly climate knowledge, in the state legislature and local government.”

But? “A lot of us are . . . kind of nerdy and not comfortable doing that kind of thing,” Mass says, laughing a little nervously before clearing his throat.

“We’re certainly frustrated with the lack of progress, but I guess the question is, if we got involved in politics, would that really change anything? It’s not clear that even scientists would be able to make change in the current politics on this issue.”

Mass tells me he has to run—in five minutes Governor Jay Inslee will deliver the climate conference’s keynote speech. When Mass gets

What would happen if Jess Spear actually managed to overturn the state law banning rent control?

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Stuck in Neutral » FROM PAGE 9 what needed to be done, and it sent shock waves through the science community because of its frankness. That’s the direction I see young climate scientists going in.”

Being a climate scientist in the 21st century is something of an ethical catch-22. Every day at work, you generate and study terrifying data that overwhelmingly says “Do something right now— there’s no time” in a field founded on the principle of neutrality. The best you can do is present your research to policy makers and cross your fingers that something happens—which of course, rarely does.

“This question about the role of scientists in the making of public policy is one that’s hotly debated nationally and internationally,” says Lara Whitely Binder, the director of outreach at UW’s Climate Impacts Group. It’s a question she has to grapple with regularly. “We do research on climate impacts, and how groups, organizations, agencies, etc., can move forward on adaptation, but at the end of the presentation we aren’t going to say, ‘And so you should do this. This is what we recommend.’

Because that’s going from this neutral realm to being an advocate, and that’s a line that the scientific community is very careful not to cross over.”

But in her university role, Binder says she’s seeing more young climate scientists who are almost explicitly interested in advocacy, having grown up in one of the first generations for whom climate change has widely been considered indisputable fact. “We’re seeing this generational shift, and as older people retire and younger people are moving into the field, this urgency is already instilled in them and this desire to be part of the solution, rather than go ‘Meh, let’s crunch more numbers.’ ” Alex Lenferna, a current philosophy graduate student at the UW who helped organize the Seattle branch of the People’s Climate March with Spear, counts himself among this new generation breaking from tradition in the face of the data. Lenferna researches the philosophy of climate change and climate science and how to ethically incorporate it into policy decisions. He’s experienced the futility of working from the outside on a policy level himself, having presented data to U.S. Congressmembers advocating for a carbon tax and talking to policymakers on a city level about fossil-fuel divestment.

“Climate science has become so politicized—if you look at the amount of money that’s spent by the fossil-fuel industry, a huge percent of that goes to the political spectrum,” Lenferna sighs.

“We can do the science and the science can be neutral, but that doesn’t mean people that are creating the science themselves necessarily need to stay on the sidelines of these big discussions.

For those that are informed by the science and the negative consequences and how devastating it can be, arguably there’s a very good reason for them to get engaged in policy making. Scientists don’t need to muzzle themselves, and more and more my peers and younger people don’t see that scientists should have to step back.”

It’s a sentiment Spear echoes. “There’s this frustration that we’re producing all this data that’s refining more and more that humans are causing this. That if we don’t do something, we’re really going to be facing a climate catastrophe. But nobody does anything about it at the radical rate it demands, because, really, what we’re seeing is unprecedented for human civilization.”

Spear has a megaphone in her hand. Next to her, flanked by the trees on Seattle Central Community College’s lawn, two people hold up a giant green banner with a sun and windmills painted on.

The words “For a Fossil Fuel Free Washington” are sewn onto it.

“Tax the Rich, Fund Clean Energy and Green Jobs,” the banner reads.

“Two-thirds of all emissions since the dawn of the industrial age came from just 90 corporations,” she says to the gathered crowd, made of supporters dressed in green and passersby who have stopped to listen. “The political system is holding climate action hostage in order to make profits at the expense of human life, nonhuman life, and the environment.” She cites the most recent data on Arctic glacial melt, as well as the same research from the recent IPCC report and National Climate Assessment that informed Cliff Mass’ climate refugee post.

Near the end of her speech, a giant diesel shipping truck drives by the rally. The driver, an unexpected ally, honks his horn and leans out the window, giving the gathering an enthusiastic wave and a thumbs-up. The irony is not lost on the crowd, which is momentarily stunned. Then they start to cheer. E

ksears@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

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THE ELECTION ISSUE Rent Check » FROM PAGE 9

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that “housing is a basic right.” While property owners chafing under rent-control restrictions insist they can’t make money, he maintains that they can earn a “reasonable profit.” attack to deal with housing needs, including the As he points out, such regulation doesn’t formation of a 28-member advisory committee, cap rents; if it were enacted today in Seattle, an also used the “e” word. apartment owner could still charge, say, $2,000 Asked at a housing press conference about for a one-bedroom. Instead, it regulates how rent control, however, the mayor recalled that he much rent can increase each year, usually through had co-sponsored a bill to do away with the state a board that uses a formula tied to the Consumer pre-emption years ago while serving in the state Price Index. (Some people prefer to use the term Senate. “The appetite in Olympia wasn’t there.” “rent stabilization” rather than rent control to Chopp, in measured campaign mode during convey the lack of caps.) If landlords could make an interview at a coffee shop near Seattle Unia profit on $2,000 a month, they should be able versity, says that in the upcoming session a lot to make the same profit with that plus increases will depend on whether Republicans (with the that account for inflation, Dreier reasons. help of crossover Democrat Tim Sheldon) retain There is, however, lots of room for argument. control of the state Senate. If they do, a pro-rent Janan New, executive director of the San Francontrol measure has little chance.

And even if Democrats take over the Senate, cisco Apartment Association, asserts that her city’s law, which holds rent increases to 60 perChopp says he’d still want to know: Do Seattle cent of the CPI, leads to “substandard housing” officials actually want the authority to implebecause “there’s no way we can make enough to ment rent control? “I personally am in favor improve our buildings.” Randy Shaw, executive of doing away with the pre-emption, but we director of the Tenderloin Housing Clinic and have limited time,” he explains, adding that he author of the 1992 initiative that established the wouldn’t want to waste it by getting an authorcurrent formula, responds that 60 percent is fair ity that wouldn’t be used. because it tracks with costs related to housing, At his housing press conference, Murray as opposed to other things the CPI takes into conveyed that he’s not looking for that authority. account, like food or energy.

“There have been models in other cities that have That argument aside, rent control’s even bigger been very counterproductive,” he said. “It’s good Achilles heel is the arbitrariness of its application. for people who got in, but not so good for people Tiffany Johnson’s story of inequity is not unique. In who come later.” In other words, the Bernards of New York, scandals broke the world win, while the Tiffany Johnsons lose.

“There have been models in out when it emerged that rich celebrities like Clark, chair of the other cities that have been very Mia Farrow and Bianca council’s housingwere living in affordability committee, counterproductive. It’s good for Jagger rent-stabilized flats. is not pressing for that authority either, saying people who got in, but not so (New York, confusingly, has both “rent-stabilized” she’d have a “ton of work good for people who come later.” and even cheaper “rentto do looking at other controlled” apartments.) cities” before going that One reason this could happen is that most citroute. On the council, only Kshama Sawant, a ies that have enacted rent control have applied it Spear ally and fellow socialist, has spoken out only to existing buildings. Anything built after a strongly in favor of rent control. rent-control law was passed was exempt, the theory Yet the political calculus doesn’t seem to troubeing that doing otherwise would discourage new ble Spear. In fact, she looks puzzled when asked construction. And so, over time, a stock of marketif she’s taken the temperature of legislators, then rate housing developed that existed, with no parshakes her head. “That’s not our starting point,” ticular logic, alongside rent-controlled buildings. she says. “It’s not ‘Where are the legislators?’ It’s Some say the solution should be means-testing, ‘What do the people need?’ ” Taking the temperso that rent-controlled units go only to those who ature of legislators, she continues, is not how the battle for a $15 minimum wage was won. Rather, need them. Spear, however, has a different idea— applying rent control to all units, present and says Spear, the organizing director of 15 Now, it future. This, she says, would prevent rent-controlled was won through a “broad-based movement”— housing from becoming a “scarce commodity,” the kind she’s now trying to build around rent with only certain people benefiting. If that means control. And her vision is even more radical than some Amazonians with six-figure salaries will get what’s been implemented elsewhere. a cheaper apartment than they need, she’s fine with it. Some affluent people now opt for low-rent Rent-control law first arose in New York City apartments because, say, they’re saving for a boat, during World War II, when a housing shortage she rationalizes. “Do we means-test them now?” provoked fears of price-gouging during a time of Dreier, for one, thinks blanket rent control is national sacrifice. Other cities followed suit dura good idea, although he says he might exempt ing the runaway inflation and economic slump small, owner-occupied buildings. The fact is, he of the ’70s. Massachusetts, New Jersey, and Calicontends, even universal rent control will benefit fornia have all had extensive experience with rent mostly the people who need it. People with high control, according to Peter Dreier, an Occidental incomes usually move on to a condo or house.

College professor of politics and public policy In contrast, San Francisco’s New says “You will and a former Boston deputy mayor. In 1994, two never get me to agree to rent control,” any kind years after he left the Boston post, Massachuof rent control. “It’s a failed policy.” Her remarks setts voters did away with rent control following are worth paying attention to. You have to condecades of complaints by landlords. sider what similar rent-control opponents might Dreier is still a passionate advocate for rent control, which he says rests upon the premise » CONTINUED ON PAGE 14

13

THE ELECTION ISSUE

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Chopp is bypassing that debate. “I haven’t done enough research,” he says when asked for his opinion on rent control. That’s a little surprising given his deep history on housing issues: He was for many years the executive director of the Fremont Public Association, now called Solid Ground, which provides emergency shelter among other services for the poor. He also was a founder of the Tenants Union, an advocacy group.

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do if a serious proposal emerged here.

In California, the real-estate lobby persuaded legislators to adopt something called “vacancy decontrol.” This allows owners of rent-controlled apartments to jack the rent up to market rate when a vacancy occurs. That’s the other reason glaring inequities exist—even in the same building. It’s also why landlords have been known to withhold heat or water as they try to push tenants out.

So even if Spear manages to win the election and successfully marshals an attack on the state’s anti-rent-control law, and even if local jurisdictions make use of their new authority, it’s hard to predict whether we’d get coherent regulation or the flaws that exist in other cities.

ing. “One of the critical ways is to create community ownership”—housing owned by either the city, a housing authority, or a public-development authority like Capitol Hill Housing (which is chartered by the city of Seattle).

For instance, he says the city, “rather than being a passive player and saying ‘Woe is me,’ could go out there and buy apartment buildings” on the market. This would stop new for-profit owners from coming in, remodeling, and hiking up rents—a phenomenon now familiar all over town. After eventually paying off the mortgage, the city could then decrease rents, Chopp continues. “If we own it, we control the rent.”

He seems to be using the word “control” deliberately, as an implicit response to Spear’s challenge. He makes the point more clearly when he walks down the street to show off the Jefferson, an apartment building developed by Capitol Hill Housing with state funding. Rent for tenants making no more than 60 percent of the area’s median income range from $732 a month for a studio to $975 for a three-bedroom.

“This is a perfect example of permanent affordable housing that is rent-controlled,” he enthuses. The Jefferson is not part of a regulated system, of course, so the terminology is arguable.

But his use of it does show that the concept, in some form, is up for discussion. E

nshapiro@seattleweekly.com

DUELING INITIATIVES The two diametrically opposed gun measures on the ballot might confuse Washington voters. If they both pass, they will definitely test the state Supreme Court.

SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

T

14

BY MATT DRISCOLL

to spend its money trying to defeat I-594 rather his year’s ballot will ask Washington than support I-591.) voters to weigh in on gun control.

It’s a fascinating situation, and—as is so often Twice. the case in politics—there’s a lot of strategy at play.

Initiative 594, backed by wealthy But while this is far from the first time Washingwell-known donors like Bill and Melinda Gates, ton has seen competing ballot-initiative efforts, Paul Allen, Steve Ballmer, Nick Hanauer, and this year the implications stretch beyond the usual former New York mayor Michael Bloomberg, is voter-confusion narrative. In fact, one potential a carefully constructed effort designed to expand outcome is unprecedented, adding to the intrigue. background checks to private gun sales and gun If, as some early polling has suggested, both shows—in theory closing what’s known as the I-591 and I-594 pass on “gun-show loophole” in Washington, which “Our strategy is to pass 591,” the first Tuesday of next month, it will set up a proponents say allows Gottlieb says adamantly. scenario never before seen dangerous ne’er-doin Washington: two comwells easy access to “If in fact they both pass, pletely contradictory initiafirearms. So far more then our strategy at that point tives approved by voters at than $7 million has the same time. been raised in support is to take it to court.”

It could happen. In of the effort, according April, a poll showed I-594 enjoying 72 percent to state Public Disclosure Commission records. support from likely voters, and I-591 holding Initiative 591, on the other hand, is being strong with 55 percent support. An Elway poll championed by gun-rights advocate (and fretaken in early October showed I-594 with 60 quent bow-tie wearer) Alan Gottlieb and his percent support, while I-591 had slipped to just Bellevue-based Second Amendment Foundaunder 40 percent support with voters. That’s tion, which boasts 650,000 members across the below the majority needed, but as Zach Silk, country. I-591 is a succinct directive that would campaign manager for Washington Alliance forbid the state from conducting background for Gun Responsibility admits, “still within checks beyond what’s prescribed under federal striking distance.” law. In other words, it flies directly in the face of I-594, and, if passed, would seem to make implementing I-594 impossible. PDC filings indicate So what happens if both initiatives pass? that so far just over $1 million has been raised “Everybody wants to know what the answer in support of the effort. (The NRA has chosen is. The answer is, there is no answer,” says promi-

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Gottlieb, who insists he’s “personally always supported background checks,” adds that he’s hopeful that such a process might result in a better law.

The pro-594 crowd isn’t buying it.

“I think they’ve been very explicit that they hope to take this to the courts,” says Silk of the strategy employed by Gottlieb and I-594’s opposition. “I think their first order of business is to defeat us. . . . But I think they knew all along that this had a pre-emptive legal quality to it. It is hard for me to believe that [Gottlieb] didn’t see this from the outset.”

Unlike Silk, longtime Seattle political consultant Tim Ceis has no horse in the race, so to speak. Still, he says Gottlieb’s strategy with I-591 is “pretty obvious,” and goes beyond the timetested initiative ploy of confusing voters.

“Look, Gottlieb’s been doing this 30 years, and he’s been pretty successful at it,” says Ceis.

“I think he’s trying to bollocks this thing up as much as he can. . . . The way he wrote it was very clever; even people who support gun legislation could see it as reasonable. I think his entire strategy was ‘If you’re going to have something on the ballot, I’m putting mine on the ballot to screw things up.’ ” “I think they’re both going to pass,” Gottlieb concludes. “Hopefully, the court orders [the legislature] to fix the conflicts, and we get a decent background-check law. . . . I think we’d all be happy with that.”

That might be true, but Gottlieb would probably be happiest of all. E

mdriscoll@seattleweekly.com

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nent state and constitutional law professor Hugh Spitzer, who currently teaches at the University of Washington.

Citing cases dating back to the ’70s, Spitzer goes on to explain that, when pushed, typically the state Supreme Court is compelled to reconcile similar initiatives into one workable law. However, as the professor points out, “That’s probably not possible here,” since I-591 “would forbid the legislature or the people from enacting 594.”

Instead, Spitzer says the court’s first move would probably be to ask the legislature to fix the mess—but that’s likely to prove difficult, since repealing, amending, or suspending initiatives requires a two-thirds majority in both houses for the first two years. He says it’s also possible that the state Supreme Court could simply go with whichever effort received the most support at the polls, a route that’s been taken in other states. What actually happens, Spitzer admits, is anyone’s guess at this point. But the bottom line is that if both initiatives pass, the court will be where the issue is decided.

This might be exactly what Gottlieb is banking on. Though he’s hesitant to admit it, pushing the decision to the state Supreme Court may have been the game plan all along. Yes, there’s the possibility that the two similar initiatives will confuse voters and make them hesitant to vote for either. But, with polls showing that the public strongly supports expanded background checks on gun purchases and, as expected, dollars pouring in by the millions to support I-594, Gottlieb’s best hope may be to take the issue out of voters’ hands and put it into the court’s.

To this end, Gottlieb—who founded the Second Amendment Foundation in 1974 and has on his resume a long string of pro-gun court victories across the country—tells Seattle Weekly that he sees I-594 as an initiative with “significant issues” that he nonetheless expects to pass.

He insists that I-591 was not filed in response

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n a warm late-September afternoon, a war-room atmosphere envelops the downtown headquarters of the Washington State Democratic Party. The first Tuesday in November is drawing near, and a sense of urgency pervades. Democrats have had a lock on the governorship since 1984, and enjoyed a dozen consecutive years of state House dominance under the firm hand of Speaker Frank Chopp. Now the mission centers on fracturing the Majority Coalition and reclaiming control of the 49-member state Senate.

Inside a hive of fifth-floor offices above Second and Cherry, the cream-white walls are ablaze with color-coded legislative district maps and pictures of past and present party victors, from Jack and Bobby Kennedy and Bill Clinton to Henry “Scoop” Jackson and Jay Inslee. At the helm is state party leader Jaxon Ravens, a barrel-chested 46-year-old with a thatch of ungovernable sandy hair and a shortcropped beard flecked with gray.

Ravens took charge in February, elected by a majority of the 176 members of the state central committee, after Democrats bid farewell to the retiring Dwight Pelz, the oft-times tornadic life of the party for the past eight years. It is up to Ravens to win back the Senate that slipped from the Democrats’ grasp in December 2012 when former Republican-turned-Democrat Rodney Tom and maverick conservative Democrat Tim Sheldon deserted ranks to form the largely Republican Senate coalition.

The son of a famous photographer, Bob Fitch, who shot many iconic images of Martin Luther King Jr. and Cesar Chavez in the 1960s, Ravens is the consummate party operative. He has worked for the state party for more than a decade and has received high marks from top Democrats for helping to recruit quality candidates. Ravens spent most of the 1990s traveling

around the world, and when he returned, he set off on a solo bicycle ride across the U.S., following the Lewis and Clark Trail. “He has enormous energy,” notes Sen. Sharon Nelson, the Democratic minority leader from Maury Island who will lead the Senate as its majority leader if Democrats prevail.

When the year began, observes Ravens, the party was down in the dumps, dispirited and frustrated by partisan deadlock, which it blamed largely on turncoats Tom, who has since announced that he will not seek reelection, and Sheldon, a state lawmaker for 23 years who barely survived the August primary.

Both renegades were at the center of forging a new coalition structure built on the politics of no tax increases and the insistence that reforms and efficiencies be imposed before any additional state spending could take place.

“The level of optimism was very bad,” recounts Ravens. “We felt that they allowed the Republicans to stop Democrats from getting a transportation bill and from doing what we need to do on education funding. But when Tom stepped down, the optimism started to pick up.”

Still, the political winds are not at the Democrats’ back. For the first time since 2002, not a single statewide candidate will be on the ballot. That, explains Ravens, can have a negative effect on fundraising, gathering volunteers, and ginning up the voter enthusiasm that translates into higher turnout, which Democrats badly need in some key districts— particularly the 45th, a bellwether in Seattle’s easterly suburbs, and the 48th, up in Whatcom County—if they are to recapture the Senate. (Voter turnout in the Aug. 5 primary was a paltry 29.3 percent in King County, and just a fraction over 31 percent statewide.)

“It’s not impossible,” says Christian Sinderman, a prominent Democratic strategist, “but

And so we will continue to have divided government in Olympia, where neither party has shown any inclination to work together.”

A handful of other Senate races will help determine the balance of power. Democrats are banking on Matt Isenhower to beat Sen. Andy Hill in the 45th, a suburban swing district that encompasses parts of Kirkland, Redmond, and Woodinville. A former surface warfare officer who prepared the Navy’s first team to rescue hostages and capture Somali pirates off the Horn of Africa in 2003, Isenhower is a business-friendly Democrat, a 33-year-old senior product manager at Amazon. He captured more than 46 percent of the vote in the primary, meeting Vance’s threshold of possibility.

Hill is a policy-driven moderate Republican and served as the Majority Coalition’s lead budget writer. This has been this year’s most expensive Senate race. As of October 1, Hill had raised more than $540,000—including an $80,000 independent expenditure from the National Association of Realtors—to Isenhower’s $270,000.

Another key showdown is shaping up in Pierce County, pitting incumbent GOP Sen. Steve O’Ban against longtime Democratic State Rep. Tami Green. Both are proven votegetters. Outspent two to one in the primary, Rodney Tom’s surprise announcement on April Green collected only 43 percent of the vote, but 14 that he was dropping his re-election bid, still, the 28th District is citing his own kidney stones and the needs of “I tell you what’s at stake: 60 percent Democratic.

Whatcom County’s his elderly father, who’d truly funding education, 42nd District may also broken his leg the week be fertile ground for before, have altered the getting a transportation Democrats. Entrenched electoral math. His 48th District seat on the East- package, and making sure a Republican incumbent Sen. Doug Ericksen is side will almost certainly woman’s reproductive rights facing a stiff challenge go to Cyrus Habib, the from Democrat Seth young freshman House are not jeopardized.”

Fleetwood, an attorney Democrat whom the and former Bellingham City Council memparty considers an up-and-comer. He’s facing ber. A clash of views over climate change has GOP rookie Michelle Darnell. dominated the race and captured the interest But that gain for the Democrats could be of California billionaire Tom Steyer, who in offset with a 30th District victory by Mark September donated $1 million to the WashMiloscia of Federal Way. He represented the ington branch of his NextGen Climate Action south Sound for years as a conservative DemoCommittee. crat, but switched parties earlier this year to Of that, about $50,000 went into the Kenrun for the seat held by retiring Democratic nedy Fund, a political committee that is backincumbent Tracey Eide. Miloscia won nearly ing Democrats for the state Senate—nearly 57 percent of the vote in the August primary the same amount of money Costco Wholesale, over Democrat Shari Song.

“My guess is that everything stays pretty much opposed to Democratic efforts this past session to block elimination of a 17 percent license fee the same,” speculates Brent Ludeman, executive on retailers selling liquor to restaurants, has director of the Senate Republican Campaign given to state Republicans.

Committee. “We’ll have 25 Republicans plus As chairman of the Senate energy commitSheldon, and they’ll have 24.” tee, Ericksen has been a vocal critic of Gov. Jay “Politics,” muses former state GOP chair Inslee’s plans to deal with global warming by Chris Vance, “is part art and part science. And curtailing carbon emissions, perhaps through a when you look at the science part, our open pricap-and-trade system. mary system is a pretty good barometer. Anyone When all the dust settles a few weeks from who has received less than 45 percent of the vote now, Chris Vance figures it will be a political wash. in the primary is not going to win. It has been “Fact is, they need to win two races, and they will that way as long I can remember.” have to come from behind to do that,” he says.

A onetime state representative and later “And I don’t think anything is going to happen King County councilman, Vance is all but certhat will alter the present political landscape.” tain Republicans will hold the Senate. “DemoJaxon Ravens isn’t so sure. “We’ve got a ground crats,” he says, “need a big turnout of young game going, and we have a little more money voters, nonwhite voters, Obama voters, and than we had in the primary. Look, we know what they are not going to get that. The enthusiasm we’re doing. We know how to win.” E isn’t there. The electorate who will participate [in the general election] will be older, whiter. econklin@seattleweekly.com

there’s no clear path.”

Each party has its narrative, well-scripted rationales as to why they should lead and what is at stake if they are unsuccessful. This from Sen. Sheldon, who told Seattle Weekly that he again plans to caucus with Republicans: “If the Democrats win the Senate, we are going to see incredible tax increases, incredible state spending—and it would be a very Seattle-centric branch.”

Conversely, Sen. Nelson offers this assessment: “I tell you what’s at stake: truly funding education in order to follow the mandate of the state Supreme Court, getting a transportation package, and making sure a woman’s reproductive rights are not jeopardized.”

To retake the upper chamber, now split 26-23, Democrats need to pick up two seats without losing any, to seize a 25-24 seat advantage. (They have little worry of relinquishing their grip on the state House, where they hold a 55-43 seat majority.)

“I feel like we have a very strong chance,” boasts Sen. Nelson. Counters Ritville wheat farmer Mark Schoesler, the current GOP Caucus chair who would lead the Senate if the Republican-dominated Coalition retains power: “I like our position a lot better than Sharon Nelson’s.”

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food&drink

FoodNews

How to Kill a Pig

BY JASON PRICE

I

Sheard’s ease around the animals could

perament of the animal”—pigs don’t deal well with being laid down and held for slaughter, he tells me. Lambs and sheep, on the other hand, are easy and calm when laid on their back. This is where ethical butchering starts, long before the bullet is even loaded into the gun.

In a commercial slaughterhouse, such careful thought would be considered absurd. Pigs and other animals are “processed” for maximum efficiency. They’re led by the hundreds up loading ramps to be transported perhaps 100 miles in overcrowded trucks, then killed in a state of panic and discomfort—often with a bolt stun gun to the head or electrocution—away from their own turf where they’re more likely at peace, eating a meal or napping. Almost entirely automated, the process leaves no room for compassion. According to a 2013 USDA audit of the Food Safety and Inspection Services (FSIS), there are even instances where pigs are not killed the first time around but are moved on to the next step regardless—hung, bled, and dipped in scalding water to remove skin and hair while still alive.

In contrast, Sheard is adamant that he’ll wait, hours if necessary, to ensure that he can get lined up for the perfect shot—aiming for a golfball-size target on the forehead, just above the eyes, where the skull is thinnest, allowing for an instant kill in the animal’s backyard.

» CONTINUED ON PAGE 20

Lisa Nakamura’s Gnocchi Bar is funding a move from pop-up to brick-and-mortar by launching its IndieGogo campaign on October 24 at Zeppelin Studios. For $10 you can sample a wide variety of Nakamura’s gnocchi.

Gluten-free folks have something to cheer about with the announcement of Capitol Cider’s new weekend brunch service. From 10 a.m. to 3 p.m., diners can chow down on dishes such as chilaquiles with poached eggs, homemade banana French toast, and doughnuts with blueberry compote. E morningfoodnews@gmail.com

TheWeeklyDish Brûlée Bookends

BY NICOLE SPRINKLE Ironically, I started and ended my Saturday with a brûlée—not intentionally. At brunch at Skillet in Ballard, I always order the grapefruit brûlée, a dish I first encountered in Victoria and which is, to my mind, genius.

Take a sour citrus fruit like grapefruit and blowtorch the hell out of the top layer until its natural sugars turn into that hard sheet of caramelized goodness. It’s a terrific sweet-and-sour duo—not to mention fun to eat.

Later, at Mashiko’s in West Seattle, I had a lovely omakase dinner which included a delicious matsutake-mushroom tempura (not sure if it’ll be there this week; depends on the mushroom availability) and lots of pieces of sustainable sushi, including some unusual ones such as rainbow trout. That multicourse chef ’s selection ended with jasmine crème brûlée. While it might not be everyone’s cup of tea (literally), jasmine is one of my favorite flavors, and it’s particularly strong and heady in this preparation. Chef Sato, after learning about my love of it, even sent me home with a little cup of fragrant jasmine tea buds. E

nsprinkle@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

make you think Farmstead Meatsmith was a lifetime in the making.

But his experience began only about seven years ago, and his story is the sort people make romantic comedies about: Disenchanted Whole Foods employee with a master’s in renaissance English literature moves to Vashon Island, marries the love of his life, quits his job, and winds up as an apprentice butcher at a local farm, where he becomes enthralled with the practice, learns everything he possibly can, and then starts his own business.

Potentially the most fascinating aspect of his journey, and the easiest to overlook, is the degree in renaissance literature. Sheard’s practical methods and approach to butchery and charcuterie more closely resemble those of 15th-century England than of 21st-century America: He butchers slowly, by hand; cures his own meat; and makes his own knives. Were he to trade his Toyota Tacoma for a couple of horses, you’d think he’d just stepped out of a time machine.

The day’s butchering activities continue in Sheard’s old-school fashion. The dead pig is hung in a tree to be scalped—a process that removes the outer layer of pigmented skin—and shaved smooth.The skin will be completely preserved for an extra layer of delicious meat on roasts or fried and eaten as a snack.

Which leads us to the second problem with commercial slaughterhouses: They deprive you of some of the most delicious parts of the pig.

“Nothing is wasted when we do this process,” says Sheard. “It is a terrible shame how much is wasted at the commercial level.” He points out that 100 percent of the hanging weight of the pig—cleaned of offal and blood—will end up on a plate, in a sausage, somehow consumed. By contrast, up to 50 percent of the hanging weight of a commercially slaughtered animal will be wasted, owing to a process that emphasizes speed and quantity rather than quality, slow butchering.

The head, nearly impossible for the average person to find and buy, is filled with some of PHOTOS BY ANDREW PLOTSKY

n the dappled early-morning sun, under a bigleaf maple, Ben Killian is finishing a Robert Francis poem and getting pretty choked up.

And deeper yet down to the earth-dark root.

I am in love with what resists my loving, With what I have to Top: a labor to make live. butchery The poem is dedistill-life. cated to Killian’s pig, a Bottom left: the caul fat.

350-pound Black Tam Bottom heritage hybrid. It is a right: the pig that is about to be belly—soon butchered. It is a pig to become bacon.

Killian clearly cares a lot about. Which is why, five minutes later, just after Brandon Sheard has shot it with a .22, I can’t help but look to see if Killian is doing OK. And he is. In fact, he seems full of a quiet joy.

Understanding how someone could love a pig enough to read a poem about it, then shoot the pig and refer to butchering it as “opening up a Christmas present,” is a lesson you don’t expect to learn when you sign up for a butchering class on Vashon Island. Run by Sheard and his wife Lauren, the class is just one offering of their new business, Farmstead Meatsmith (farmsteadmeatsmith. com): part butcher shop, part classroom, part knife-making business, part publishing house, part farm. The course seeks to teach, inspire, and lead students of all backgrounds through farmrelated, and usually meat-centric, classes, butchery and charcuterie being the focus.

Last Sunday, one of those classes brought me to the Killians’ farm (they’d agreed to let Sheard hold it there) alongside five ready-to-learn participants, including a guy named Juan, a private chef on a yacht, who prefers not to divulge his client’s names. Originally from the Dominican Republic, he says he witnesses brutal, unethical slaughters—pigs stabbed in the head several times before slitting their throat—when he visits his family back home and pigs are killed for family feasts. He wants to learn better slaughter practices so he can spread them in his hometown on his next visit.

Between the poem and the shot, Sheard explains that he uses different types of slaughter methods depending on the animal. For pigs, it’s a shot to the head; for lambs and sheep, it’s simply a slit throat. “It has to do with the tem-

NICOLE SPRINKLE

BY PATRICK HUTCHISON

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Students learn about love, life, and animal guts on Vashon Island.

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food&drink» How to Kill a Pig » FROM PAGE 19 the most delicious parts of the pig, like the jowls or cheeks. There are cuts you never see, mostly because they’re too small for most slaughterhouses to bother with; there are hangar steaks and skirt steaks, lean cuts that Sheard says “are some of the most flavorful parts of the entire animal.” But they’re typically tossed into the grinder along with livers, kidneys, and other undesirables. Throughout the afternoon, learning how much pig I’ve been missing out on left me feeling exceptionally ripped off by my local store’s meat department.

During every part of the class, students are encouraged to be hands-on: getting elbow-deep in intestines, ripping through fat to pull out livers and kidneys, shaving hair, or pulling out heavy sets of lungs. And they love it. My class, a group of mostly city-slicker boys, was enthralled to be doing something so quintessentially manly. When it comes time to remove the head, the skin and muscle around the neck are cut, and the honor of final separation is bestowed on a guy named Pete. With a satisfying pop, Pete takes the head off and turns to show us, his face glowing with a giddy happiness.

We’re all sort of giddy. It is incredibly interesting to take part in this endeavor—which nearly all people depend on, but which nearly no one ever sees. It is moving in a way that brings new levels of respect when the process is done correctly.

The body cavity is opened, revealing the offal— intestines, stomach, kidneys, liver—and the first real glimpse at the pig’s meat: hams, ribs, back and stomach, bacon. Killian gets close to watch, regularly turning back to his wife Kelsey to smile at her in a way that says “It looks great. This thing we worked so hard to make and loved is going to feed us and be delicious. We did good.” He is enthralled and relieved. It is at all times an emotional process for the people who raised the animal.

With the head removed and the inside cleaned out, the pig is sawn down the middle to create two full halves of pork, which will be stored in walk-in refrigerators until they’re butchered into identifiable cuts: pork chops, bacon, roasts, hams, cutlets, and everything in between. It will feed the Killians and their friends and family for a year or more.

People are often hesitant to attend classes or events where they might witness an animal slaughtered for consumption. They’ll make excuses, avert their eyes, and distance themselves from the entire process. They’ll worry that viewing the act will make it harder to enjoy meat.

With these people, I disagree. Others insist that you should see an animal killed for food—that’s it’s a necessary experience to earn your right to omnivorism. And with these people, I also disagree.

Don’t sign up for a class like Sheard’s because you feel guilty for distancing yourself, because you think it’s horrible but want to get permission to eat meat. Go because it inspires you to celebrate your food, not just enjoy it. The ethical slaughter of a humanely raised animal is an event shared by a community of people who truly care about their food. To participate is to embrace your food beyond the simple pleasures of taste and nutritional benefit. It is to learn about life and death and humanity. It will teach you why a person like Killian can read a poem, declare his love for a pig, and then flash a massive smile when that same pig is split open with a bone saw. E

food@seattleweekly.com

British Columbia Wines Return to Seattle

W

hat comes to mind when I mention Canada and drinking? Most likely beer, or possibly Canadian whiskey. Yet the Okanagan Valley in British Columbia is an emerging wine region, and as the quality improves and a few legal hurdles are cleared, you’ll start seeing more of those wines here in Seattle. At a recent dinner sponsored

by Whole Foods, I had a chance to taste both the strengths and weaknesses of that region firsthand.

In many ways, the Okanagan Valley is ideally suited for wine production. As

BY ZACH GEBALLE in eastern Washington, the summers are hot and dry and the northerly latitude ensures lots of sun during the day. Three lakes—Okanagan, Osoyoos, and Skaha—moderate temperature year round and provide much-needed water for irrigating vines.

Add to all this the beauty: It’s one of the most scenic wine regions in North America.

Yet still it’s not on the level of Napa, the Willamette, or even Walla Walla. The wine industry is relatively small and new, and while grapes have been planted there for decades, commercial production took off only in the 1990s. More important, until very recently virtually all the wine made in B.C. was sold in B.C. or Alberta. That large, and captive, local market was a safety net for many producers, and made quality a bit less essential.

That’s not to say that great wines can’t be found. Because of the Okanagan’s proximity to water, it seems that its best wines are made from grapes typically grown in similar conditions: white varietals like riesling and sauvignon blanc and red varietals like cabernet franc and merlot. This was evidenced at the tasting, where the 2012 Tantalus showed all the right markers of a cool-climate riesling: bracing acidity, stark minerality, and the green-apple quality that’s the hallmark of the grape. Similarly, Burrowing Owl’s 2011 cabernet franc was beautifully aromatic and delicate, all violet flowers and cassis.

The other six wines we tasted were less noteworthy, or in one case almost aggressively undrinkable: imagine cherry cough syrup poured on a tire fire. While there’s no doubt that the Okanagan Valley can produce great wine, I’ve yet to be convinced they’re doing it nearly as consistently as Washington, Oregon, or California.

However, Okanagan does excel in ice wine.

While dessert wines tend to be the ignored child of the wine family, when made well they can have a complexity and character that no dry wine can match. The conditions in B.C. are ideal for making ice wines—grapes freeze on the vine and stay frozen for days until pressed.

While the quality might still be uneven, it’s tremendously exciting to see some of these wines return to Seattle shelves after a decade of unfavorable exchange rates and lackluster demand that kept almost all B.C. wines in Canada. Of course,we’re practically drowning in a sea of Washington wine at the moment, but at the very least wines from the Okanagan Valley are a vast improvement over Molson Ice. E

THEBARCODE

thebarcode@seattleweekly.com

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

CitizenFood

Family and community mingle at full-moon soup parties.

BY NICOLE SPRINKLE

DIN ING

W EEK LY

MUSIC

DINING NEWSLETTER PHOTOS BY KYU HAN

L

FI L M

H A PPY H OU R

house isn’t always ship shape, and the dress code is relaxed, sometimes very much so. “One night it was getting late and seemed like no one was coming. So I put on my PJs. Then suddenly people showed up, and I just stayed in them.”

“I don’t want to stress out either,” she says.

“We’ve had parties where I didn’t get home from running errands and picking up kids until 5, and a guest was there before I was. I just tell them to come on in and give them a knife to help me start chopping vegetables.”

Asked about favorite soups over the years, Bradberry mentions “Minestrone for a Crowd,” from which cookbook she can’t remember. She does, however, often use the Love Soup vegetarian cookbooks. “One of her favorites is a “Root Vegetable Pot au Feu,” which lets her use lots of root veggies from her CSA box. “The kids have no idea that there’s all this weird stuff in it.” It’s true: My daughter scarfs down bowls of soup she’d never eat at home.

The parties have now seen four different homes

and the birth of three children. Birthdays and other special occasions have landed on them.

Perhaps one of the more flamboyant ones occurred last winter, just after Bradberry and her family had moved into a mid-century-modern house; to celebrate, she asked people to come in “Mad Men-esque” attire and bring ’50s-era food.

Women wore poodle skirts, mai tais were mixed, and plates of deviled eggs, iceberg-lettuce wedges with blue-cheese dressing, and a pineapple upside-down cake were on hand. Yet, still, that humble pot of soup.

As for the kids, I ask Bradberry what’s been most special for them about the parties. Her answer is aptly uncomplicated: “They look up now and really see the moon.” E

nsprinkle@seattleweekly.com

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SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

ast week there was a full moon—and on the same night, a lunar eclipse, which produced a reddish “blood moon.” It was also the night of the season’s first full-moon soup parties at the house of Kassandra Bradberry, a Seattle mom of three who began the festivities about 10 years ago in Tacoma, shortly after the birth of her first child.

A decade later, the parties, which begin at 5 p.m. and go until 9, carry on with an evolving cast of friends, neighbors, and lots of kids.

Kids, really, are the reason it all started. Bradberry, a vegetarian who used to make big pots of soup in college for her hungry, poor friends, stumbled on a book in the library about creating family traditions. With a new baby, she started thinking about how her emerging family might start their own “story.” Laughing, she says that “kids will drag their parents to come. It’s kind of an evil way to get people to come out.”

And come out they do. During last week’s full-moon party, the head count was at least 20, and included two new members: a 2-week-old baby and a kitten.

The parties themselves are simple: Bradberry always makes a big pot of some kind of vegetarian soup. “Add salt!” her husband admonishes.

“Cass doesn’t believe in salt.” The rest is up to the guests, though Bradberry aims to make it easy on everyone. Her one invitation goes out before the first party (and provides the dates for the whole season) and requires no RSVP, no comment about what you’re bringing. “I don’t want people to feel obligated to come, because I understand it falls on weird nights, and you don’t know what life is going to do to you at any given moment.

So you can come in whatever shape you’re in.”

Another impetus behind the parties are the dreary winter months in Seattle that can drag us all down. “Me and Jon are pretty introverted, and come winter we wouldn’t get out much.” So the get-togethers also aim to provide a cozy place to meet up with people in your community and get through the gloom. A pot of hot soup is naturally fitting. People tend to bring bread, wine, cheese, and often a homemade dessert or salad. Besides wine, Bradberry and her husband sometimes try their hand at other drinks, like a homemade nectarine vinegar shrub mixed with vodka last week.

The reason the parties are so appealing is the casualness of the Bradberrys’ approach. The

This season’s first gathering. Below: Veggie soup gets a scoop of quinoa.

The inside scoop on openings, hotspots and offers.

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arts&culture

All About Lena Dunham Both loved and reviled, why has the creator and star of Girls achieved such swift, Ephron-like status among her fellow female millennials?

FRIDAY, OCT. 17

BY SEATTLE WEEKLY CONTRIBUTORS AND FRIENDS

T

I’m fairly neutral on Dunham. I will admit to

moments of dislike, but surely those were based in deep-seated envy. Who wouldn’t be envious of such a lightning strike of talent? Separating her skill from her fabled upbringing is essential to understanding how good she is for feminism.

I don’t think she’s the voice of young feminism, as there are many voices in that choir, but I do believe that she’s pushing the feminist envelope in a way that is much needed. The notion that a young woman wouldn’t identify as feminist is frightening to me. My mother’s native feminism—born out of the shifting roles of women in the ’50s and ’60s and the gravel road they all paved so we can stroll down it in our Manolos— carves deeply in me, and influences everything I write. How could it be possible that women wouldn’t want equality in all things?

The simple fact that Dunham is open about her earnings, and that she is paid as much as a man would be in her position, is a tremendous model for anyone to base their ambition upon—this is the kind of cult that women need to join in droves.

I have not yet read her book, but I will. —Amy Scheibe, author of A Fireproof Home for the Bride

It’s safe to say I’m in the target demographic for Dunham (though maybe, in my mid-30s, on the elderly side): I’m a hyper-liberal East Coaster with a semi-oppressive family who grew up pudgy and nerdy and theatrical, then found my people and a series of hipster publishing jobs. I love sarcasm, outspoken ladies, and wordy neurotics. I even went to the slightly preppier version of Dunham’s college.

All of which makes me feel a little guilty for not really feeling her shtick. Possibly it’s too familiar or hits too close to home, but it just doesn’t seem like fodder for the countercultural feminist revolution she’s often credited with inspiring. We’ve had smart,

She isn’t someone automatically liked, but I think

that’s the thing about Lena. She isn’t instantly digestible. I’ve seen a few episodes of Girls, which I enjoyed. But I wasn’t blown away. I do respect her intellect and admire anyone who can become successful at such a young age. I think she’s a good role model for having opinions and not being afraid to say what she thinks and feels.

But I wonder. Does it have to be so black-andwhite? Call me shallow, but I wince every time I see her come out in some godawful unflattering outfit at the latest awards show. Unfortunately, that’s what people comment on, myself included.

Somehow I think as women, we’re supposed to think she’s deeper and stronger than us weaker women who care about style and fashion, for not caring about how she looks. But, hey, Lena is part of the Hollywood industry; she’s not curing cancer. So although I appreciate that she doesn’t care and wears what she wants, horizontal stripes and fluorescent yellow are really hard to pull off, even if you’re Heidi Klum.

This distracts me from fully appreciating Lena.

I’d really love to make her over. There, I said it.

But being a feminist can take all shapes and sizes. Lena is just one of them. —Leslie Whalley, Seattle freelance writer E

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Rooker (with Brenda James) discovers the alien in Slither.

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JOJO WHILDEN/HBO

Dunham’s honesty is contagious. Her candor challenges me. She presents her flaws to the public, which is what I appreciate most. Most every-

one hides their insecurities and shameful secrets, whereas Dunham shares them. It’s inspiring.

—Abby Searight, SW intern

sexual women making quirky, self-flagellating art for a while now, haven’t we? I’ve enjoyed listening to some interviews with Dunham— I admire her honesty, intelligence, and ability to act like a regular (read: overwhelmed) human while navigating celebrity.

But Girls annoys me, and all I can say about her book is that it’s exactly what I expected. Despite my bio, I guess I’m not Lena Dunham’s kind of girl. —Mia Lipman, Seattle editor and writer

For a certain kind of filmgoer, one’s primal tastes were formed on balconies with sticky floors and threadbare seats, munching stale popcorn, watching scratchy old prints—colors faded, frames missing, the reels sometimes spliced out of order—of pictures that no snooty critic would call classic. Camp, gore, bad acting, cheesy effects, ludicrous dialogue, unscary monsters, and whopping continuity errors—these are treasured by the connoisseurs of midnight movies. The tradition began with the college film societies and repertory houses frequented by baby boomers in the ’60s. There was no VHS or cable, so going out late to see a favorite bad movie, an underappreciated good movie, a cult movie, or a just plain weird movie was an event, something you did with friends. (And yes, dope was often smoked in the alleys before the show.) Sadly, for a generation weaned on The Rocky Horror Picture Show, the tradition has nearly died in our age of Netflix and streaming. Landmark Theatres tried to entice the midnight-movie crowd to the Egyptian, but attendance was dwindling even before the theater went dark last year. But now SIFF is reviving the tradition, with the added lure of beer and wine, during the first month of the theater’s relaunch. Programming begins tonight with the funny, underrecognized creature-com Slither (2006), with Michael Rooker as a villain who messes with the wrong alien parasite. Saturday brings the tremendously enjoyable Jaws-on-dryland comedy Tremors (1990), with Kevin Bacon and Fred Ward as desert yokels battling giant, man-eating underground worms. The FridaySaturday programming continues this month— and beyond, we hope!—with Evil Dead II: Dead by Dawn, Cabin in the Woods, Zombie, and the inevitable Rocky Horror Picture Show.

SIFF Cinema Egyptian, 801 E. Pine St., 3249996, siff.net. $7–$12. 11:55 p.m. BRIAN MILLER

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

When I first saw Girls, I was dumbstruck because Dunham was showing the world MY New York. I never knew the cupcakes-and-Manolos, Sex and the City life. Like Hannah (Dunham’s character on Girls), I knew crappy jobs and weird men and having too much ambition to even breathe and no idea how to get what I wanted, let alone what I wanted. Lena figured it all out; and for that, I love her.

Of course I’m insanely jealous. I think the reason for all the hatred and envy from other women writers is because there are so few ways for women to be successful in the literary world.

I think a lot of women perceive her as not just taking up “a” space but “their” space, and it hurts.

I’m happy about her success, because if the culture makes room for a smart, young, outspoken proud feminist who values good storytelling, beautiful writing, and messy truths, it makes more room for the rest of us. —Arlaina Tibensky, author of And Then Things Fall Apart

Midnight Adrenaline Dunham pictured in HBO’s Girls.

his Saturday’s book event for Lena Dunham’s Not That Kind of Girl (Random House, $28) is sold out, and maybe you already have tickets. How and why has she seized the zeitgeist among her young peers? We asked women who write for Seattle Weekly, and their friends: What’s the deal with Lena? Here’s a sampler of their opinions.

People herald Dunham as the voice of a generation.

Not mine. Twenty years back, I could’ve been her super-cool babysitter. Her book deal, with an advance of over $3 million, caused quite a kerfuffle when announced two years ago. Today, however, when Microsoft’s CEO tells women not to request raises, I applaud Dunham for recognizing her value. She’s monetized her selfobsession, so there’s that to commend.

In an era where reality TV shows and Internet sex tapes allow idiots to experience celebrity, I find it refreshing to see a brazen, beautiful woman with brains make headlines; moreover, Dunham is unabashedly authentic—which is what evokes the ire of others. The world needs more of her not so much because of what she says, but because she says it with such genuine candor. —Alyssa Dyksterhouse, SW contributor

ThisWeek’s PickList

» CONTINUED ON PAGE 24 23

ONE OF THE “25 FUNNIEST PEOPLE IN AMERICA”

DAVE ATTELL

THUR | OCT 16 | 8PM

RKO RADIO PICTURES

arts&culture»

» FROM PAGE 23 Vanya and Sonia and Masha and Spike “FOOTLOOSE” & “DANGER ZONE”

KENNY LOGGINS SUN | OCT 19 | 7PM MMA RETURNS TO SNOQUALMIE CASINO

RUMBLE ON THE RIDGE XXIX

SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

SAT | OCT 25 | 3PM

24

“REMINISCING” & “COOL CHANGE”

LITTLE RIVER BAND

FRI | NOV 7 | 8PM

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

/Snocasino

Chekhov and comedy don’t really go together.

You’ll find a thread of wry, sometimes rueful humor in his plays, but nothing aimed for belly laughs on the order of this 2012 farce by Christopher Durang.

He essentially takes a Chekhovian situation—a pair of thwarted siblings still living in their dead parents’ house—and gooses it. Vanya (R. Hamilton Wright) and Sonia (Marianne Owen) are the shut-ins whose routine is disrupted by the arriaval of sister Masha (Pamela Reed), an egotistical actress. Her trade allows Durang to send up both Chekhov and Hollywood. And to explain the names: The siblings’ parents were theater nerds; but Spike (William Poole), boyfriend to Masha, is the outlier. Durang laces the comedy with many lifts and themes from Chekhov (there are cherry trees, if not quite an orchard), and he playfully considers the Russian playwright’s relevance to modern-day neurotics like these. Says one, “If everyone took antidepressants, Chekhov would have had nothing to write about.”

(Previews begin tonight; opens Oct. 23; ends Nov. 16.) ACT Theatre, 700 Union St., 292-7676, act

theatre.org. $55 and up. 8 p.m. BRIAN MILLER

All Monsters Attack!

The countdown to Halloween begins in the U District’s favorite nonprofit cinema with this annual series of fright flicks. First up is Jacques Tourneur’s influential 1942 Cat People, where sex is displaced into horrific folklore. Our heroine (Simone Simon) believes that if she sleeps with her husband (Kent Smith), she’ll turn into a panther and eat him. So naturally he sends her to a shrink, but the therapy doesn’t quite go as planned. Tourneur had no stars and a tiny budget for the picture, constraints he ingeniously resolved by almost never showing the dread cat; instead, all the menace is masked yet implied by the shadows. The movie gains its eerie power by almost never revealing its selling point; and that withholding strategy has a long legacy in Hollywood, most famously employed in Jaws.

Following titles in the series include I Walked With a Zombie (also by Tourneur), the ’70s stag movie Sexcula, Little Shop of Horrors (with the young Jack Nicholson), and the excellent Swedish vampire

movie Let the Right One In. (Through Oct. 31.)

Grand Illusion, 1403 N.E. 50th St., 523-3935, grand illusioncinema.org. $5–$8. 7 p.m. BRIAN MILLER SATURDAY, OCT. 18

Don Giovanni

You’ve seen the bus ads; you’ve seen the TV spots, all abs and motorcycles; so you know Seattle Opera is going for the boom-chick-a-mow-mow in this revival of director Chris Alexander’s coolly decadent 2007 production of Mozart’s dramedy.

Nicolas Cavallier and Mark Walters share the title role, and Lawrence Brownlee, one of today’s busiest and most acclaimed bel canto tenors, returns as the cuckolded Don Ottavio. In Italian with English supertitles. (Through Nov. 1.) McCaw Hall, 321 Mercer St. (Seattle Center), 389-7676, seattle opera.org. $25–$223. 7:30 p.m. GAVIN BORCHERT

TUESDAY, OCT. 21

Matt Bai

As political writers go, Bai is kind of a big deal.

You don’t score two cameo appearances on the second season of House of Cards—playing yourself—unless you’ve accrued some serious D.C. cred. And with a career that spans multiple presidential campaigns, a stint as the chief political correspondent for The New York Times Magazine, and now a gig as the national political columnist for Yahoo News, the 46-year-old Bai is flush in that department. Bai’s at his best, however, when he’s writing books—as his latest, All the Truth Is Out: The Week Politics Went Tabloid (Knopf, $26.95), makes crystal-clear. It’s a candid and captivating look back at the demise of Gary Hart, the presidential hopeful done in by an alleged 1987 affair with 28-year-old blonde bombshell Donna Rice. But the book is about far more than what transpired between Hart and Rice on a yacht named Monkey Business; it’s about how the affair, and the coverage it garnered, forever altered journalism and the world of politics we know today. “The story of Hart and the blonde didn’t just prove to be Hart’s undoing,” Bai writes, “it was the story that changed all the rules, a sudden detonation whose smoke and soot would shadow American politics for decades to come.”

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

(10/14) Mark Bittman with Steve Scher Cooking Quickly in a Fast-Paced World

» Stage

Opening Nights

Hacienda Holiday TEATRO ZINZANNI, 222 MERCER ST., 802-0015, ZINZANNI.COM. $99 AND UP. RUNS THURS.–SUN. ENDS JAN. 31.

SEATTLE REPERTORY THEATRE, SEATTLE CENTER, 443-2222, SEATTLEREP.ORG. $17–$67. RUNS. WED.–SUN. ENDS NOV. 2.

Two song-and-dance artistes, touring Antarctica in the ’20s, get frozen in an avalanche for 90-some years and stage a post-thaw comeback: This is the nutball premise of The Vaudevillians, another showbiz-sendup pas de deux playing just across the street from Teatro ZinZanni’s. Jerick Hoffer and Richard Andriessen, in their stage personae of Jinkx Monsoon and Major Scales, assume the characters (stay with me) of chanteuse Kitty Witless and pianist Doctor Dan Von Dandy, who awaken to find their numbers have, in the intervening decades, been plagiarized as pop hits. This retrofitting is the show’s truly genius idea: in their “original” guises, “Girls Just Wanna Have Fun” comes out as minor-key Kurt Weill, “Toxic” as a Kander & Ebb showstopper. The best joke of all is how little reworking 4 Non Blondes’ “What’s Up?” (remember it? from 1993?) needs to sound vintage. (Its sing-along chorus and that of 1927’s hot-cha hit “Varsity Drag” are practically inversions of each other.)

Hoffer in drag becomes a brassy belter with remarkable lungs and fabulous gams; I’d love to see him as Chicago’s Roxie Hart. There’s a hint of Megan Mullally’s Karen Walker in his vocal inflections as Witless—maybe Karen impersonating a Carol Channing impersonator, or vice versa. Andriessen continues the tradition of local alt-theater compères like Kevin Joyce or Circus Contraption’s Armitage Shanks—with a similar polished suavity, but with less of a sinister vibe and more rubbery energy.

(10/15) Seattle Arts & Lectures: James McBride

TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(10/15) Environmental Perspectives Turning Kids Onto Science, Inside and Outside Class (10/16) Theodore Gray Molecules: ‘Architecture of Everything’ (10/16) Wesley Clark Rethinking American Foreign Policy (10/17) Brian Little The Nature of Human Personality (10/17) Artist & Scholar in Residence Elana Jacobs and Steve Scher (10/18) The Not-Its!

Located in Historic

(10/18) Earshot Jazz Festival: Sound Prints Quintet

Post Alley (just off Pine St)

(10/19) Earshot Jazz Festival: Boban & Marko Markovic Orchestra

2nd location: (between Pike & Union) 206.464.0490 www.MilagrosSeattle.com

(10/20) Thomas Frank, Rick Perlstein, and John Summers ‘Salvos from The Baffler’ Magazine (10/21) Matt Bai with Steve Scher Gary Hart and The Tabloidization of Politics TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(10/22) Katha Pollitt WWW.TOWNHALLSEATTLE.ORG The Argument for Abortion

Unfrozen entertainers Andriessen (left) and Hoffer.

Their flow of shtick never slows, gags and mugging are sprayed at a machine-gun pace, and in the audaciously invasive audience-participation segments, Hoffer’s ad-lib skills are peerless. If the pair stretches Act 2 a bit thin, Witless will be damned if she doesn’t make up for it. In a long set piece built around “I Will Survive,” she chews not only the scenery, but all of the Rep and an acre or two of Seattle Center. GAVIN BORCHERT E

gborchert@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

NATE WATERS

Festively asserting that too much is never enough, TZZ’s new show keeps its dinnercabaret formula fresh with acts that mash up entertainment skills in pairs: aerial plus dance en pointe by PNB alumna Ariana Lallone; trapeze plus contortion with Duo Rose; juggling plus the speed and aesthetic of thrash metal by Gamal David Garcia; and, most warmly appreciated by last Thursday’s crowd, ballroom dance plus pole work, expanding it into a third dimension, by the astounding Vertical Tango. (Even the chefs chime in with the entrée, making plain salmon startling, which I wouldn’t have thought possible, with a lemon-chile cream sauce.)

All this is organized by just the lightest spritz of storyline: Vivian Beaumount and Clifton Caswell (Christine Deaver and Kevin Kent) return to a swanky hotel, run by Don Diego (Robert Lopez), “the second most interesting man in the world,” to renew their vows. Continuing the theme, Deaver transforms Pat Benatar’s “Love Is a Battlefield” into a torch song; Kent, known as a master of drag, dolls up as Deaver’s double to sing “Sisters”; and Deaver plays matador (to Kent’s randy bull) in one of the show’s two audienceparticipation skits. By the end, the gender-melding is complete—Beaumount and Caswell reconcile, each adopting at least two sexes, maybe more. It’s a romantic finale as spicy as the Southwest-inspired menu; that and Don Diego’s encouragement of same-sex partnering, as he invites the audience to get up and take a turn on the dance floor, should subvert whatever preconceptions you may have had about TZZ being bland and safe. GAVIN BORCHERT

THE BEST OF MEXICO IS HERE!

PThe Vaudevillians

ALAN ALABASTRO

Deaver (left) and Kent.

Milagros fine mexican folk art

25

arts&culture» Performance Stage OPENINGS & EVENTS

THE ATOMIC BOMBSHELLS Miss Indigo Blue emcees

this burlesque troupe’s “Fall Fling!” Columbia City Theater, 4916 Rainier Ave. S., TheAtomicBombshells.com. $22–$25.

9 p.m. Fri., Oct. 17 & 24.

BEAUTY AND THE BEAST Disney’s animated classicturned-hit musical comes to Seattle. The Paramount, 911 Pine St., 877-STG-4TIX, stgpresents.org. $25 and up. 7:30 p.m. Tues., Oct. 21–Thurs., Oct. 23; 8 p.m. Fri., Oct. 24; 2 & 8 p.m. Sat., Oct. 25; 1 & 6:30 p.m. Sun., Oct. 26.

THE CHERDONNA SHOW: WORTH MY SALT The LGBTQ, burlesque, and drag icon’s first evening-length solo show is inspired by “Carl Sagan’s series Cosmos and female icons Kate Bush, Diane Keaton, and Marie Antoinette.” Velocity Dance Center, 1621 12th Ave.,

velocitydancecenter.org. $15–$20. Opens Oct. 17. 8 p.m.

Fri.–Sun. Ends Oct. 26.

COLD EMPTY TERRIBLE This student-devised work is “a resuscitation of a theatrical debacle embedded inside Anton Chekhov’s 1896 masterpiece, The Seagull.” Jones Playhouse, 4045 University Way N.E., 543-4880, drama.uw.edu. $10–$20. Previews Oct. 15–16, opens Oct. 17. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Oct. 26.

DISASTER MOVIE An improv take on one of Hollywood’s most spoofable genres. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions.org. $7.

Opens Oct. 19. 8:30 p.m. Sun. Ends Nov. 23.

THE FANTASTICKS Try to remember what a hit this was when the musicals-in-concert troupe Showtunes Theatre Company revives it. Benaroya Recital Hall, Third Ave. & Union St., 215-4747, showtunestheatre.org. $21–$46. 8 p.m.

Sat., Oct. 18, 2 p.m. Sun., Oct. 19.

FAMILY AFFAIR Jennifer Jasper’s “sick, hilarious, and

ultimately relatable” cabaret on the theme of family.

JewelBox/Rendezvous, 2322 Second Ave., jenniferjasper performs.com. $10. 7:30 p.m. Wed., Oct. 15.

HAMLET Mary Ewald plays the Danish prince in New City’s intimate production. New City Theater, 1406 18th Ave., brownpapertickets.com. $15–$20. Pay-what-you can preview Oct. 15, opens Oct. 16. 7:30 p.m. Thurs.–Sat. Ends Nov. 8.

HORROR DOUBLE FEATURE Blood Squad and Annex team up for improvised Halloween tales: a “Victorian Ripper Slasher” at 7:30 p.m. and “Deep Space Terror” at 10:30 p.m. Annex Theatre, 1100 E. Pike St., bloodsquad.org. $10 for one show, $17 for both. Fri., Oct. 17.

THE MUTANT DIARIES: UNZIPPING MY GENES Eva Moon’s solo musical about cancer. Stone Soup Theatre, 4029 Stone Way N., 633-1883, stonesouptheatre.org. $15– $40. 8 p.m. Fri., Oct. 17–Sat., Oct. 18, 3 p.m. Sun., Oct. 19.

NEW PLAY FESTIVAL Seattle Rep’s showcase of new

work by Denis O’Hare, Lisa Peterson, Cheryl L. West, and Arlitia Jones. PONCHO Theater, seattlerep.org, Seattle Center, 443-2222. $15 (festival pass $40). Opens Oct. 17.

See seattlerep.org for exact schedule. Ends Oct. 26.

NIGHT OF THE LIVING DEAD Lori Allen Ohm’s stage adaptation of the classic zombie shocker, performed outside. BY KIDS!!!! Luther Burbank Park, 2040 84th Ave. S.E., Mercer Island, 232-4145, youththeatre.org. $15. Opens Oct. 17. 7, 8, & 9:30 p.m. Fri.–Sat. Ends Oct. 25.

POOR AGAIN... DAGNABBIT! Patrick F. McManus’ solo show about the recession. Northshore Performing Arts Center, 18125 92nd N.E., Bothell, 425-984-2471, npacf.org. $10–$25. 7:30 p.m. Sat., Oct. 18.

THE ROCKY HORROR SHOW The musical that launched a thousand handfuls of rice. Renton Civic Theatre, 507 S. Third St., Renton, 425-226-5529, rentoncivictheatre.org. $20–$25. Opens Oct. 17. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun., plus 11:45 p.m. Oct. 25 & 31. Ends Nov. 1.

SECOND STORY CABARET In the lineup: a magician, a vocal/ukulele duo, and a burlesque performer.

SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $20. 8 p.m. Fri., Oct. 17.

NICK SWARDSON Known for Reno 911! and Nick Swardson’s Pretend Time. The Moore, 1932 Second Ave., 877-STG-4TIX, stgpresents.org. $39.50. 8 p.m. Thurs., Oct. 16.

VANYA AND SONIA AND MASHA AND SPIKE SEE THE PICK LIST, PAGE 24.

WIND IN THE WILLOWS Oh, Mr. Toad! Will you ever learn to exercise restraint behind the wheel? Seattle Public Theater, 7312 W. Greenlake Dr. N., 524-1300, seattle publictheater.org. Donation. 7 p.m. Fri., Oct. 17, 2 & 7 p.m.

Sat., Oct. 18, 2 p.m. Sun., Oct. 19.

CURRENT RUNS

AFTERLIFE An improv look at The Big Question. Unexpected

Productions’ Market Theater, 1428 Post Alley, unexpected productions.org. $12–$15. 8:30 p.m. Fri.–Sat. Ends Nov. 22.

CAMPFIRE Improv based on ghost stories. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpected productions.org. $10. 8:30 p.m. Thurs. Ends Oct. 30.

CLUES A board-game-based improvised murder mystery.

Jet City Improv, 5510 University Way N.E., 352-8291, jetcity improv.org. $12–$15. 8 p.m. Thurs.–Fri. Ends Nov. 21.

THE FABULOUS LIPITONES When one member of a barbershop quartet drops dead (I love it already!), they have to scramble for a replacement in John Markus and Mark St. Germain’s comedy with music. Taproot Theatre, 204 N. 85th St., 781-9707. $15–$40. Runs Wed.–Sat; see taproot theatre.org for exact schedule. Ends Oct. 18.

THE GARDEN OF RIKKI TIKKI TAVI Friendship and cooperation are the messages in this adaptation of a classic Kipling tale. Seattle Children’s Theatre, Seattle Center, 441-3322. $15–$36. Runs Thurs.–Sun.; see sct.org for exact schedule. Ends Nov. 9.

GO, DOG. GO! A musical version of P.D. Eastman’s classic children’s book. Second Story Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $5–$10.

1 & 3 p.m. Sat.–Sun. Ends Oct. 19.

IN THE HEIGHTS Village Theatre’s percolating production of Lin-Manuel Miranda and Quiara Alegría Hudes’ musical about the changes that beset residents of NYC’s Washington Heights during two sultry summer days. From one scene to the next, it’s a roller-coaster from humor to anger to tragedy to salsa-driven joy—but nobody misses a beat, even though the show’s packed with incident and necessarily fast-paced. But everything lands; everything works; every song, scene, and bit gets its most impactful tempo and weight as guided by director Eric Ankrim.

Village Theatre, 303 Front St. N. Issaquah, 425-392-2202. $35–$67. Runs Wed.–Sun.; see villagetheatre.org for exact schedule. Ends Oct. 26 (then moves to Everett Oct. 31– Nov. 23). GAVIN BORCHERT INHERITANCE: MAIDEN, MOTHER, CRONE Sinner Saint Burlesque brings you “burlesque, modern dance, music, theatre, and performance art with feminist activism, intergenerational dialogue, community-building, and sensory spectacle” in this full-length show. Theatre Off Jackson, 409 Seventh Ave. S., 800-838-3006, inheritancemmc.com. $22–$40. 8 p.m. Thurs.–Sun. Ends Oct. 19.

KINKY BOOTS Inspired by a true story (and movie) about a repurposed shoe factory, with a score by Cyndi Lauper.

5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue. org. $45.25 and up. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.– Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Oct. 26.

A LESSON FROM ALOES Set in South Africa during apartheid, the play explores the psychology of survival and politics. Isaac Studio Theatre at Taproot Theatre, 208 N. 85th St., 781-9707, thaliasumbrella.org. $20–$40. 7:30 p.m. Thurs., 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 26.

LITTLE SHOP OF HORRORS Dweeby Seymour may have changed his luck when he befriends a carnivorous plant from space. Bainbridge Performing Arts, 200 Madison Ave. N., 842-8569, bainbridgeperformingarts.org. $19–$27.

7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends Oct. 26.

SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

•

26

Opens Tuesday!

OUT OF STERNO It’s not about a camping cookout mishap;

Sterno is where the heroine escapes from in Deborah Zoe Laufer’s absurdist tale. Burien Actors Theatre, 14501 Fourth Ave. S.W., Burien, 242-5180, burienactorstheatre. org. $7–$20. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Oct. 19.

THE PILLOWMAN An author’s short stories contain creepy resemblances to a series of child murders in this edgy drama. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $27. 8 p.m.

Thurs.–Sat. Ends Oct. 18.

THE ROCKY HORROR SHOW Don’t dream it, be it! Seattle Musical Theatre, Magnuson Park, 7120 62nd Ave. N.E., 800-838-3006, seattlemusicaltheatre.org. $25. 7:30 p.m.

Thurs.–Sat. Ends Oct. 18.

SPLIT SECOND IMPROV Second Story’s improv competition. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $20. Two shows each Sat.: 7 p.m. for families, 8 p.m. could get naughtier. Ends Dec. 13.

SUPRALIMINAL Seattle Immersive Theatre’s interactive tale about the paranormal, both set in and staged at the Georgetown Steam Plant. Meet at South Seattle College, 6000 16th Ave. S.W., and you’ll be bused there. seattle immersivetheatre.org. $50. 7:30 p.m. Fri.–Sat. Ends Nov. 1.

TEATRO ZINZANNI SEE REVIEW, PAGE 25.

THE VAUDEVILLIANS SEE REVIEW, PAGE 25.

•

Dance

MANON The Abbé Prévost’s tale of innocence corrupted

comes from the Royal Opera House Ballet to a theater near you; see fathomevents.com for participating theaters. 7 p.m. Thurs., Oct. 16.

WAKING PERSEPHONE 3 A festival of “Gothic, Steampunk, Ritual, Theatrical, and Dark Fusion Bellydance enthusiasts from around the world.” Friday’s a party, Saturday’s a performance, Sunday’s a ball. Lake City Community Center, 12531 28th Ave. N.E. See waking persephone.com for full details.

CARMONA FLAMENCO Traditional music and dance.

Café Solstice, 4116 University Way N.E., 932-4067. $15–$20.

8 & 9:30 p.m. Sat., Oct. 18.

DASSDANCE Lights Camera . . . ACTION!, the new show from Daniel Wilkins’ troupe, includes LED lights attached to the dancers, green screen, and other film effects.

Martin Luther King F.A.M.E. Community Center, 3201 E. Republican St., 800-838-3006, dassdance.org. Donation.

8 p.m. Sat., Oct. 18, 7 p.m. Sun., Oct. 19.

Classical, Etc.

MARC SEALES The chair of UW’s Jazz Studies program

performs. (On piano.) Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15.

7:30 p.m. Fri., Oct. 17.

INVERTED SPACE UW’s new-music ensemble plays music

by students, plus Seattle’s third hearing in eight days of Pärt’s Fratres. (I’m not complaining.) Chapel Performance Space, 4649 Sunnyside Ave. N., music.washington.edu. $5–$15. 7:30 p.m. Fri., Oct. 17.

SEATTLE WOMEN’S CHORUS Moon songs, and lots of ’em, in “Hallows in the Cathedral.” St. Mark’s Cathedral, 1245 10th Ave. E., 388-1400, seattlewomenschorus.org. $25–$45. Opens Oct. 17. 8 p.m. Fri.–Sat. plus 2 p.m. Sat., Oct. 18. Ends Oct. 25.

SEATTLE SYMPHONY Free community concerts (the first two of six this season): Mozart and Schubert at Chief Sealth High School, 2600 S.W. Thistle St., 7 p.m. Fri., Oct. 17; and Mozart and Corigliano at Rainier Valley Cultural Center, 3515 S. Alaska St., 2 p.m. Sat., Oct. 18. seattle symphony.org.

SEATTLE SYMPHONY: [UNTITLED] SEE EAR SUPPLY, BELOW. THE MET: LIVE IN HD Opera from NYC at a moviehouse near you. James Levine conducts Mozart’s sparlking and moving The Marriage of Figaro. See fathomevents.com for participating theaters. 10 a.m. Sat., Oct. 18.

ENSIGN SYMPHONY & CHORUS A rousing dose of joy with Beethoven’s Ninth. Benaroya Hall, Third Ave. & Union St., 215-4747, seattleensign.org. $16–$36. 7:30 p.m.

Sat., Oct. 18.

SEATTLE OPERA SEE THE PICK LIST, PAGE 24.

BACH SONATAS & PARTITAS Three on Saturday, three on Sunday, tag-teamed by violinists Ingrid Matthews, Emma McGrath, and Tekla Cunningham. Queen Anne Christian Church, 1316 Third Ave. W., 726-6088, gallery concerts.org. $15–$30 ($24–$57 for both). 7:30 p.m. Sat., Oct. 18, 3 p.m. Sun., Oct. 19.

DAVE WICKERHAM Pops favorites on the theater organ at Calvary Christian Assembly, 6801 Roosevelt Way N.E., ccassembly.org. $20–$25. 2 p.m. Sun., Oct. 19.

BARRY LIEBERMAN AND FRIENDS Double-bass solos from the Tacoma Symphony’s Chris Burns. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $15. 2 p.m. Sun., Oct. 19.

SEATTLE SINGS MOZART Join in on the Requiem. Or just listen. University Christian Church, 4731 15th Ave. N.E. $5.

7 p.m. Sun., Oct. 19.

SEATTLE PHILHARMONIC An all-American program with music by Gail Kubik, Bernard Herrmann, and others.

Benaroya Hall, Third Ave. & Union St., seattlephil.org. $20–$30. 7:30 p.m. Wed., Oct. 22.

OCTOBER 21-26 • THE PARAMOUNT THEATRE 877-784-4849 • STGPresents.org

Priority Seating & Discounts for Groups 10+ call: 888.214.6856 Tickets Available Through Tickets.com and Select Ticketmaster Locations

Due to the nature of live entertainment; dates, times, performers, and prices are subject to change. All patrons, regardless of age, must have a ticket. No exchanges or refunds. Tickets are subject to additional fees.

B Y G AV I N B O R C H E R T

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

•

A Little Night Music

EARSUPPLY

will play it, alongside music by Djuro Zivkovic and Andrew Norman, on the first of the season’s [untitled] new-music lobby concerts. Benaroya Hall, Third Ave. & Union St., 215-4747, seattle symphony.org. $20. 10 p.m. Fri., Oct. 17.

COURTESY OF SCHOTT MUSIC

Later in life, Ligeti waggishly called his earliest works “prehistoric.”

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

In 1954, when it was finished, György Ligeti’s String Quartet no. 1 (“Métamorphoses Nocturnes”) satisfied neither side of the style wars.

Taking off more or less where Bartók left off, its folk-flavored thrust and viscerality were already passe to ultraprogressives,

BY GAVIN BORCHERT while the piece was still too hot a potato for the musical establishment of Iron-Curtain-muffled Hungary. (The composer had to wait until 1958, after he defected, to hear it, in Vienna.) The 20-minute work’s laid out as a succession of 17 micro-movements; whatever you’re listening to at any given moment will jump-cut into something wildly different within a minute or so. In the loveliest of these, the sixth, Ligeti transmutes the uncanny, unsettling, thingsthat-go-bump-in-the-night style Bartók liked to use for his own slow movements into something more lyrical, a somber hymn at twilight. If you love Bartók’s quartets, which you do, you will love this, too. Members of the Seattle Symphony

27

GOOD BOOKSTORES A Reader’s Guide

SPOTLIGHT ON

University Bookstore The 12 Bottle Bar: A Dozen

Bottles. Hundreds of Cocktails. A New Way To Drink.

by David and Lesley Jacobs Solmonson

Reading The 12 Bottle Bar is like having your bartender-best-friend help you build the perfect at-home bar. Part history lesson, part recipe book, this guide to cocktails made in your own kitchen will boost the confidence (and excitement) of any novice mixologist just in time for prime entertaining season.

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

Let this be YOU!

Tacolicious by Sara Deseran, Joe Hargrave,

by Renee Erickson with Jess Thomson

Salad Samurai by Terry Hope Romero Thailand: The Cookbook

by Jean-Pierre Gabriel

Thug Kitchen: The Official Cookbook: Eat Like You Give a F*ck by Thug Kitchen

SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

28

see our calendar at

ubookstore.com/events

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Invoking The Archangels

by Sunny Dawn Johnston

You can develop your own special relationship with all seven of your Archangels.

Learn about their gifts, traits, characteristics and how to call upon them for abundant blessing, guidance and protection. This nine step program will inspire you to be a place of vibrant healing and love!

Daring Greatly

by Brena Brown Circle of Fire

by Don Miguel Ruiz The Tools

by Phil Stutz & Barry Michels Living A Course In Miracles

by Jon Mundy PHD

Antelmo Faria, and Mike Barrow

A Boat, a Whale, a Walrus: Menus and Stories

norman Lear chris hadfieLd & John cLeese

Eco Elements

Staff Picks from Eco Elements

Staff Picks at University Bookstore

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a&c» Books Author Events MOON-HO JUNG The UW professor has written The

Rising Tide of Color: Race, State Violence, and Radical Movements across the Pacific. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., Oct. 15.

KAZU KIBUISHI His YA fantasy tome is Amulet #6: Escape from Lucien. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m. Wed., Oct. 15. & Lectures presents • JAMES MCBRIDE Seattle Arts the Pulitzer-winning author of The Good Lord Bird.

Town Hall, 1119 Eighth Ave. See lectures.org for ticket info. 7:30 p.m. Wed., Oct. 15.

BENJAMIN PARZYBOK His new novel Sherwood Nation deals with various Oregon eccentrics. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Wed., Oct. 15.

WESLEY K. CLARK The former general has written Don’t Wait For The Next War: A Strategy for American Growth and Global Leadership. Town Hall, 7:30 p.m.

Thu., Oct. 16.

KATHLEEN FLINN The local author of Burnt Toast Makes You Sing Good is joined by Sarah Jio (Goodnight June). University Book Store, 6 p.m. Thu., Oct. 16.

THEODORE GRAY He’ll discuss Molecules: The Elements and the Architecture of Everything. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle. org. $5. 7:30 p.m. Thu., Oct. 16.

KATHERINE HILL A marriage turns sour is her novel The Violet Hour. Elliott Bay, 7 p.m. Thu., Oct. 16. champ and prolific • KEN JENNINGS The Jeopardy! local author has now penned Junior Genius Guides: Outer Space. Third Place, 7 p.m. Thu., Oct. 16.

ZACK DAVISSON He reads his translations of traditional stories in Yurei: The Japanese Ghost. Elliott Bay, 7 p.m. Fri., Oct. 17.

CORY DOCTOROW His new graphic novel is In Real Life. University Book Store, 7 p.m. Fri., Oct. 17.

CHRIS JERICHO The wrestler/rocker’s new memoir is The Best in the World: At What I Have No Idea. Third Place, 6:30 p.m. Fri., Oct. 17.

BRIAN R. LITTLE The science writer considers human nature in Me, Myself and Us. Town Hall, $5. 7:30 p.m.

Fri., Oct. 17.

DEAN YOUNG The visiting poet (Bender) joins in a discussion with local writers Ru Freeman, Elissa Washuta, and Ed Skoog. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. 8 p.m. Fri., Oct. 17.

JEANETTE CHAFFEE She shares from Extravagant Graces: 23 Inspiring Stories of Facing Impossible Odds.

Third Place, 6:30 p.m. Sat., Oct. 18.

PAOLO GIORDANO His novel The Human Body follows Italian soldiers into Afghanistan. Elliott Bay, 7 p.m.

Sat., Oct. 18.

ANN HOOD Local actors enact anecdotes from Knitting Yarns: Writers on Knitting. Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks.com. 7 p.m. Sat., Oct. 18.

JARED JOHN SMITH An author tries to save his career in the road-trip novel Rabbit. University Book Store (Bellevue), 990 102nd Ave. N.E., 425-462-4500, bookstore.washington.edu. 6 p.m. Sat., Oct. 18.

BRENDA PETERSON She shares advice from our Life Is a Book: How to Craft and Publish Your Memoir. Eagle Harbor, 3 p.m. Sun., Oct., 19.

GAWANDE Sorry, this event with the physician • ATULNew Yorker staff writer is sold out. Town Hall, $5. and 7:30 p.m. Mon., Oct. 20.

JOSH HOWE He’ll discuss Behind the Curve: Science and Politics of Global Warming. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. 7 p.m.

Mon., Oct. 20.

JASON MOTT Miracles figure in his inspirational new novel The Wonder of All Things. University Book Store, 7 p.m. Mon., Oct. 20.

CHUCK PALAHNIUK Tickets are required for this signing by the Portland author of Beautiful You. Third Place, 7 p.m. Mon., Oct. 20.

GREG BEAR War Dogs is the latest from the local sci-fi writer. University Book Store, 7 p.m. Tue., Oct. 21.

TIFFANY PITTS Double Blind is the debut thriller from this local author. Third Place, 7 p.m. Tue., Oct. 21.

Society: • PAUL ROBERTS He’ll discuss The Impulse. Elliott Bay, America in the Age of Instant Gratification 7 p.m. Tue., Oct. 21.

BY B R IA N M I LLE R

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

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ING

W EE K LY

M U SI C

» Visual Arts

EV ENT S

PR O M O TI O NS

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

ARTS & ENTERTAINMENT NEWSLETTER

Openings & Events

Ongoing

BIRDS AT THE BURKE The Burke is busting out its

• ROMSON REGARDE BUSTILLO Long Stories fea-

winged specimens for all to see, as well as offering a chance to interact with real, live birds. Burke Museum (UW Campus), 543-5590, burkemuseum. org. $7.50-$10. 10 a.m.-4 p.m. Sat., Oct. 18.

EUNJU CHOI Chief Curator of the Museum of Modern and Contemporary Art in Korea will lecture about... the state of modern and conteporary at in Korea, of course. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. Free (with RSVP). 7 p.m.

Thurs., Oct. 16.

COCKTAILS & COUTURE Celebrating “garmentryas-art,” various local designers will showcase their work alongside drinks and music. Roq La Rue, 532 First Ave. S., 374-8977, roqlarue.com. 7 p.m. Sat., Oct. 18.

DIWALI BALL SAM celebrates India’s Festival of Lights with a Bollywood DJ, henna, fortunetellers, and dinner from Saffron Grill. Presented in conjunction with the ongoing City Dwellers show. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org, $110. 7:30 p.m. Sat., Oct. 18.

YUMIKO GLOVER She shows brightly colored, manga-inspired paintings in Moe, Elements of the Floating World. Opening reception 6-8 p.m. Thurs., Oct. 16. Bryan Ohno Gallery, 521 S. Main St., 4596857, bryanohno.com. 11 a.m.-5 p.m. Tues.-Sat. Ends Nov. 29.

AARON JASINSKI AND AUGIE PAGAN In Gods and Monsters, the artists deconstruct the concept of good and evil in pop culture. Opening reception, 7-11 p.m. Sat., Oct. 18 Ltd. Gallery, 501 E. Pine St., 4572970, ltdartgallery.com. 11 a.m.- 7 p.m. Thurs.-Sat. Ends. Nov. 9.

SCOTT ERICKSON In Alliance = Rebellion, he fuses Indigenous art styles with iconography from the Star Wars series. “How am I not just another white guy stealing from the native tribes for my own benefit?”

Erickson asks in his artist statement for the show.

Find out tonight, maybe. Opening reception 5:30-7 p.m. Wed., Oct. 15. Bombsheller Art Labs, 424 Queen Anne Ave., bombshellerartlabs.com. Ends Nov. 10 MARK VON ROSENSTIEL Somewhere between these peaks and valleys, I missed you is the very long name of this light installation piece. Unveiling 8-10 p.m. Fri., Oct. 17. Glass Box Gallery, 813 Seattle Blvd. S., glassboxgallery.com.

•

F IL M

tures the local artist’s complex patterned-paper work, which attempts to delve into the universality of our personal stories. Gallery4Culture, 101 Prefontaine Pl. S. (Tashiro Kaplan Building), 296-8674, 4culture.org.

9 a.m.-5 p.m. Mon.-Fri. Ends Oct. 30.

CHEMTRAILS Did you know that the feds are employing airplanes to spray airborne chemicals on civilians in order to brainwash us/construct a malevolent New World Order/conceal the one and only, totally-not-dead Tupac Shakur from the public eye? Seven painters, illustrators, and photographers take on the world’s most out-there conspiracy theory in this group show, which will likely land you on a watch list. Wikstrom Gallery, 5411 Meridian Ave. N., 633-5544, bromwikstrom.com. Noon-5 p.m. Tues.-Sat. Ends Oct. 24.

CHEN SHAOXIONG The contemporary Chinese artist shows new video works and their source drawings in the exhibit Ink. History. Media, which is inspired by historical photos of major events from 1909-2009. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5-$7. Weds.-Sun., 10 a.m.-5 p.m. Through Oct. 19.

CITY DWELLERS Contemporary Indian scenes and icons from Mumbai to New Delhi are represented via photography and sculpture, from an all-native perspective. As tourists know, India is ridiculously photogenic, from its colorful idols and deities to the slums and beggars. It all depends on what you want to see. Photographer Dhruv Malhotra, for instance, takes large color images of people sleeping in public places—some because they’re poor, others because they simply feel like taking a nap. Nandini Valli Muthiah opts for more stage-managed scenes, posing a costumed actor as the blue-skinned Hindu god Krishna in contemporary settings; in one shot I love, he sits in a hotel suite, like a tired business traveler awaiting a conference call on Skype. Sculptor Debanjan Roby even dares to appropriate the revered figure of Gandhi, rendering him in bright red fiberglass and listening to a white iPod. BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $12–$19. Weds.-Sun. Ends Feb. 15.

•

• •

•

H A P P Y HO U R

Find out about upcoming performances, exhibitions, openings and special events.

A R T S A ND EN TE R TA I NM E NT

•

•

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

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

•

MEET THE AUTHORS

CHUCK PALAHNIUK

MONDAY, OCTOBER 20 AT 7PM

Light and Source THEFUSSYEYE

BEAUTIFUL YOU

(BALLANTINE) From the author of Fight Club, the classic portrait of the damaged contemporary male psyche, now comes this novel about the apocalyptic marketing possibilities of female pleasure.

TICKETS REQUIRED AVAILABLE ONLINE ONLY.

JOHN MARZLUFF

WEDNESDAY, OCTOBER 29 AT 7PM

WELCOME TO SUBIRDIA

(YALE) John Marzluff reveals how our own actions affect the birds and animals that live in our cities and towns, and provides ten specific strategies everyone can use to make human environments friendlier for our natural neighbors.

BRIAN MILLER

Over 200,000 New & Used Books, Weekly Storytime, Author Events, Free WiFi, Free Parking, Book Club services, Used Book Buying 7 Days a Week.

17171 Bothell Way NE • 206.366.3333 • thirdplacebooks.com

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

This new sculptural installation by local artists Etta Lilienthal and Ben Zamora presents a tangle of old-school fluorescent bulbs—not those fancy, efficient, newfangled LEDs—suspended from the

BY BRIAN MILLER ceiling like a mobile. (It doesn’t move, however.)

Never Finished is always plugged in, always on, though many of the tubes (of about three dozen) appear to have been painted black. The cluster is hung like an airborne game of pick-up sticks, the tubes pointing this way and that, gradually rising in the atrium like a glowing, fractal cloud.

There’s seemingly no order or direction to the piece, which has an almost haphazard construction—until you look at all those precisely aligned black power cords. The curse of good lighting design is the cabling and wiring, what to do with all those blocky plugs and transformers. Part of what I like about Never Finished is its somewhat naked, unfinished dressing of the power bricks, which lie in a snake pit on the floor. Nothing is being concealed here for prim art’s sake, though I suspect the passing architects from Suyama Peterson Deguchi must hate the untidy jumble.

But the cords above have been painstakingly aligned. They fall on a precise vertical axis, like rain or drapery, contrasting with the unruly tubes.

They make you appreciate how light, apart from lasers, is omnidirectional—radiating outward and unconstrained, unaffected by gravity. (Apart from black holes, of course.) The light’s intensity falls off with distance, too, as you walk around the installation to view it from different angles.

There’s no correct perspective on the piece, no final sense of proper lighting design (think of James Turrell’s fastidious, numinous Skyspace at the Henry). The only possible order or finality will come when all the bulbs burn out; then darkness will impose its aesthetic. Suyama Space, 2324 Second Ave., 256-0809, suyamaspace.org.

Free. 9 a.m.–5 p.m. Mon.–Fri. Ends Dec. 19.

29

arts&culture» Film

32,000 FANS AND COUNTING

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Voted Best Movie Theater

The Best of Me

INNER

OPENS FRI., OCT. 17 AT SUNDANCE CINEMAS AND OTHER THEATERS. RATED PG-13.

118 MINUTES.

OCT �� – �� ON ��MM

By Seattle Weekly Readers!

Thank You!!

F

2014 W

Opening ThisWeek

who do seem like grown-ups at certain moments.

Monaghan (lately seen in True Detective) has a strong instinct for truthfulness, which probably explains why Hollywood doesn’t know what to do with her. But all this effort is in service to a truly ludicrous scenario that gets more face-slappingly incredible as it goes on. Nicholas Sparks is 48 years old and has published 18 books since 1996. This isn’t going to end anytime soon.

ROBERT HORTON

OCT �� at �pm OCT ��, ��–�� at �pm

SE AT TLE 4500 9th Ave. Ne • 206-633-0059

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Monday is $5 ORCA Day

Show Your Orca Card and ALL Seats are $5.

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

Tuesday is Girls Movie Night Out!

SHOWTIM ES

OCTOBER 17 - 23

GHOSTBUSTERS

FRI - SAT & MON - TUES @7:00PM

Two or more ladies get $5 Admission All Day. Tickets Avail at Box Office Only.

GONE GIRL

FURY

RUDDERLESS

SHAUN OF THE DEAD

FRIDAY - TUESDAY @ 9:30PM

MEN, WOMEN & CHILDREN PRIDE

DAYS AND NIGHTS

THE BEST OF ME

THE JUDGE

DRACULA UNTOLD *tickets available at the box office.

SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

SUNDANCECINEMAS.COM

30

MOVIECAT TRIVIA NIGHT

WEDNESDAY @ 7:00 PM

SEAHAWKS SUNDAY BRUNCH - Sunday @ 10:00AM FILM COURT - THURSDAY @ 8:00PM

GEMMA LAMANA

Two Ways To Save At Sundance Seattle

Marsden and Monaghan as the grown Dawson and Amanda.

Even by the standards of The Notebook author Nicholas Sparks, his 2011 novel The Best of Me employs an extremely simple setup. Twenty-one years after they last saw each other, high-school sweethearts Amanda and Dawson meet again, and an old glow is rekindled. Perhaps because of the simplicity and universality of this situation, Sparks has added a cornucopia of insane plot developments: an accidental death, an organ transplant, surprise instructions in a will, and a family of drug-baking hillbillies who make the Deliverance crew look unassuming.

Along with the deep-fried melodrama, there’s a dicey storytelling thing going. Amanda and Dawson spend part of the story as adults, the other part as teenagers, so the movie adaptation will flip back and forth between two sets of actors—a tough structural challenge even when the actors look like each other, which in this movie they don’t. Michelle Monaghan and Liana Liberato split time as the high-bred Amanda, and James Marsden and Luke Bracey play dirt-poor Dawson. After surviving an oil-rig accident that convinces him he’s been spared for a reason—and this being a Nicholas Sparks story, you better believe there’s a reason—Dawson is called back to his Southern hometown for a bequest from a recently deceased mentor (Gerald McRaney). This is how he gets in the proximity of Amanda again, who’s now married and a mom. But Sparks is no amateur at this; Amanda’s husband is an alcoholic and a golf nut, so the alert viewer will sense a possible loophole for a little shared intimacy between Amanda and Dawson when they head out to a weekend cabin to spread their dead friend’s ashes.

The Best of Me is directed by Michael Hoffman (The Last Station), a filmmaker usually inclined to braininess and sophisticated comedy.

He might be the reason the movie has some legit exchanges between Monaghan and Marsden,

PFishing Without Nets RUNS FRI., OCT. 17–THURS., OCT. 23 AT SIFF FILM CENTER. RATED R. 109 MINUTES.

You’ve seen this story before, maybe twice: Tom Hanks in Captain Phillips and the Danish A Hijacking. Cutter Hodierne’s tale of Somali pirates seizing a small, empty oil tanker will seem familiar to viewers of those fine films. The key difference here, however, is a mostly Somali perspective—from a fisherman hero who knows better than to join a hijacking crew, but who needs the money to feed his family. Abdi (Abdikani Muktar) expresses such thoughts in voiceover, repeatedly casting back in memory as the thriller advances toward bloodshed, contrasting his contented past life with his new role as hired gunman.

Abdi speaks a few friendly words of English to the captive French crewman—Reda Kateb, from A Prophet—with whom he plays bottle-cap checkers, but the language and culture barriers totally divide pirates and hostages. The Somali cast are all non-actors (some who appeared in Hodierne’s prior short, expanded into this Sundance prize-winner), their dialogue all subtitled to us. We never see the other side of the ransom negotiations; Abdi’s as much in the dark as we are, a cog who gradually realizes that he’s traded one profession, fishing, for a lower station in another.

“This is a business,” one of his bosses declares. “The hostages are the product.” (The gang’s leader is known as Mr. Chairman.) After weeks of unprofitable negotiation, the gang tries to sell the French sailor to another crew. He’s physically prodded and inspected like a slave, the skin colors reversed in this discomfiting mercantile inspection.

Shooting in widescreen on the Kenyan coast, Hodierne creates an almost documentary-like sense of place and culture. Abdi wanders a sandy landscape that’s gradually being depopulated:

206.324.9996 SIFF.net

His wife and son have joined a smuggler’s caravan to Yemen, looking for better prospects, as he is. Were they safe, these beaches might cater to tourists, but the land is littered with trash and ruled by AK-47s. If the Somalia unsparingly depicted here isn’t in a state of civil war, the wrecked economy is no less destructive. “Our nets are coming up empty,” says Abdi. Losing his vocation makes an honest man desperate—like the poor Italian searching for his wheels in The Bicycle Thief. BRIAN MILLER

Fury OPENS FRI., OCT. 17 AT ARK LODGE AND OTHER THEATERS. RATED R. 133 MINUTES.

Seven decades after World War II, and countless movies about it, I don’t know if audiences still have a taste for straightforward combat flicks like this. But you know who does? Brad Pitt. Now 50, he’s of the generation that sat on Grandpa’s knee to hear war tales, though with considerably less brutality than shown here. Fury (the nickname for a tank) is very much a throwback, respectful of genre and history, proudly old-fashioned in its veneration of teamwork and heroism. It’s in no way a surprising movie; the plot and ending are essentially what you expect; and that earns it a

VICE MEDIA

Abdi (Muktar) nervously handles his AK-47.

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Fury covers 24 hours in April 1945, as Allied forces roll through Germany in the war’s endgame. Women and children are being forcibly conscripted to defend the Heimatland ; those who refuse, Collier explains, are hung from telephone poles by the SS—his most hated enemy. His most lethal enemies are the few remaining Tiger tanks, much better armored than our flimsy Shermans. (Later we’ll see them ripped open like sardine cans, evidence of the armored divisions’ extremely high casualty rate.) Though victory is, to us, preordained, the mood here is all mud and exhaustion. Collier and crew have been fighting for years, from North Africa to Europe, to the point where he says of his tank, “This is my home.” (German troops say the same thing during the finale—not that it saves them.)

In a vain appeal to female filmgoers, though this is hardly a date movie, Ayer creates an extended interlude at Fury’s midpoint as two German women host Collier and Ellison. It goes on too long, the sexual politics are dubious, and Collier’s other crewmen crash the affair—giving it an ugly aftertaste. Are these Yanks occupiers or liberators? Ayer himself is an ex-military man, having served on a submarine and written U-571. His Fury may be an exercise in broadbrush patriotism, yet this is the one scene that snags the waving flag. Collier seems to yearn for a calm, cultured oasis amid the chaos of war. Yet if evil has originated in Nazi Germany, violence is a virus he’s brought with him. BRIAN MILLER

Fri Oct 17 – Thu Oct 23

UPTOWN

Directed by William H. Macy

GONE GIRL Wed Oct 22 | Live Score

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OPENS OCT 17 UPTOWN

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HARMONTOWN FISHING WITHOUT NETS Mon Oct 20 | Recent Raves

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ALTMAN documentary

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Dan Harmon should be a fascinating documentary subject. A high-profile television showrunner, the 40-something writer and producer has tilted the axis of TV entertainment to a more postmodern angle. That’s the beauty of his conflicted genius. On the other side is his apparent ugliness, which led to his (ultimately temporary) 2012 dismissal from Community, the experimental NBC sitcom that stands as his greatest achievement.

Harmontown director Neil Berkeley catches his subject soon after this very public defrocking, and Harmon is flailing. He’s under contract to develop two pilots—one for CBS, one for Fox— but struggling to meet deadline. “Takes a lot out of a guy,” Harmon jokes, “being a vessel for God.” The one thing Harmon has going for him is his weekly podcast, Harmontown, and so he takes the

» CONTINUED ON PAGE 32

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OCT 17–23 | EGYPTIAN

A documentary by Ron Mann

MIDNIGHTS

Midnight movies are back!

Fri Oct 17 | SLITHER Sat Oct 18 | TREMORS Fri Oct 24 | EVIL DEAD II Sat Oct 25 | CABIN IN THE WOODS Fri Oct 31 | THE ROCKY HORROR PICTURE SHOW Sat Nov 1 | ZOMBIE COMING SOON

Plus $5 Altman classics

The Player | M*A*S*H | Popeye Short Cuts | Nashville Gosford Park McCabe & Mrs Miller

SIFF CINEMA EGYPTIAN | 805 E Pine St SIFF CINEMA UPTOWN | 511 Queen Anne Ave N SIFF FILM CENTER | Seattle Center NW Rooms

Oct 24–30

AWAKE: THE LIFE OF YOGANANDA Opening Nov 4

INTERSTELLAR in 35mm $5 Egyptian Parking Weekdays at noon & weekends all day.

SCCC Harvard Parking Garage, 1609 Harvard Avenue Prices are subject to change.

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

creaky kind of integrity. You can’t accuse Pitt and filmmaker David Ayer (Sabotage, End of Watch) of overpromising and not delivering. Nazis are killed by the score, and our side inevitably prevails.

Sgt. Don Collier (Pitt) gives no indication of his life before the war; nor is there any depth to his typical crew—Shia LaBeouf the pious Biblethumper, Michael Peña the steadfast MexicanAmerican, Jon Bernthal the volatile hick—and their regional accents. Because every WWII movie demands one, the greenhorn here is Ellison (Logan Lerman), a typist recruited to man the machine gun where his predecessor perished in a bloody puddle. Speaking of typical: Collier’s moniker is “Wardaddy,” as he exerts loose but firm paternal authority over his men. (He even warns them against horseplay, a word I haven’t heard since the days of Johns Wayne and Ford.)

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PLilting OPENS FRI., OCT. 17 AT VARSITY. NOT RATED. 91 MINUTES.

Marriage equality may be a new thing, but there’s always been equality in grief. The death of a lover is like the death of a spouse, though for Richard—whose partner was closeted to his conservative mother—that grief daren’t be spoken directly.

In flashbacks and regular nursing-home visits to the widowed, Mandarin-speaking Junn (Cheng Pei-pei), who’s never adjusted to England or learned the language, Richard has to balance sadness and candor. Junn is now totally alone, harboring happy memories of Kai (Andrew Leung), living in a dreamy sort of reverie where Kai is as alive (though different) as in Richard’s own fond recollection. (The latter is played by Ben Whishaw, from Bright Star and Perfume.)

This kind of past/present dreamworld would be a challenge for any filmmaker, and I won’t pretend that writer/director Hong Khaou’s first feature carries off the spell in an unbroken fashion. Wisely, he punctuates the gauzy recollections with two tart elements set squarely in the present, providing some welcome humor. Visiting Junn, Richard brings the no-nonsense Vann (Naomi Christie) as his translator. Junn mistakes her for Richard’s girlfriend—convenient for him—and she also uses Vann’s services when a kindly widower (Peter Bowles) courts her at the old folks’ home. A series of awkward, tender, funny three-way conversations results, with Richard constantly reconsidering his words to Junn, interjecting to Vann, “Don’t say that.”

As Richard finds himself acting as a kind of surrogate son to Junn, almost channeling Kai’s ghost to her, the question arises as to whether loving someone and simultaneously lying to them is so wrong. This was essentially Kai’s dilemma with his mother, now perpetuated with Richard. Lilting is very much a memory play, Tennessee Williams in a different key, echoing

Men, Women & Children OPENS FRI., OCT. 17 AT SUNDANCE AND OTHER THEATERS. RATED R. 116 MINUTES.

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show on the road for a brief tour, Berkeley in tow.

Fans of the podcast will likely find something to love in this doc. But those seeking a deeper understanding of the genius in Harmon’s other, more interesting undertakings will walk away disappointed. Those projects—in particular Community and the inspired yet failed pilot for Heat Vision and Jack—are only briefly considered. Big names like Joel McHale, John Oliver, Ben Stiller, and Sarah Silverman are here, but they don’t reveal much. Their brief testimonials contain the qualified praise and earnest concern you’d expect to hear at the prep meeting for an intervention.

Which maybe Harmon needs. Each night of the podcast tour, he takes the stage without a plan. Save for a few pockets of original humor, his shows devolve into masturbation jokes, alcoholism, and self-loathing. The nerdy, adoring crowds seem to enjoy the spectacle, and Berkeley captures that adulation—if little else.

Nothing really happens in the doc, aside from Harmon somehow finishing his CBS pilot (which we later learn was another failure).

So what’s the movie about? “I thought this was going to be about me getting better and better at doing a show,” says Harmon during one of his reflective moments. “It’s become about me dealing with the fact that I don’t need to have one.” Let’s hope that the second part of that statement is true. MARK BAUMGARTEN

Hong’s hybrid background. (His ethnically Chinese family emigrated from Cambodia to England in the ’80s, when he was a child; he’s lived a life of cultural translation.) Whishaw’s tremulous grieving may suggest a full-on weepie here, but Cheng’s dry-eyed performance helps contain such sentimental excess in Lilting. Though Richard and Junn have a loss in common, this poignant movie doesn’t insist that their different memories need to be reconciled. BRIAN MILLER

What are the kids doing? The parents (Sandler and DeWitt) have no idea.

If you didn’t get the message in last year’s Disconnect, director Jason Reitman is here to remind you again that the Internet is A Very Bad Thing. We cannot emphasize that enough. Your children are probably watching German fetish porn as you read this. (Or worse, you’re watching it yourself.)

Parents are clueless: either too permissive or overprotective. Teens are meanwhile intoxicated by the online stew of sex, bullying, friending, betrayal, shaming, and “thinspiration” (yes, it’s a thing; look it up). If their parents only knew what was on their phones and computers, they’d be shocked; and this is the kind of literal-minded movie that will inevitably bring them to that revelation.

Reitman, who tends to rise (Up in the Air, Juno) or fall (Labor Day) with his source material, is here adapting a recent novel by Chad Kultgen, which is nothing if not topical. When Reitman films the high-school scenes, animated bubbles fill the cafeteria with emoticons, texts, IMs, and viral videos.

No one looks up from their phones save for outcast Brandy (Kaitlyn Dever), whose nose is generally in a book (eew). Drawn to her is ex-jock turned video-gamer Tim (Ansel Elgort), now also a pariah for quitting the football team. (This is Texas, though not so well-wrought as Friday Night Lights.) There’s also a mean-girl cheerleader and her innocent protégé plus the porn-addict son of an apathetic couple (Adam Sandler and Rosemarie DeWitt) whose marriage is falling apart by mutual consent.

Almost none of these teens are capable of having actual conversations, and their parents aren’t much more articulate. Partly to solve this problem, though it paradoxically makes the characters seem all the more dumbly typical, is the omniscient Oxbridge narration of Emma Thompson. The contrast is amusingly jarring as she catalogs various porn fetishes (“Titty fucking cum queen . . . ”) and charts the progress of the Voyager spacecraft beyond our galaxy, which makes all human problems seem terribly, terribly small. (Tim turns out to be a major Carl Sagan fan; if we’re all insignificant atoms, he tells Brandy, “I find that comforting.”)

But are these problems—extending to teen pregnancy, parental adultery, and suicide

Rudderless OPENS FRI., OCT. 17 AT SUNDANCE AND SIFF CINEMA UPTOWN. RATED R. 105 MINUTES.

St. Vincent

OPENS FRI., OCT. 17 AT MERIDIAN AND LINCOLN SQUARE. RATED PG-13. 102 MINUTES.

Bill Murray has a honking fat role in St. Vincent, his biggest part in an out-and-out comedy since The Life Aquatic With Steve Zissou. That’s pretty much the sole draw for the movie, and given Murray’s unique screen presence, it’s something.

He really looks juiced in this one, doing looselimbed dances—his great ungainly body remains a vehicle for endless comic possibilities—and bellowing insults to friends and enemies alike.

He even remembers to adopt a New Yawk accent at times. If it were a better movie, this would be a signature role, because it’s all about the Murray persona: a deeply sarcastic man struggling to find his way to sincerity. That struggle is why Murray looks so melancholy in so much of his work.

But it’s not a good movie. Murray’s slovenly misanthrope is Vincent, who reluctantly agrees to babysit the 12-year-old son ( Jaeden Lieberher) of his new next-door neighbor (Melissa McCarthy, toning it down here). This will take time away from drinking, gambling at the racetrack, or visiting his Russian prostitute (Naomi Watts, getting the most out of her accent), but he’s light on cash at the moment. Vincent will find a way to include the kid in all these activities, and the two will learn lessons about each other. We are also cued to the reasons Vincent is curmudgeonly, none of which will come as much of a surprise. Writer/director Theodore Melfi tries hard to convince us that Vincent is capable of great nastiness, but even these efforts seem rigged to ultimately show the soft, gooey center of both character and movie. As much pleasure as I took from watching Murray stretch out, I didn’t believe a minute of it.

St. Vincent has one great sequence, and it comes during the end credits. In ordinary circumstances this might be a spoiler alert, but the film’s distributor has already released the scene as a quasi-trailer, so whatever. The sequence consists of Murray sitting in his backyard, futzing around with a hose and singing along to a great Bob Dylan song. That’s the extent of it—it serves no narrative function and exists only as pure character observation. And thus it is well suited to Bill Murray, an actor so often superior to the movies around him. ROBERT HORTON E

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The ghosts from a school shooting hover over the otherwise Sundance-y story of Rudderless, a low-boil drama directed by the actor William H. Macy. The shooting is left offscreen, and the bulk of the film takes place two years later, the sorrow still fresh in the mind of our central character. This is Sam (Billy Crudup), whose son died in the college killing. Once a go-getter of an advertising man, Sam has dropped out; he lives on his boat on an Oklahoma lake and paints houses. Grief leads him to transcribe the songs his late son was writing, and when he performs a tune at an open-mike night, a 21-year-old musician named Quentin (Anton Yelchin, the Chekov from the Star Trek reboot) gets excited about the music. Maybe they should start a band? As antisocial as Sam is, this process will drag him back to the stage—but he doesn’t tell anybody the songs were written by his son, a secret we suspect will detonate at a key moment.

Sam is a silent, bitter type, and there are great possibilities in the idea of an incompetent father coming to know his son through posthumous work. But these possibilities are alluded to rather than fleshed out. As an actor, Crudup (the “golden god” rock star of Almost Famous) often carries an air of William Hurtlike detachment, so he’s canny casting for the role—and he and Yelchin actually can play guitar, which lends casual verisimilitude to the performance scenes. Not quite so believable is the way the new band builds a crazed fan base at their small club, but the movie needs that to happen so its characters have something to lose.

As a first-time director, Macy—renowned for acting in Fargo, Magnolia, and countless quality indies—seems content to let the actors do their thing, with the occasional snazzy camera move thrown in to goose the music scenes.

He plays a minor role as the bar manager and casts his wife, Felicity Huffman, as Sam’s ex.

There’s also a tiny part for Selena Gomez, who literally walks into three or four scenes, delivers her lines, and then walks out. Macy’s matter-

of-fact approach works nicely in big moments, especially in a scene set at the dead son’s grave, where revelations are made that change the stakes. But the approach also keeps Rudderless from really drawing blood, despite all the obvious good intentions. ROBERT HORTON

ATSUSHI NISHIJIMA/WEINSTEIN CO.

attempts—large or small? Is the movie exaggerating or normalizing suburban pathologies?

And is technology really to blame? Reitman can’t seem to decide. His shallow movie illustrates a lot of anxieties in the culture right now, but without any bite or insight. (Kultgen is no Tom Perotta.) With so many players in the ensemble, including Jennifer Garner and Judy Greer, the movie never settles on any core drama. Nothing happens for the first McCarthy, hour, and everything Lieberher, and that happens next is Watts provide easy to guess. So is support. it the kids, parents, or filmmakers today who can’t concentrate on a single topic?

Men, Women & Children keeps its thumb pressed to the remote, ever searching for the next shameful situation. All of which leads me to the last thing I ever thought I’d hear myself saying about a movie: More Adam Sandler, please. BRIAN MILLER

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SOCIAL JUSTICE

F IL M

Jose Antonio Vargas October 24, 5 pm U. Christian Church

Full program and tickets at:

SOCIALJUSTICEFILMFESTIVAL.ORG

Local & Repertory A DEFINING DIRECTOR The new docu• ALTMAN:Altman screens several times during this mini-

mentary fest. Representing the late, great director (1925–2006) himself are M*A*S*H, Nashville, McCabe & Mrs. Miller, Popeye, The Player, Short Cuts, and Gosford Park. (NR) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff.net. $5. Fri.-Thurs.

DAYS & NIGHTS This new adaptation of Chekhov’s The Seagull stars William Hurt, Katie Holmes, and Mark Rylance among its large ensemble cast. (NR) Sundance Cinemas, 4500 Ninth Ave. N.E., 633-0059, sundancecinemas.com. Opens Fri., Oct. 17.

EARSHOT JAZZ FILMS As a sidebar to the ongoing Earshot Jazz Festival, this program includes a documentary profile of Rahsaan Roland Kirk, the 1981 Stations of the Elevated (a graffiti doc featuring Charles Mingus and Aretha Franklin), Sound of Redemption: The Frank Morgan Story, and other notable titles for music lovers. (NR) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6-$12. Sat., Oct. 18-Sat., Oct. 25.

FINDING FELA Though he outlived Bob Marley, Fela Kuti never managed to connect with Western ears in the same way. His tunes were too long for our Top 40 charts, and Nigerian politics were too distant and complicated when compared to simple sing-along Caribbean liberation anthems. For that reason, mounting a 2009 Broadway musical about his eventful yet eccentric life (1938–1997) proved a challenge for Bill T. Jones and his collaborators, as we see in Alex Gibney’s comprehensive documentary about the show—which toured through Seattle last year—and its inspiration. Fela himself is most vivid in old performance clips, especially in his sinuous, jumpsuited glory during a 1978 gig at the Berlin Jazz Festival. He’s more elusive in old interviews from the archives, leaving his children (including musician Femi Kuti), manager, former bandmates, and journalists to assess his life and legacy. His Afro-fusion aesthetic is fascinating; and we see how from the early ’60s forward he absorbed and distilled Miles Davis, the highlife music of Ghana, James Brown, Malcolm X, and more. One of his takeaway quotes in Finding Fela might as well be his epitaph: “Music cannot be for enjoyment. Music has to be for revolution.” In truth, his music realized both. (NR) BRIAN MILLER SIFF Film Center (Seattle Center), 324-9996, siff.net. $7-$12. 7 p.m. Mon. GHOSTBUSTERS Who you gonna call? I think we all know the answer: the top-grossing film of 1984, possibly to be given an all-female remake, Ghostbusters!

Bill Murray, Dan Aykroyd, Harold Ramis, and Sigourney Weaver star in the paranormal smash comedy. It was, of course, a simpler time back then, when special effects weren’t quite so seamless, and the greatest threat facing New York City was the Stay Puft Marshmallow Man. The movie was a total star turn for Murray, playing the loosest and least professional academic on campus. Using Aykroyd as his uptight foil, with well-timed sideline zingers from the wonky Ramis (who co-wrote the script with Aykroyd), Murray is freed to embrace his inner, off-kilter leading man— he’s like Cary Grant on mescaline, utterly assured in everything he says, even when nothing he says makes the slightest bit of sense. (PG) B.R.M. Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6-$8.

7 p.m. Fri.-Tues. (No show Sun.)

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MUSIC

HAPPY HOUR

HITCHCOCK RE-MASTERED: THE MANY LIVES OF PSYCHO SW senior film critic Robert Horton

FILM FESTIVAL

Screening of Vargas’ film Documented, new film The Vigil, and a panel discussion on what it means to be an American without papers.

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gives a talk, illustrated with clips, on the 1960 Alfred Hitchcock masterwork and its legacy. In the latter department, he considers Gus Van Sant’s 1998 remake, Douglas Gordon’s 24 Hour Psycho (1993) and James Franco’s installation Psycho Nacirema (2013). (NR) Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Free. 2 p.m. Sun. LIVE BY NIGHT From 1949, He Walked by Night has genius inventor Richard Basehart turn to a life of crime. Look for Jack Webb in a supporting role; this film, partly directed by Anthony Mann, is often credited as an inspiration for the TV show Dragnet. (NR) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series. $8 individual.

7:30 p.m. Thursdays through Dec. 18.

SCARECROW GRAND REOPENING Though the venerable video store hasn’t actually closed in order to reopen, today marks its relaunch as a nonprofit.

Various games, sale items, a raffle, bingo, trivia contests, and other activities are planned to celebrate.

It’s also International Video Store Day, which really ought to be a national holiday. Scarecrow Video, 5030 Roosevelt Way N.E., 524-8554, scarecrow.com. Free.

11 a.m.-11 p.m. Sat.

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• SEATTLE LESBIAN & GAY FILM FESTIVAL Match, with

Notable titles include the stage adaptation Patrick Stewart as a retired dancer and ballet teacher reflecting on his life during the fabulous ’60s; the highschool coming-out drama Blackbird, with Mo’nique in a supporting role; and a repertory presentation of The Muppet Movie, meaning a chance to sing along with “Rainbow Connection.” As always, the documentaries engage with a variety of topical issues, including marriage equality (Limited Partnership), parental rights (Letter to Anita), and the passing of what might be called the Stonewall generation of leaders and public intellectuals who helped advance our culture to the better place we are today (Regarding Susan Sontag).

(NR) SIFF Cinema Egyptian, Northwest Film Forum, and other venues. Info: threedollarbillcinema.org.

Ends Sun., Oct. 19.

SEATTLE POLISH FILM FESTIVAL Titles in this two-week series, which boasts a group of repertory classics selected by Martin Scorsese, include The Saragossa Manuscript, Man of Iron, and A Short Film About Killing. All films are screened with subtitles. (NR) SIFF Cinema Uptown and other venues. See polishfilms.org for schedule. Ends Sun., Oct. 19.

SHAUN OF THE DEAD Co-screenwriters Edgar Wright and Simon Pegg’s 2004 “rom-zom-com” shows laudable imagination and irreverence. Shaun (Pegg) is an utter dullard, an interim electronics store manager who frequents the same London dive bar every night, retains boorish college crony Ed as a flatmate, and can’t be bothered to disengage from PS2 long enough to accommodate easily aggravated girlfriend Liz. When a (never-explained) zombie plague commences right outside Shaun and Ed’s door, they’re hilariously oblivious. However, Wright and Pegg do share Kevin Smith’s weakness for extracting lame life lessons out of inspired lunacy. (R) ANDREW BONAZELLI Central Cinema, $6-$8. 9:30 p.m. Fri.-Tues.

Ongoing

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

adaptation of her 2012 novel, directed with acid fidelity

by David Fincher, is that Gone Girl doesn’t like most of its characters. Nick Dunne (Ben Affleck) soon falls under suspicion of murdering his missing wife Amy (Rosamund Pike). The small-town Missouri police investigation (led by Kim Dickens) goes entirely against Nick for the first hour. He behaves like an oaf and does most everything to make himself the prime suspect, despite wise counsel from his sister (Carrie Coon) and lawyer (a surprisingly effective, enjoyable Tyler Perry). Second hour, still no body, but flashbacks turn us against the absent Amy. As we slowly investigate the Dunnes’ very flawed marriage, funny little kernels of bile begin to explode underfoot. How the hell did these two end up together? Flynn’s foundational joke answers that question with a satire of marriage. The movie poster and tabloid-TV plot suggest a standard I-didn’t-kill-my-wife tale, but matrimony is what’s being murdered here. Amid the media circus, Nick becomes the scorned sap because of his untruths; but what really damns him in the movie’s intricate plot is his credulity—he believed in Amy too much. Gone Girl is cynical, mean-spirited fun. (R) B.R.M. SIFF Cinema Uptown, Sundance, Bainbridge, Majestic Bay, Ark Lodge, Kirkland Parkplace, Cinebarre, others HECTOR AND THE SEARCH FOR HAPPINESS The title of this whimsical though ultimately conventional quest-com spells it out for you. Hector (Simon Pegg) is an upright British shrink with a committed girlfriend named Clara (Rosamund Pike), amusingly eccentric patients, and a very neat apartment. What he needs is an adventure, very much like Tintin, so he embarks on a world tour to find out what makes people happy.

(The final answer will be Clara, but you knew that already.) Hector’s travels take him to Shanghai, the Himalayas, Africa, and Los Angeles. En route he meets a gruff business tycoon (Stellan Skarsgård), a gorgeous Chinese woman (Ming Zhou), a Tibetan monk, a drug lord (Jean Reno), an old flame (Toni Collette), and a sage neuroscientist (Christopher Plummer).

There’s a lot of talent and international color here, and director Peter Chelsom knows how to use both quite agreeably. Hector is nothing if not agreeable—to a fault, really—though it’s impossible to hate. (R) B.R.M. Seven Gables THE JUDGE Big-city defense attorney Hank Palmer (Robert Downey, Jr.) comes home to Indiana just in time to see his father (Robert Duvall), a respected judge, arrested for vehicular homicide. Father and son do not care for each other, but the dominoes are poised to let Hank stick around and mount a spirited defense. In the course of the trial, family dynamics are tested, Hank brushes up against an old girlfriend

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tial. A failed actor, Milo returns home to New Jersey, where Maggie’s a dental hygienist married to a doofus (Luke Wilson) whom she treats with gentle contempt.

There’s also a sex scandal lurking in the past, but the snark bogs down in melodrama, and no amount of ’80s pop montages can really change the film’s predictable trajectory. (R) B.R.M. Harvard Exit THIS IS WHERE I LEAVE YOU The fractious Altman clan gathers for an awkward and altogether irreverent weeklong mourning period (sitting shiva) for its deceased patriarch, at the command of an imperious new widow (Jane Fonda) who wears her conspicuous boob job with blithe pride. All of which greatly discomfits her four grown children. Among them, Corey Stoll is the son who stayed to run the family business; Adam Driver is the ne’er-do-well youngest son who fled to the West Coast; Tina Fey is the unhappily married wife and mother, also visiting; and Jason Bateman is the New York radio producer whose marriage just imploded (not that he’s telling anyone, not just now, not on this trip, no way). There’s a lot of ground to cover in this cluttered adaptation of Jonathan Tropper’s 2009 novel (he did the adaptation), directed with no great subtlety by Shawn Levy. (R) B.R.M. Guild 45th, others THE TRIP TO ITALY Director Michael Winterbottom reunites with Steve Coogan and Rob Brydon for another eating-kvetching tour, this time ranging from Rome to Capri and the Amalfi coast. Coogan and Brydon are playing caricatures of themselves (who also co-starred in Winterbottom’s 2005 Tristram Shandy), not quite frenemies and not quite BFFs: two guys anxious about their personal and professional standing at midlife. Joking about the classical past and the stars of Hollywood’s golden age, they constantly worry how they’ll rate against the greats. Though it didn’t occur to me when I saw the movie during SIFF, their constant nattering about the permanence of art versus the fleeting pleasures of the now makes them fellow travellers with Toni Servillo in The Great Beauty.

This is not a comedy for the under-40 set. Still, the gorgeous locations and food may inspire happy travels of your own. Go while you’ve got time remaining. (NR) B.R.M. Crest THE TWO FACES OF JANUARY Con artists always have something at stake—exposure, the possibility of their past transgressions catching up with them, and suspense about their next game. Three of them meet in the shadow of the Parthenon: Rydal (Oscar Isaac), an American tour guide knocking around Athens in the early 1960s, and Chester and Colette MacFarland (Viggo Mortensen and Kirsten Dunst), a stockbroker and his younger wife on extended vacation. Patricia Highsmith, the author of Strangers on a Train and The Talented Mr. Ripley, hatched this group of expat swindlers, so there’s likely to be at least as much psychological game-playing as conventional suspense. Yes, there’s a murder, but most of the movie is concerned with how Rydal projects guilty feelings about his own late father onto Chester; or how the discrepancy in age between the MacFarlands might create a seed of doubt between them; or whether Chester is more interested in Colette or Rydal. Director Hossein Amini adapted Highsmith’s novel, and while his movie does nicely with the concept of a sunlit noir, it doesn’t actually generate a lot of heat. For all that, I enjoyed the movie anyway. (PG-13) R.H. Varsity THE ZERO THEOREM Terry Gilliam’s latest is visually exuberant and robustly cynical, it shows the director still circling the big ideas he’s been nursing since his Monty Python days. Pat Rushin’s futuristic script is draped around the defeated shoulders of a worker drone named Qohen Leth (Christoph Waltz).

Convinced he is dying, he pesters his manager (David Thewlis) to be allowed to work—Qohen inputs “entities” into a fearsomely complicated database—at home. For reasons that remain murky, the increasingly jittery hero is visited by a teen tech genius (Lucas Hedges) and a saucy young woman (Mélanie Thierry); also mixed into the chaos are Qohen’s daft psychotherapist (Tilda Swinton, still in Snowpiercer mode) and a genial white-haired company boss known only as Management (Gilliam’s Brothers Grimm star Matt Damon). If the film has anything like a narrative rope to cling to, it’s that Qohen is trying to solve an elusive theorem that will prove the meaning of life, or maybe the absence of the meaning of life. If you have a vast appetite for watching wheels spin, nobody does it quite as floridly as Terry Gilliam. (NR) R.H. Grand Illusion

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SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

(Vera Farmiga), and zero coolness points are awarded to anyone involved in the movie. Our star doesn’t run roughshod over the script or his fellow actors, but he doesn’t phone it in, either. Without losing the conventional arc of the character, this is very much a Downey performance, full of quicksilver responses and sneaky humor. The Judge retains its court-appointed status as a middlebrow awards contender, but it points to a career Downey could maintain after Iron Man and Sherlock Holmes have run their course, when this eternally youthful actor ages into a different kind of role. (R) ROBERT HORTON Sundance, Bainbridge, Majestic Bay, Ark Lodge, Kirkland Parkplace, others KILL THE MESSENGER No one in 1996, when this factually inspired tale is set, has any idea how swiftly the standing of newspapers will erode. We hear the AOL dial-up tone when hotshot reporter Gary Webb (Jeremy Renner) files a big exposé with the San Jose Mercury News, and the Web traffic is terrific—until his jealous MSM rivals shoot him down. We’re placed entirely on Webb’s side when he gets some leaked court documents that lead him from the crack trade in ’80s L.A. to the CIA-backed contras in Nicaragua.

Webb’s a red-blooded, motorcycle-lovin’ family guy who listens to The Clash when he writes—too professionally aggressive, perhaps, but not enough to alarm his editors (Mary Elizabeth Winstead and Oliver Platt).

Yet he ends up paranoid and waving a gun in his suburban driveway at the CIA agents who may or may not be following him. In its earnest, plodding way, Kill the Messenger treads some of the same ground as Steven Soderbergh’s 2000 Traffic, only it insists on heroes and resolutions to a global business that continues to this day (and ever will). You want to see more of the moneyed misdeeds and villains (including Paz Vega, Andy Garcia, and Ray Liotta), but Kill the Messenger denies you that pleasure. (R) B.R.M. Guild 45th, others LAST DAYS IN VIETNAM How, short of total victory, do you end a war? The question has been haunting our military and political leaders since Korea. And though Rory Kennedy’s sobering new doc focuses on the last few desperate days of the Vietnam War, 40 years ago, its lessons are surely applicable today in Iraq, Afghanistan, and whatever the hell it is we call ISIS. The bulk of the testimony here comes from guys who were actually on the ground in Saigon—soldiers (American and Vietnamese), a CIA agent, embassy staffers, and the stray journalist or two. These fresh interviews are coupled with vivid archival news footage filmed on both sides of the U.S. embassy walls as a terrified tidal wave of humanity sought evacuation before the North Vietnamese Army overran Saigon in late April 1975. With a deluded ambassador in charge, his men began a covert evacuation plan that would also include thousands of Vietnamese. There’s intrigue in these brave tales that occasionally recalls Argo, only with an unhappy outcome for all those natives left behind. (NR) B.R.M. Varsity PRIDE In essence a Clifford Odets play with a Culture Club soundtrack, Pride is based on a true story in ’80s England: how a nascent gay-rights movement made common cause with an also-beleaguered group that might otherwise seem adversarial—men known for, in the words of one memorable Monty Python sketch, “their tough, rugged life hewing the black gold from the uncompromising hell of one mile under.” Of course not everyone in the Welsh village of Onyllwyn is thrilled to see a lorryful of London poofs drive up, no matter how much money they’re bringing. In depicting their thaw, director Matthew Warchus and screenwriter Stephen Beresford push buttons without shame; prepare yourself for grandmas saying startling things adorably, repressed bodies liberated by dance pop, darkest-before-dawn plot twists, and even a buck-up communal sing. (And yes, one Welsh character comes out; see if you can guess who it’ll be.) Still, you can hardly blame Warchus and Beresford if Pride’s most tearduct-activating moments actually did happen. (R) GAVIN BORCHERT Sundance, Harvard Exit THE SKELETON TWINS Maggie and Milo are fraternal twins who are estranged (for 10 years), living on opposite coasts, and seriously depressed for reasons that seem dissimilar but boil down to past family trauma.

That Maggie and Milo are played by Kristen Wiig and Bill Hader will get this mediocre dramedy more attention than it deserves. That their performances are good oughtn’t be surprising (the two SNL pros have plenty of experience with the comedy of awkwardness). That their script is so tonally sad-happy yet familiar, one has to attribute to the inexperienced writers (Mark Heyman and Craig Johnson; the latter is a Bellingham native and UW grad who directed the film). Maggie and Milo are catty, sardonic misanthropes, angry at the world because they haven’t lived up to their youthful poten-

“A REMARKABLE DIRECTORIAL DEBUT FROM WILLIAM H. MACY.”

35

arts&culture» Music

I

What About Bob? Reflections on America’s greatest living songwriter.

36

Dylan plays the Paramount this weekend.

WIKIMEDIA COMMONS

SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

BY DAVE LAKE

t’s hard not to feel a twinge of anxibut they’ve been serving up their greatest hits ety every time Robert Zimmerman for decades. announces a new string of tour dates.

The naive concertgoer who heads to the The prospect of seeing America’s greatParamount this week expecting to hear a shiny est living musician, now 73, perform is always revue of Dylan’s museum pieces is in for a jara thrill, but the worry that this might be his ring experience. He’ll likely present instead last go-around looms even larger. His so-called songs made elastic by decades of repetition, “endless tour” must eventually conclude, and road wear, and most of all spontaneity. The while I hope it’s not anytime soon, in light ability to reimagine “Blowin’ in the Wind” as a of the man’s singular career, I’m compelled to shuffling piano ballad rather than a laid-bare wonder: What will we inherit in a post-Dylan protest anthem, offering the audience somelandscape? thing foreign and familiar at the same time, You won’t meet a lot of young musicians is a parlor trick of the highest order. That we who worship at the altar of Dylan’s lateall love him for it (and at the same time don’t period Tempest or Together Through Life, but extend the same graciousness to a filmmaking many manage to find their way to Highway visionary like George Lucas when he decides 61 Revisited, Desire, Blood on the Tracks, and to replace the original special effects in Star Blonde on Blonde, forever included on “GreatWars) says volumes about the place Dylan has est Albums of All Time” lists. Dylan is imporetched into the hearts of so many. tant because his contemporaries and rock historians tell us so—but also because it’s simply, When he finally descends his throne, there will universally true. He may not be as direct an be one less figure capable of reminding us of influence on young rock bands as Green Day, the value of being original, engaging with art, but if diligent young punks were so inclined, and not being defined by any of it. Other rock they’d save some of musicians have folthat iTunes budget lowed Dylan’s lead, for a ticket to see Sir but none changed Bob perform 50 years the world. By being In today’s culture of of hits in a two-hour fearless regardmaster class that can’t less of what critics oversharing, there are few be learned by watchand fans might say, ing YouTube.

Dylan has retained pop stars with any mystery Now more than his mystique, a left. MTV brought them ever that matters, quality that keeps because Dylan is the everyone coming into our living room, and antithesis of pasback for another sive and predictable. look. the Internet put their every Whether his many In today’s culthought into our pocket. headline-making ture of oversharcareer moves—the ing, there are few Compared to the likes of protest songs, going pop stars with any electric, his Christian mystery left. It used Miley and Kanye, Dylan’s period (he’s Jewish, to be just record approach is downright remember)—were a sleeves and Rolling result of the times, his Stone that armed revolutionary. artistic vision, or label us with info about pressure, is of little our favorite bands. relevance. The very MTV brought pop arc of his career—and stars into our living that it’s still going strong—demands to be room, and the Internet put their every thought considered with particular reverence. into our pocket. Compared to the likes of In the past decade alone, Dylan published Miley and Kanye, Dylan’s approach is downthe first of his planned three-part memoir, the right revolutionary. well-received Chronicles: Volume 1. He wrote, The times they are a changin’, but the manistarred in, and performed in the utterly vexing festo Dylan offered when he plugged in his film Masked and Anonymous. At 65 he released Stratocaster at the 1965 Newport Folk Festival one of the finest albums of his career, Modern still rings true. “I try my best/To be just like I Times. Meanwhile he appeared in commercials am,” he wails on the final verse of “Maggie’s for Victoria’s Secret, Pepsi, and Chrysler. Not Farm,” “But everybody wants you/To be just exactly conventional choices for a first-generalike them/They sing while you slave/And I just tion rock icon. get bored.”

In his review of Dylan’s 2010 headlining set That was nearly 40 years ago, yet instead at Bumbershoot, SW’s Chris Kornelis declared of slowly aging into a dinosaur, Dylan is now Dylan’s continued catalog reinvention “a onesomething of an alien. When he’s gone, he’s of-a-kind experience, and the perfect foil to gone, and when that happens we will accept the nostalgia that so many of his contempothat he is an aberration whose magic can’t be raries peddle.” This gets to the heart of why a copied. There might be another like him somepost-Dylan world could be so bland. Plenty day, but for the moment, all we have is him. E of artists make interesting records and consismusic@seattleweekly.com tently challenge their audience, but compared to the handful of acts of his generation still BOB DYLAN AND HIS BAND going strong—Paul McCartney, Paul Simon, The Paramount, 911 Pine St., 877-STG-4TIX, the Rolling Stones—it’s apples and oranges. stgpresents.org/paramount. $46.25 and up.

That’s not a knock on those enduring icons, 8 p.m. Fri., Oct. 17–Sun., Oct. 19.

8

SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

arts&culture» Music

TheWeekAhead Friday, Oct. 17

Independent label Burger Records is known for its extensive roster of garage-rock and fuzzy-pop artists and for releasing a majority of that music on cassette.

BURGER RECORDS CARAVAN OF STARS brings some of the bands behind those beloved tapes to venues across the country, giving fans outside of the label’s home base of California a taste (pun intended) of what Burgerama, Burger Records’ annual festival, is like. The Caravan’s West Coast leg features L.A. rockers together PANGEA, Danish garage-pop quartet Mozes and The Firstborn, Portland lo-fi/psychedelic quartet the Memories, and, from Puerto Rico, Spanishsinging garage rockers AJ Davila y Terror Amor. Also with So Pitted, Bread & Butter. El Corazon, 109 Eastlake Ave. E., 262-0482, elcorazonseattle.com. 8 p.m. $15. All ages. AZARIA C. PODPLESKY BIG FREEDIA, the self-proclaimed “Queen of Bounce,” is crafting some of the most energetic and fun hip-hop of recent years. While it’s possible to enjoy her latest album, Just Be Free, on a home stereo, it just doesn’t feel as good outside of her live performance. It’s music that requires a twerk team, a crowd of sweaty people, and Freedia’s onstage charisma. Her booming voice and banger beats are just a canvas for the audience’s asses to paint on. With Slow Dance. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $15 adv. 21 and over. DUSTY HENRY

Monday, Oct. 20

RACHAEL YAMAGATA: singer, multi-instrumentalist,

relationship counselor. On her latest album, Chesapeake, and throughout her discography, Yamagata voices the joy and pain that come with relationships. On opener “Even if I Don’t,” for instance, she goes through the “Should I or shouldn’t I?” inner dialogue most listeners have had when thinking about getting back together with an ex before deciding it’d be “a foolish thing to do.” And on “Miles on a Car,” she sings about doing all you can to see someone you love: “I only need a map of where you are/There’ll never be a place that is too far.” Good or bad, Yamagata guides listeners through it all. With The Dove & the Wolf, Hemming. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $16. 21 and over. ACP Danish singer songwriter MØ doesn’t fit the mold of a pop breakout star. Her glitch-filled, electro-pop beats are a bit more off-kilter than the status quo, but she’s finding a massive global audience. It’s a good kind of weird that feels more indebted to James Blake than to James Blunt. With HOLYCHILD. The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.com/neptune. 8 p.m. $18 adv./$20 DOS. All ages. DH It’s hard to make the soft-rock sounds of AM radio sound “cool,” but indie rockers TENNIS somehow found a way. Its latest album, Ritual in Repeat, makes toneddown disco rhythms and sweet melodies harness the appeal of 1970s slow jams. Vocalist Alaina Moore croons like a truck-stop siren, capturing the desperation of the road through hazy radio frequencies. With Pure Bathing Culture, Crystal Skulls. Neumos. 8 p.m. $15 adv. 21 and over. DH For more than 20 years, Canadian power-pop outfit SLOAN has consistently delivered radio-ready rock hits. Following the Beatles’ model, each member contributes to the songwriting process, which would make its latest album, Commonwealth, its version of the “White Album.” It’s divided into four parts, each member taking a turn leading the group and each side just as strong as the others. Even drummer Andrew Scott’s sprawling 17-minute closer is an easily digestible opus.

Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $15. 21 and over. DH

38

Sunday, Oct. 19

Vancouver songwriter Mac Demarco has already built a reputation for himself as a weirdo with his wacky stage banter and “jizz-jazz” guitar noodling, but all that has nothing on his side project WALTER TV. This band goes even more obscure, delving into fuzz

Tuesday, Oct. 21

COURTESY OF ANTI RECORDS

SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

Saturday, Oct. 18

After 30 years, PHISH is still one of the most engaging touring acts around. Its latest release, Fuego, will only do more to cement that title. “555” and “Wombat,” with its groovy bass line, really bring the funk, and the Latintinged “Waiting All Night” will no doubt get a crowd off its feet. The title track and “Wingsuit,” though, are where the band really shines. The nine-minute “Fuego” is full of everything that makes Phish so popular—singalong-ready lyrics and inventive jams—and “Wingsuit” practically begs to be swayed to. Now to find that Ben & Jerry’s T . . . KeyArena, 305 Harrison St., 684-7200, keyarena.com. 7:30 p.m. $73 and up. ACP SLOW MAGIC touts itself as “the sound made by an unknown imaginary friend.” And for all that’s known about the man behind the music, the band might as well be a product of listeners’ imagination. Slow Magic goes unnamed in interviews and wears a neon-bright, zebra-like mask onstage, which adds an even more mysterious air to an already anonymous musician.

Though it may take a song or two to adjust to his stage persona, Slow Magic’s anonymity doesn’t detract from his brand of electronic music, most recently heard on his sophomore album, How to Run Away. Think Geographer sans vocals and with more percussive elements. With Kodak to Graph, Daktyl. Neumos. 8 p.m. $12 adv. All ages. ACP THE MELVINS often get lauded for their massive influence on the grunge scene, and with good reason. Buzz Osborne’s erratic guitar tone alone could be credited as the inspiration for albums like Nevermind and Superunknown. All the grimy distortion that made its way into ’90s alternative radio can be traced back to this band: a group that predated Nirvana and outlived many others like it to boot. With Le Butcherettes. The Showbox, 1426 First Ave., 628-3151, showboxpresents. com. 9 p.m. $22.50 adv./$25 DOS. All ages. DH Folk music can go from zero to 60 with just a few strums of a banjo, and few bands exemplify that quality quite like Minnesota quintet TRAMPLED BY TURTLES. On the band’s latest, Wild Animals, the group builds upon its reputation as an indie-folk band, with songs like the title track and “Lucy,” and dips into country-rock territory on “Silver Light.” But Trampled by Turtles hasn’t forgotten its punk roots. The band really picks up the pace on “Come Back Home,” which features an incessant banjo riff, and adds a touch of bluegrass flair to “Western World.” With Wild Animals, the group has yet again shown its mastery of the extensive folk-rock spectrum. With Nicki Bluhm & the Gramblers. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxpresents. com. 9 p.m. $26 adv./$30 DOS. All ages. ACP

and injecting reverb into nearly every song. Just as with any Demarco project, however, the recklessness and haphazard vibes make it all the more endearing.

With Tonstartssbandht, So Pitted. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $8 adv./$10 DOS. 21 and over. DH

For her second solo release, MARKÉTA IRGLOVÁ, best known as half of the folk-rock duo The Swell Season, took inspiration from the vast scenery of Iceland, evident in the album’s sparseness. Even when accompanied by full choral, string, and orchestral percussion groups, there’s an uncluttered feel to each song that gives Irglová’s ringing voice room to grow. The religious themes that run through Muna (Icelandic for “remember”), which was also inspired by Jesus Christ Superstar and a trilogy of Neale Donald Walsch books titled Conversations With God, can give it a heavy feel at times, but for the most part the album is wonderfully ethereal. With Rosi Golan. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $20 adv./$24 DOS. All ages. ACP Send events to music@seattleweekly.com.

See seattleweekly.com for more listings.

dinner & show

mainstage WED/OCTOBER 15 • 7:30PM

mike doughty’s question jar show featuring andrew “scrap” livingston THU/OCTOBER 16 • 7PM & 9:30PM EARSHOT JAZZ FESTIVAL PRESENTS

bassekou kouyate & ngoni ba SAT/OCTOBER 18 • 6:30PM & 9:30PM

shawn mullins w/ max gomez SUN/OCTOBER 19 • 7:30PM NORTH AMERICAN TOUR 2014

an evening with terry bozzio MON/OCTOBER 20 • 7PM EARSHOT JAZZ FESTIVAL PRESENTS

garfield high school jazz band TUE/OCTOBER 21 • 7:30PM

marketa irglova w/ rosi golan

El Corazon www.elcorazonseattle.com

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

THURSDAY, OCTOBER 16TH

THU/OCTOBER 23 - SAT/NOVEMBER 1 • TIMES VARY CAN CAN PRESENTS

this is halloween!

MIKE THRASHER PRESENTS:

with Bas, EarthGang, J-Key Doors at 8:00PM / Show at 8:30 ALL AGES/BAR W/ID. $22 ADV / $27 DOS / $100 VIP

with Dissimulator, Destroy Louis, From Heroes To Legends Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID. $17 ADV / $20 DOS

AB SOUL

FRIDAY, OCTOBER 17TH BURGER CARAVAN OF STARS TOUR:

happy hour every day

with Mozes & The Firstborn, The Memories, AJ Davila & Terror Amor, So Pitted, Bread & Butter Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID. $15

FRIDAY, OCTOBER 17TH MIKE THRASHER PRESENTS:

THIS WILD LIFE

with Peace Mercutio, Shoreline Drive, Plus Guests Lounge Show. Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

SATURDAY, OCTOBER 18TH EL CORAZON PRESENTS THE 1ST ANNUAL ROCK 4 RESCUES CHARITY

• 10/15 hypnotikon presents: diminished men • 10/16 peter daniel trio • 10/17 closed for a private event • 10/18 the sufferings with special guests • 10/19 hwy 99 blues presents: cracker factory • 10/20 crossrhythm sessions • 10/21 singer-songwriter showcase featuring: norman baker, josh schramm and jeremy serwer • 10/22 aarun & jonathan TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

CONCERT TO BENEFIT MOTLEY ZOO ANIMAL RESCUE FEATURING:

JAMIE NOVA with Black Powder County, Gravelhitch, DJ

Ratticus, Plus Special Guests Doors at 7PM / Show at 8PM ALL AGES BAR W/ID $12 ADV / $15 DOS HONOR AMONG THIEVES with Redeem The Exile, Being The Created, Plus Guests Lounge Show. Doors at 7:00PM / Show at 7:30. ALL AGES BAR W/ID $8 ADV / $10 DOS

DEMON HUNTER

SUNDAY, OCTOBER 19TH

THE KINGS

with Post Alley Hoodlums, Full Moon Radio, Hurry Up And Die Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8.00 ADV / $10 DOS

MONDAY, OCTOBER 20TH

OLIO

with Eric Blu And The Soul Revue, CannabiDroids, Circular Reasoning Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8.00 ADV / $10 DOS

TUESDAY, OCTOBER 21ST

THE TOSSERS

with Continental, The Wages Of Sin, The Bog Hoppers, The Crossroads Exchange Lounge Show. Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID.$10 ADV / $12 DOS

JUST ANNOUNCED 11/6 LOUNGE - INSVRGENCE 11/10 - JEFF TIMMONS OF 98 DEGREES 12/4 LOUNGE - KURT TRAVIS 12/5 - THE ICARUS LINE 12/5 LOUNGE - PAGEANTRY 12/13 - AURELIO VOLTAIRE 12/19 & 12/20 - X / THE BLASTERS 1/27 - MAYHEM / WATAIN UP & COMING 10/22 - STATE CHAMPS 10/22 LOUNGE - DOWN WITH WEBSTER 10/23 - ZNI 10/23 LOUNGE - LIONFIGHT 10/24 - FOR ALL THOSE SLEEPING 10/24 LOUNGE - AUSTIN LUCAS 10/25 - DJ BEHZAN / DJ POOYAN 10/25 LOUNGE - THE ACCOUNTANTS 10/26 - MC CHRIS 10/27 - ALIVE AND WELL 10/28 - PROTOMEN 10/29 - EYEHATEGOD 10/30 - FLYLEAF 10/31 - BLESSED BY A BROKEN HEART 11/1 - DAN REED NETWORK 11/2 - REAL FRIENDS 11/3 - 36 CRAZYFISTS / SKINLAB 11/3 LOUNGE - THE ICARUS ACCOUNT 11/4 - MAYDAY PARADE Tickets now available at cascadetickets.com - No per order fees for online purchases. Our on-site Box Office is open 1pm-5pm weekdays in our office and all nights we are open in the club - $2 service charge per ticket Charge by Phone at 1.800.514.3849. Online at www.cascadetickets.com - Tickets are subject to service charge

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

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

TOGETHER PANGEA next • 11/2 true blues: corey harris and alvin youngblood hart • 11/4 seattle women’s jazz orchestra w/ grace kelly • 11/5 emily asher’s garden party • 11/7 & 8 over the rhine – acoustic duo • 11/9 adrian belew power trio w/ saul zonana • 11/10 rhett miller w/ salim nourallah • 11/11 drew holcomb & the neighbors • 11/12 southern soul assembly • 11/14 hypnotikon two w/ martin rev, bitchin bajas, food pyramid, midday veil

SUNDAY, OCTOBER 19TH

TASTEMAKER LIVE AND SEAN HEALEY PRESENT:

39

WELCOME TO

a&c» Music LocaLReLeases

SEATTLE SEATTLE WEEKLY’S NEW EVENTS APP

Find local events, share with friends, & make a plan!

Kelli Frances Corrado, Shepherdess (out now, Flat

Field Recordings, kellifrancescorrado. com) With her icy vocals and cold, detached electronica sound, Shepherdess, Corrado’s sophomore release, has the same ethereal and disjointed feel as her first full-length, Diamond Matter, but with far less live instrumentation. It’s hard to say whether this dissolves some of the connection with listeners, but it almost seems as if she’s pulling away on purpose. Yet as the songs slipped by, I started to understand where she was coming from. In particular, “Swan Initiative” drew my attention; with its silky, slow rhythm it was one of my favorites of the bunch. Relying more on her own voice and mixed soundbites, synthy instrumentals and percussion meld the whole collection together into an oddly intriguing brew. (Fri., Oct. 17, Josephine) MORGEN SCHULER Wishbeard, Ally Sheedy 7-inch (out now, Our

SEATTLE WEEKLY • OCTOBER 15 — 21, 2014

free download text PLAN to 77948

40

DOWNLOAD NOW

& enter to WIN TICKETS TO

TEATRO ZINZANNI!

Voltage, wishbeard. bandcamp. com) Although there’s a Seattle band named Cumulus, it’s arguable that Wishbeard makes the most cloudlike music in town. The foursome’s new single drifts and floats around with wispy delayed guitar as Bryn Santillan’s vocals flitter like little sunbeams poking through the fog. As the single’s cover—a lady climbing out of bed as soft light breaks through the window—suggests, the song evokes a certain morning haziness, the splendor of getting up on a quiet Sunday, wiping the crust out of your eyes, and facing the day. “You know you fade away,” Santillan exhales at the track’s climax before it rushes, via a guitar solo, into the daylight.

B-side “Quaaludes” does, appropriately, have a sedative effect on the listener—reminiscent of some of Interpol’s dreamier moments without any of the gothy gloom. The songs slot nicely alongside the group’s previous outing, It’s All Gonna Break, an EP that was markedly floaty in tone, although a bit more synth-heavy than these new songs. Wishbeard has its sound down pat, and it’s exciting to hear it being refined even more. KELTON SEARS

Send your upcoming release to

reverbreviews@seattleweekly.com

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

Still Ill

JAZZ ALLEY IS A SUPPER CLUB

20 years on, Illmatic still matters.

BY CORBIN REIFF

JACQUI NAYLOR

WED, OCT 15

Velvet-toned vocalist and songwriter, far from a straight-laced jazz purist!

SPANISH HARLEM ORCHESTRA

THURS, OCT 16 - SUN, OCT 19

Two-time Grammy award-winning 13-piece salsa band!

2014 NORTHWEST FAMILY LIFE BENEFIT FUNDRAISER

MON, OCT 20

Advocate and Celebrate - Domestic Violence Awareness Month

TOM WOPAT

music@seattleweekly.com

AN EVENING WITH NAS Performing Illmatic and debuting the documentary Nas: Time Is Illmatic.

The Moore, 1932 Second Ave., 682-1414, stgpresents.org/moore. $42.50. 8 p.m. Wed., Oct. 15.

‘Dukes of Hazzard’s” Wopat, like Sinatra in his glory days, makes it all look easy and perfectly natural.”

- S. Holden, NY Times

GERALD ALBRIGHT

THURS, OCT 23 - SUN, OCT 26

Grammy-nominated contemporary jazz saxman and multi-instrumentalist returns in support of his new release Slam Dunk!

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

BOSSACUCANOVA

TUES, OCT 28 - WED, OCT 29 Electro-bossa pioneers

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

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

E V E N T S

T H U R S D A Y, O C T O B E R 2 3 R D

TH URSD AYS

SETH TROXLER 10/23/14 AMINE EDGE & DANCE 10/30/14 HOT SINCE 82 10/16/14 & ROUTE 94

W ED N ESD AYS

S N A K E H I P S & S T W O 10/29/14 SOPHIE 11/05/14 SAINT PEPSI 11/12/14

SATURD AYS

JACOB PLANT

10/18/14

TORO Y MOI DJ PROJECT

LES SINS R AV E O F T H R O N E S T O U R

HODOR

11/15/14 12/06/14

DRAMA FRID AYS

DJ SCENE 10/17/14 H A L L O W E E N P A R T Y 10/31/14 J. ESPINOZA 11/14/14

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

SE ATTLE WEEKLY • O CTOBER 15 — 21, 2014

he past six months have been incredible for Seattle fans of vintage East Coast rap and hip-hop. De La Soul celebrated 25 years of 3 Feet High and Rising at Sasquatch!; Jay-Z rolled through Safeco Field with Beyoncé in July; the inimitable Wu-Tang Clan headlined the first night of Bumbershoot. The capper is set to go down this Wednesday when one of the biggest names in the game takes the Moore stage to perform in its entirety one of the greatest rap records of all time.

Nas, born Nasir Jones, hit the scene 20 years ago with his long-gestating masterpiece Illmatic.

Much like Enter the Wu-Tang (36 Chambers), debuted by Wu just a few months prior, Illmatic was marked by its honest portrayal of street life set over appropriately gritty, lo-fi beats and samples. The rapper rooted the album in a feeling of “This is where I came from,” with very little optimism about where that would lead him.

In marked contrast to the Notorious B.I.G.’s multiplatinum monster Ready to Die, which dropped just a few months later, Illmatic didn’t glamorize or sugarcoat the brutal realities of coming up as a black youth in the inner city.

Whereas Biggie indulged in the life of a freewheeling Big Poppa, Nas was of a mind that life was a bitch, then you die. Verse after verse, Illmatic reveals itself not as a means to an end, but as a singular representation of the long-dismissed complex realities faced by the young black male.

Truth and honesty are the key hallmarks of art that endures over time, and Illmatic is a record that carries both of these in spades. We continue to care about it, because, even 20 years on, the world of Illmatic is still present and its message still matters. E

COURTESY OF THE ARTIST

T

Nas plays the Moore on Wed., Oct. 15.

TUES, OCT 21 - WED, OCT 22

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a&c» Music The Medium Is the Message The religious pop of Matisyahu and Lecrae is no more pedantic than secular music.

BY MICHAEL F. BERRY

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COURTESY OF THE ARTIST

273372_4.75_x_5.5 7/11/14 3:31 PM Page 1

MUSIC

E VE NT S

COURTESY OF THE SHOWBOX

COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

ost religious popular music is terrible, with craftsmanship and artistry typically taking a back seat to the lyrical message. The gap is most evident in genres like rap and reggae, where pervasive themes of drugs, sex, and violence are seemingly at odds with messages about salvation and love. Reggae artist Matisyahu and rapper Lecrae have both made careers out of successfully straddling this divide, despite having been pigeonholed as religious artists.

Matisyahu rose to fame as the Hasidic Jew who performed a blend of reggae and hip-hop, providing opportunities for those who shared his faith to enjoy music otherwise forbidden while bringing elements of Judaism to a broader listening public.

In 2012, it seemed he was headed in a more secular direction when he shaved his beard and was pictured not wearing a yarmulke—two choices that sent ripples through his Orthodox fan base. Still, his fifth studio album, Akeda, maintains the religious themes of his previous material while also furthering his evolution toward a more mainstream pop sound.

Lecrae has been making headlines since his most recent album, Anomaly, became the first to top Billboard’s 200 and Gospel charts in the same week.

Known by many as a Christian rapper, he’s taken to describing himself as a “rapper who happens to be Christian.” “I’m not ashamed of my faith, but I think it really does kind of capsize my art,” he says, referring to his Christian-themed messages, which critics say “sneak up on you.” Yet they’re no sneakier than those of unity, love, and justice set forth in socially conscious underground rap, and the MC hopes his music can bridge the mainstream and spiritual rap chasm. What’s true for both Lecrae and Matisyahu is that it’s easy to miss the message—positive or negative—when all you’re doing is nodding along to the beat. E

PR O M O

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MATISYAHU With Radical Something, Cisco Adler.

The Showbox, 1426 First Ave., 628-3151, showbox presents.com. $29.50. 8 p.m. Thurs., Oct. 16.

AR T S AND E NT E R TAI NM LECRAE With Andy Mineo, DJ Promote.

ShoWare Center, 625 W. James St., Kent, 253-856-6777, showarecenter.com. $25 adv./$30 DOS. 7 p.m. Fri., Oct. 19.

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When you buy firewood write the seller’s phone number and the license plate number of the delivery vehicle.

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Send email with Work Exp. to recruiting@evergreentlc.com or call 800-684-8733 TECH RESEARCH ANALYST Intellectual Ventures Property Holdings LLC, IP research and feasibility studies company, has opening in Bellevue, WA for a Technical Research Analyst: research activities to identify and develop innovations in a range of fields with the potential to offer the greatest possible impact on life in developing countries.

Mail resumes & ref job title to IV Property Holdings, Attn: HR J.D, 3150 139 Ave SE, Bldg 4, Bellevue, WA 98005

Employment Professional DIRECTV is currently recruiting for the following position in Lynnwood: Regional Director of Operations If you are not able to access our website, DIRECTV.com, mail your resume and salary requirements to: DIRECTV, Attn: Talent Acquisition, 161 Inverness Drive West, Englewood, CO 80112.

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