Seattle Weekly, October 22, 2014

OCTOBER 22-28, 2014 I VOLUME 39 I NUMBER 43

SEATTLEWEEKLY.COM I FREE

OUR FOOD SUPPLY CHAIN IS BROKEN » PAGE 19 TOMO'S NEW TUNES »PAGE 38

“ Fatigue will show your

TRUE SPIRIT

...will drop your pants and show your soul to anyone watching.

”

Domingo Martinez goes to the mat in his new and revealing memoir. » PAGE 9

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

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inside» October 22-28, 2014 VOLUME 39 | NUMBER 43

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news&comment 5

BIKERS BARRED

BY RHIANNON FIONN | A battle over

what to do with a Beacon Hill greenspace.

Also: a credit-card hacker’s wayward journey, and the City Council kicks linkage fees down the road.

9

BOOK PREVIEW

BY DOMINGO MARTINEZ | An exclusive excerpt from the author’s forthcoming memoir My Heart Is a Drunken Compass —blood and heartbreak included.

food&drink

19 HUBS ARE HOT

BY JASON PRICE | New ways to get

local food to local eaters.

19 | FOOD NEWS/THE WEEKLY DISH 20 | THE BAR CODE 20 | COMFORT FOOD

arts&culture 21 SKIRTING THE ISSUE

BY GAVIN BORCHERT | Seattle Opera navigates the pitfalls of Don Giovanni.

21 | THE PICK LIST 23 | OPENING NIGHTS | Kinky Boots

and the return of Cherdonna.

27 FILM

OPENING THIS WEEK | Michael Keaton

returns in the amazing Birdman, plus Keanu Reeves on a killing spree and fresh anime from Studio Ghibli.

32 | FILM CALENDAR

34 MUSIC

BY DAVE LAKE | The Psychedelic Furs

come to terms with the ’80s. Plus: a oneday mini-tour and Internet-inspired rock.

35 | THE WEEK AHEAD

odds&ends 39 | CLASSIFIEDS

»cover credit ILLUSTRATION BY JONNY ASHCROFT

»38 Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott

FREE HEALTH TALKS Sweet Tooth Therapy!

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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, Rhiannon Fionn, 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 PRODUCTION Production Manager Sharon Adjiri

Wellness.BastyrCenter.info 206.834.4100 3670 Stone Way N., Seattle

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Art Director Samantha Wagner Graphic Designer Nate Bullis, Brennan Moring Staff Photographer/Web Developer Morgen Schuler Photo Intern Kyu Han ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Multimedia Sales Manager, Arts Carol Cummins Senior Multimedia Consultant Krickette Wozniak Multimedia Consultants Cecilia Corsano-Leopizzi, Erin McCutcheon, Peter Muller, Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich COPYRIGHT © 2014 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERIODICALS POSTAGE PAID AT SEATTLE, WA PO STMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

24 | PERFORMANCE 25 | VISUAL ARTS 26 | BOOKS

We treat the whole you.

3

news&comment

Battle on the Boulevard

A city pilot program for mountain-bike trails will disrupt wildlife, say some neighborhood activists. That’s debatable, but it certainly is disturbing the peace.

Three Keys to the City’s ‘Linkage Fee’

BY RHIANNON FIONN

BY MATT DRISCOLL

heasty Boulevard in Seattle’s Beacon Hill neighborhood was mostly idle until the DeJong family moved next door in 2004. “It was very dense, very dark,” says Mary DeJong, 39, of the onceivy-covered 10-acre section of the greenspace known as Mountain View. She and her foreststeward husband, Joel, 38, took it upon themselves to organize work parties to clear invasive species and build trails. As they did, more sunlight shone through the trees, homeless encampments dispersed, and a community of neighborswho-volunteer-together developed. No one minded their efforts, until about four years ago when they set their sights on the rest of Cheasty Greenspace, across South Columbian Way. While the Mountain View side has short walking trails that connect a couple neighborhoods, Joel envisioned an urban mountain-bike trail—Seattle’s first—for the larger segment of the parkland. In the years since, the DeJongs have applied for big-dollar grants and lobbied Seattle Parks and Recreation to alter its bike rule to make the trail happen. They have also encountered unexpected opposition: another neighborhood group dead-set against the trail.

The battle boiled over earlier this month when “angry e-mails” sent to members of the city’s 12-person Project Advisory Team resulted in a call to the police during an October 2 meeting.

No one wants to talk about the details of that correspondence, though Parks spokeswoman Paula Hoff called the e-mails “threatening” and said the police presence was an effort to protect the PAT, which comprises volunteers from the community. Hoff adds that “things have simmered down,” but the stand-off over the parkland seems far from over.

Oddly enough, the two groups in this clash— the Dejongs’ Friends of Cheasty Greenspace at Mountain View and the opposition’s Save Cheasty Greenspace—have more in common than not. Both are passionate about the same urban forest. And both camps can cite you page numbers for the damning evidence against the other side in 100-plus-page public documents.

It all started when Joel DeJong took his trail idea to Glenn Glover, executive director of the Evergreen Mountain Bike Alliance, a nonprofit “dedicated to sustainable mountain biking in Washington.” In 2012 the duo submitted a grant application that was declined because of a Seattle Parks rule prohibiting mountain biking, instituted in 1995 after mountain bikers damaged a different park. However, the city updated the rule in September 2013; it now includes

n Monday, the Seattle City Council passed a resolution 7-2 backing the future implementation of what are known as “linkage fees.” Basically, linkage fees are a per-square-foot charge to be imposed on developers building new commercial and residential buildings in Seattle. The city would then spend the fee money on affordable housing for folks who don’t make six figures at Amazon.

Championed by Councilmember Mike O’Brien, the idea is to make fat-cat developers pay for some affordable housing. Of course, the plan has its critics. Most developers hate it (natch), and Roger Valdez, director of Smart Growth Seattle, says the plan is illegal and will drive up prices for everyone.

Will Monday’s council vote matter? Here are two reasons it will, and one big reason it won’t.

a code of behavior and states that bikes are allowed on trails “designed and constructed to Parks’ Mountain Bike Trail Design Standards.”

Only those standards haven’t been established yet; helping to create them was one of the goals of what would be a pilot project at Cheasty.

Even without the grant, Parks pounced on the possibility of free maintenance at one of the many properties it’s required to tend. Following Parks’ lead, this summer city hall gave its blessing for the mountain-bike project at Cheasty, which would ultimately cost the city $450,000.

In public comments and responses to questions for this article, the opponents to the trail-building plan seem convinced mountain bikers are a destructive special-interest group bent on taking over their greenspace and freaking out wildlife.

“It’s a land-grab,” says neighbor Edward Newbold, 63. Sarah Welch, who has lived in the community for 40 years and once worked for Seattle Parks, says she doesn’t want any trails ever to transverse the greenspace. Though current plans call for a mountain-bike trail only along Cheasty’s perimeter, the 67-year-old resident fears the development of a trail will impact the wildlife, which includes a variety of birds, deer, coyotes, hawks, and possibly one eagle, she says.

Welch is one of two members of the opposition who sit on the PAT, which was established in September. Zero trail supporters are on the PAT, though they did apply. “We don’t have a vote,” says Joel DeJong of the advisory vote that the PAT will

eventually deliver to the city. The city did not return calls asking for details on the selection process.

Welch claims neutrality, writing in an e-mail that “In order to be on the PAT, I agreed I would review the environmental data and remain open to be convinced that it would not harm the natural area or habitat.” She admits she hasn’t visited other mountain-bike parks or spoken with those who maintain them, but she’s up for a field trip to Tacoma’s Swan Creek mountain-bike trail.

Joe Brady, natural-resources division manager for Metro Parks Tacoma, tells SW he’d be happy to host the PAT and detail his city’s experience with mountain bikers. He says taking care of nature and mountain biking go hand in hand, and that he “can’t say enough good things” about Evergreen Mountain Bike Alliance.

Might there be hope of a resolution? This past Saturday, 20 members of Friends of Cheasty Greenspace at Mountain View planted trees in the rain. Turns out, Welch said, members of Save Cheasty Greenspace were also at Cheasty planting native plants at the exact same time. Asked why the two groups didn’t collaborate, she said, “That’s a good question.”

“I think if we could pull weeds side by side,” Joel DeJong said, “we could figure this thing out.” Because no matter what happens with the mountain-bike-trail proposal, the Cheasty cleanup will continue, and unless someone moves, which doesn’t seem likely, these folks will still be neighbors after the PAT meetings end. E

news@seattleweekly.com

On Monday, the Seattle Department of Transportation revealed the proposed first phase of the city’s Bicycle Master Plan. If passed, it will add 33 miles of protected bike lanes and 52 miles of greenways across the entire city, as well as a lot of complaining to our civic dialogue.

A sampling, from our readers: “Good hopefully bikers utilize them. They are some of the worst ‘drivers’ around.” —Pulmer Bowman, via Facebook “I read that the Seattle Police were going to start making bikers obey traffic laws. No sign of that yet.” —Pat Ford, via Facebook “Will the city be taxing bikers to pay for this project or will it continue to fall on drivers?” —Brian Crow, via Facebook

•

•

MONEY BY LUIS PRADO, FAMILY BY JENS TÄRNING, SHRUG BY DIANA CHAYTOR FROM THENOUNPROJECT.COM

A forest worth fighting for.

RHIANNON FIONN

4

O

squeaky wheels » Bemoaning the Bicycle Master Plan MORGEN SCHULER

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

C

1

Big money Currently the City

of Seattle generates money for affordable housing using what’s known as an “incentive zoning” policy, where developers pay into an affordablehousing fund when they do things like exceed height limits in specific areas of the city—South Lake Union, for example. O’Brien’s staff estimates that adopting a linkage-fee system will generate five to 10 times more money for affordable housing over the next two decades. Conversely, if developers want to avoid the linkage fee, they can set aside a small percentage of their building for low-income renters.

Big need According to estimates, Seattle needs to add at least 28,000 affordable housing units. As Councilmember Sally Bagshaw noted after Monday’s vote, Seattle can expect 100,000 new residents in the next decade. Proving that the issue is anything but simple, however, Bagshaw cast one of the two No votes (along with Tom Rasmussen), angling for a more comprehensive plan that uses “all available tools.” “We must consider all serious options, such as inclusionary zoning requirements, expanding the Multi-Family Tax Exemption, and focus more on performance than fees,” Bagshaw argues.

2

Big deal One reason Monday’s vote definitely will not matter is that it actually didn’t do anything . . . other than direct the city’s Office of Housing and Department of Planning and Development to develop linkage-fee legislation for the council to vote on in eight months. It was a resolution, not an ordinance—meaning nothing is final. This provides hope for Valdez, who opined after Monday’s vote: “The good news is that at least two council members not only raised doubts, but finally voted No on legislation that will, as we’ve pointed out again and again, make things worse.” E

3

mdriscoll@seattleweekly.com

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SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

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IN THE ORCA BALLROOM

6

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news&comment» ‘Kidnapped’ Russian Hacker Facing New Charges

O

SEATTLELAND

in the war against cyberthieves. “It’s too easy for those criminals to think that ‘I can sit in my basement halfway around the world and steal everything that matters to an American,’ ” he told 60 Minutes two weeks ago. “ ‘And it’s a freebie, because I’m so far away . . . ’ ” Well, he added, the U.S. policy these days is to “lay hands on them if they leave those safe havens, to impose a real cost on them. We want them looking over their shoulders when they’re sitting at a keyboard.” E

randerson@seattleweekly.com

Rick Anderson writes about sex, crime, money, and politics, which tend to be the same thing.

His latest book is Floating Feet: Irregular Dispatches From the Emerald City.

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SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

n the humid morning of July 5, 30-year-old Roman Seleznev was passing through security screening at Malé International Airport in the Maldives, about 400 miles southwest of India in the Indian Ocean, when he was asked to step out of the line. Traveling with his partner and her daughter, the muscular, lightly bearded Russian computer whiz was winding up a vacation trip to the island nation that bills itself as “the sunny side of life,” and was hoping to catch a noon jet to Moscow.

Instead, more than a month and five flights later, detoured by a hurricane and slowed by two planes with mechanical trouble,

BY RICK ANDERSON he’d wind up in a Seattle prison, claiming he was kidnapped by U.S. marshals.

He might have a good argument, though he’s unlikely to win it—or any sympathy, for that matter. Seleznev, considered a flight risk, is being held without bail at the Sea-Tac federal detention center, facing trial in Seattle federal court next month for hacking credit card-numbers and reselling them online. The millionaire son of a Russian lawmaker was originally thought to have stolen the data of as many as 200,000 credit-card holders. But investigators, after seizing Seleznev’s laptop following his capture, today put the figure at two million.

Officials say the financial losses also run into the millions. In a letter to the court, businessman Sid Fanarof outlined what Seleznev’s alleged electronic break-in cost in just his fivestore California ZPizza chain. Besides a “great deal of distress,” his tab for forensic audits and fines to MasterCard and Visa totaled $50,000, he said. “We also lost many customers who would not trust our credit-card system.”

U.S. prosecutors this month revised their original 29-count grand jury indictment against Seleznev, filed under seal in March 2011 but not revealed until after the July takedown, adding new details and 11 more felony counts, including aggravated identity theft.

They also produced an expanded list of U.S. businesses allegedly hacked

by Seleznev. From his computer den in Vladivostok, the Russian national would store collections of stolen credit-card numbers—or dumps—on black-market websites known as carding forums, which use servers in the Ukraine, Virginia, and elsewhere to cloak the perps’ identities. Seleznev’s victims include “hundreds” of shops and eateries in western Washington, such as Broadway Grill, Grand Central Baking, and Mad Pizza in Seattle, along with pizza joints in Anacortes, Duvall, and Yelm. The eclectic victim list stretches from Schlotzsky’s Deli in Idaho and the Phoenix Zoo in Arizona to the Latitude Bar and Grill in New York City and Day’s Jewelers in Waterville, Maine.

Seleznev—working with others, prosecutors say—used 22 online aliases, including Track2,

2pac, James Chow, and Boris Grechkin, and sold the pirated number “dumps” using online currency such as Bitcoin, Paymer, and eGold.

He even offered crime lessons to his customers at one site, posdumps.com. “This is a tutorial [on] how to buy dumps and use in store (POS) (Make and using fake credit card),” the notice stated. “Here I will explain you how to earn money. From $500 to $50,000 or even $500,000. Remember this is illegal way! Process from start to finish!” The site explained how to use equipment to encode fake credit cards with stolen data, how to obtain card templates, and how to select and purchase dump numbers.

The site also referred customers to another site run by Seleznev, the feds claim: “You can buy dumps in online shop called 2pac.cc,” the referral read; “that’s the only one real shop who is legit and they have dumps from almost all the world countries. More than 1 million of stolen dumps.”

Seleznev was illegally abducted by the Americans, according to Russian officials and court papers. His father, a Russian parliament member, says his son was kidnapped to be used as trade bait for NSA leaker Edward Snowden, who has been granted asylum in Moscow. In a court filing, Seleznev’s attorneys say a Maldivian judge refused to grant the U.S. an arrest warrant (the country has no U.S. extradition treaty), but the marshals took him into custody claiming he’d been expelled by the Maldives’ president.

He was put on a private plane and flown to Guam, an American territory, an act similar to the notorious rendition flights first allowed under the Bush administration. Once extradition was granted in Guam, three attempts to fly Seleznev to the U.S. mainland were thwarted by mechanical problems and a rare hurricane around Hawaii, where Seleznev had been moved prior to arriving in Seattle on August 8.

FBI Director James Comey has since made it clear that such “kidnappings” are legal tactics

7

EAT, DRINK,

AND BE

SCARY

Join EMP for spine-chilling events at the museum as well as twisted drink specials, horror video segments on EMP’s Sky Church screen, spooky scavenger hunts, and gruesome social media challenges.

Adults in costume receive $5 off museum admission and kids 12 and under get in free on weekends and on October 31 (excludes ticketed events).

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Test your horror knowledge and enjoy frightful drink specials at our Haunted Happy Hours.

Full event details at EMPmuseum.org

THE SHINING THURSDAY, OCTOBER 30 // 8:00PM $12 // 21+

Bring the outdoor drive-in experience indoors with EMP’s Campout Cinema series on the mammoth Sky Church screen.

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

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AN EXCERPT FROM ...

MY HEART IS A DRUNKEN COMPASS

Editor’s Note: Following on the success of his 2012 memoir The Boy Kings of Texas, a National Book Award finalist presently being adapted for HBO, Domingo Martinez publishes his new My Heart Is a Drunken Compass (Lyons Press, $26.95) next month. This exclusive excerpt begins as the author is living in Lake City with his troubled WASP fiancée Stephanie, shooting rats in his backyard, recovering from a recent family trauma back home in Texas, and trying to write his first book at a local dive bar. For the moment, life seems stable; though a new tragedy— and new love—will arrive in the chapters ahead.

A

JONNY ASHCROFT

genotype for a karate geek, in my mid-twenties.

At thirty-nine, I was thick through the middle. Roomy. I’d taken the Andrew Sullivan path, went from a slender twink to a bear, if my affections were that way bent.

(Mind the British pun.)

So I started back at my old karate school, which had moved a few times and was in the throes of its own Cheyne-Stokes death knell, as most independently owned karate schools always seemed to be, underfinanced and undernourished.

When I returned, most of the original magic seemed to be gone, but I was still quite keen on coming back, and I called the owner and patched things up because we had left things on a weird

BY DOMINGO MARTINEZ note when I didn’t return after an incredibly difficult green belt test, my first. I wouldn’t break, back then. I was petulant and not ready to submit to anyone, even for a karate instructor I exalted.

It didn’t seem right. Wasn’t American.

Kinesis back then was a show. Kinesis was

exceptional. Kinesis was theater. Kinesis was power. Kinesis was the answer, and Kinesis was a question you never wanted asked. Kinesis was physicality. Kinesis was an education in domination and learned submission—and by God, were you ever submitting, slowly, with each class, with every strained muscle, every call and every answer—and you didn’t even know you were doing it when you started, but the physical regimen (the fire hydrants, the push-ups, the diamond push-ups, the tricep push-ups, the crunches and crossovers and the constant leg overs) broke you down into a perfect receptacle, put you in a place where you could begin to see who you were, what your body could do, if you were perfect.

If you were willing to see yourself how you wanted to be.

Kinesis could put you into that range, within distance. Within sight of your own personal perfection.

But the deception was that you’d never get there. You just kept coming back for more, seeing your perfection shift, once again, just out of focus.

The school drew students who contributed their own magic, their own charismatic energies, and together the experience and the workouts were electrifying. And finally, our instructor, Brenda Brown, was simply mesmerizing, absolutely gorgeous, epicene and hard.

Androgynous and better than a goddamned Jedi, an actual living superhero. Many of the students were there just to be around her.

When I first started, Kinesis was two blocks west of The Stranger, the alternative paper where I began my life in Seattle [in the ’90s] and where I was working as a graphic artist, and barely scraping by. Even so, I decided I could afford the $70 a month at this fancy place down the street.

I don’t remember much about Brenda from the first time I attended Kinesis, as she wasn’t in my orbit and I had my own early dramas unfolding. I recognized her from photos at the time, just a belt rank or two ahead of me, a pudgy

SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

fter being with Steph for a year, I realized I had let myself go a bit too much this time, as I passed age thirty-nine with a size 38 waist and wanted to regain the slenderness of my youth, but my habits and debilitating laziness were proving an obstacle. It was with some reluctance that I turned to the only place and exercise that I had ever truly enjoyed, that had ever truly moved me to conviction, and that was karate, but not just any karate, a particular karate school that had been, when I was attending, the coolest and toughest LGBT-friendly school operating in the gayfriendly neighborhood that happened to be on the same block as the start-up alternative newspaper I was helping produce at the time.

But then again, I was young and slim and strong and stupid: perfect

In which the author recalls how flunking out of karate school revealed his limits— and helped him on the path toward writing.

» CONTINUED ON PAGE 10 9

AN EXCERPT FROM...

MY HEART IS A DRUNKEN COMPASS » FROM PAGE 9

THIS WEEK’S CONCERTS: Thursday, OcTOber 23 PONchO cONcerT hall, cOrNish cOllege Of The arTs, 8Pm

Greg Osby Quartet

An alto saxophone innovator, with 15 Blue Note albums and a legacy of leadership. Free masterclass, noon, PONCHO. friday, OcTOber 24 rOyal rOOm, 8Pm

Living Daylights | Syrinx Effect

Saxophonist Jessica Lurie reunites with Arne Livingston and Dale Fanning to recreate the forward-looking, always slamming power trio, Living Daylights! Syrinx Effect is the magical duo of Kate Olson and Naomi Siegel. friday, OcTOber 24 Tula’s resTauraNT aNd Jazz club, 7:30Pm

Kareem Kandi Organ Trio

Solid, hard-grooving jazz organ trio powered by Kandi’s fat saxophone tone and Delvon Lamarr’s soulful B3.

saTurday, OcTOber 25 PONchO cONcerT hall, cOrNish cOllege Of The arTs, 8Pm

Barry Altschul 3dom Factor

The legendary drummer, who defined styles for future generations, with Hayes Greenfield (alto sax) and Joe Fonda (bass). suNday, OcTOber 26 seaTTle arT museum, 8Pm

Daniel Barry’s Celestial Rhythm Orchestra

Incredible original compositions performed by an incredible 19-piece Seattle jazz orchestra. (Thanks to 4Culture and Artist Trust.)

WedNesday, OcTOber 29 emP level 3, 7:30Pm

Eric Revis Quartet | Kate Olson Sextet Powerhouse bassist Eric Revis holds the flame of new-jazz pioneers like Mingus and Ayler to his new quartet with monster saxophonists Darius Jones and Bill McHenry. Kate Olson opens with her new sextet. (Presented in cooperation with EMP.)

Thursday, OcTOber 30 PONchO cONcerT hall, cOrNish cOllege Of The arTs, 8Pm

Expansions: The Dave Liebman Group Liebman brings the scorching sound of his early 70’s Miles work to a brand-new quintet. Free masterclass, noon, PONCHO. friday, OcTOber 31 rOyal rOOm, 6/8/10Pm

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

Royal Room Halloween Party

10

Big fun and great music! Silent film The Cabinet of Dr. Caligari with live music at 6, the Royal Room Collective Music Ensemble at 8, and Electric Circus, deep in the dangerous fusions of Miles Davis’s Bitches Brew, at 10. friday, OcTOber 31 dOWNsTairs @ TOWN hall seaTTle, 8Pm

Chad McCullough: Spin Quartet

The Seattle/Chicago trumpeter in a new, intense quartet with “some truly different things in modern jazz” (Examiner.com).

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Frank Catalano Quartet, Jacob Fred Jazz Odyssey & McTuff, Battle Trance, Industrial Revelation, Cuong Vu & Ted Poor, Pharoah Sanders, Miguel Zenón, Corey Harris & Alvin Youngblood Hart, and many more…

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lesbian girl from the Midwest, Indiana, I think, who would turn into the hardest, fastest, strongest, most attractive woman this side of cinema imaginable, when I would return to the school fourteen years and forty pounds later.

I had fallen in love with karate that first time, because of that school, and my whole social orbit centered directly over it, right up until I was asked to submit my will at the green belt test, and I just couldn’t do it, couldn’t wear the shock collar, so to speak, and so I quit, and regretted that decision ever since. It was exactly what happened with college: I couldn’t submit to doing what I didn’t want to do.

So, here we were, fourteen years later, and I was willing to try again.

It never really worked, because I was more in love with my slovenly lifestyle and watching movies than getting fit. So I didn’t drop too much weight, but I did regain my balance, did recover some core strength, did eventually grow stronger and into better shape—more pineapple than pear, if you will—and the best thing about the place, really, was the new friends I had made . . .

Editor’s Note: We’re skipping the introduction of one particular friend Martinez made at the karate studio. You’ll have to read the book to learn about his next great love.

After four months of training at Kinesis, I invited

my mother to Seattle for my green belt test.

What made it a bit pathetic was that the green belt was, as a friend of mine back then called it, a “rank amateur” standing. We weren’t friends very long after that.

Mostly, it was an excuse for my mother to fly up to Seattle and meet Steph, since we’d become engaged, so I asked my mother to come up and witness the test, as a way of passively giving me her blessing. “Just take a few days, meet my betrothed, and see what I’m doing, how I’m living. It’s important to me,” I think I said.

And miraculously, Mom took some time off work to visit me, and not while I was laid up in a hospital or in a psych ward. It was touching.

There was a deep, sincere part of me that needed the validation from my mother, after all this time.

The test was nothing, really, except the only sort of accomplishment I’d reached in the last fourteen years, with my “career” as a designer taking the swirly path down-sewer, and I remembered how phenomenally good it had felt way back when to do these tests, to mark your progress as a martial artist, and have your friends and family come to cheer you on, and watch as you plied yourself valiantly through exhaustion and had your face kicked in once in a while by an overzealous dickhead who didn’t understand this wasn’t really combat.

So it was set , and I had been really earnest

in my preparations for this test, remembering how it had been fourteen years ago when I was twenty-five or so, and how badly reductive it had been to me, both physically and emotionally, and had actually broken my fascination with karate and all martial arts: I knew, after that test, that this wasn’t for me. Going past green belt, in this system, required a level of

subservience and compliance I was still incapable of giving anyone. And I will credit my instructor then with seeing that quite clearly, fourteen years ago, and how uncomfortable that test became to everyone watching because I wouldn’t break, and she wouldn’t stop trying to break me, barking commands at me like I was a proud recruit in a boot camp, or a dog in dire need of an alpha, or a shock collar.

A month later, I’d quit, had given up that school, and I wandered around for a few years starting other systems, but never committing fully, like a series of karate one-night stands. I was a karate slut and hated all the schools I slept with after that. They just weren’t Kinesis.

Kinesis was a magical place, back then. It was the Island of Broken Toys, from the Rudolph the Red-Nosed Reindeer Claymation film. The deeper, more committed the student, the more broken the toy, if you get the metaphor. Seriously. But there was real magic there, because of or in spite of it.

I returned to Kinesis because I’d never again been so fully committed to anything, after.

Not a person, not a career (except my haphazard conviction to writing), not a single thing, and certainly not a routine or a workout.

Early John Irving, from The Hotel New Hampshire, would shout at me in my head (You have to get obsessed and stay obsessed!), but I could find nothing that would compel me into a reasonable argument for obsession.

(Later John Irving would also shout at me,

» CONTINUED ON PAGE 13

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very supportive. I didn’t slim down like I had hoped, made it nowhere near slipping back into my waist 34 pinstripe trousers that I’d been wearing when we’d met, because try as I may have, I never did quite give up the drinking. So I remained fat, and as the deadline to the test drew closer, I tried dieting and jogging and wishing and praying. I was still a big fat man in a white karate suit, and I looked ridiculous.

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Why aren’t you picking my blueberries?! You can’t go to the same school as my kids if your combined household income is under $750K!! I’m kidding, of course. But just a bit.)

Taking the same test again at thirty-nine certainly flashed me back to taking it at twentyfive, and this time I was far more able to concentrate on the parts that displeased me, far more capable of reining in my body language and visible displeasure and disagreement with the bits of the test I felt were onanistic and idiotic, useless in the larger language of weaponless combat. By this point in my life, I had been in I could sense that Steph was nervous, teemenough fistfights to know what was useful and ing with a weird anxiety about meeting my what was television. I was in a graduate studmother for the first time. I told her, “No, no, you ies program with violence, actually felt peace don’t understand my mother. She’s not like your when my amygdala switched to “flood” and my mother, what you’ve described.” Still, I could blood turned into a river of cortisol. My eyes no sense that Steph was preparing herself for a fight. longer dilated, my breathing went deeper, my “Mom’s an incredibly on-the-level and kind shoulders automatically squared, and I had a full woman, and she’s dealt with a lot in her life. She’s 360-degree awareness of a room, all in less than not in the least bit judgmental or hostile, to anya second, as soon as I felt threatened. one. Mom’s . . . I dunno. Full of love, I think is I had every marker of a combat veteran, of the only way to put it,” I said to Steph.

PTSD, after being in so “I mean, really. I’ve many stupid fights growing yelled and screamed and I never felt so tough up, or waiting to get hit by been a complete shit my dad, or someone else. to her for a very long in my life as at that So the mat, in karate, time, and she’s never moment, with half a given up on me, and I’ve felt like home. There was peace in it. tampon sticking out of swung back around and But there were other now I’m her little Elvis. my nostril. exercises in karate—the That’s why I sometimes katas and the one-steps, call her, ‘Momma,’ like and I had to get through those. Take orders, respond Elvis did with his mum. You don’t need to be with compliance, bow my head to suggest my place. en garde for passive judgments or double entenSo I did. Or so I tried. dres,” I said.

En garde she was, though, from the very beginning, from the moment we picked up Mom from When I came back to the school, it needed help.

Lots and lots of help. Within a couple of months I the airport until we drove her all the way north to that rambling rental in that shithole neighborwas a part of the administration, and then I found hood. Mom was exactly as I’d described her and myself trying to get it advertised and mediated entirely sincere and genuine in her affection in and mentioned out of my own shallow pockets. seeing us both, seeing us, at the time, happy, and I did everything but show up to class more than once a week. I seeped capital to get it healthier, but she even loved the damned stupid dog, Cleo. like anyone who’s tried to help a slipping 501(c) (3), I was completely disappointed when it was But Steph was on edge, uncomfortable, even simply not coming out of the death spiral it had after she realized who my mother was and had been in, when I had first been reintroduced. calmed down, on the second or third day. I’d taken Which was difficult to watch, but also satisfyus all to lunch at our favorite Thai restaurant, and ing, in a schadenfreude sort of way, if I can be we were talking about the upcoming test, and fully transparent and confessional.

Steph said something to the effect of, “Domingo Continuing with the metaphor of the lover, really likes sweating with all those boys; I wish when I rejoined the karate school, it had been he’d like sweating like that with me more often.” uncomfortable, awkward, an experience like I gave her a look that said, “Are you fucking meeting an ex-lover in a coffee shop, and being serious? You’re talking about this in front of my incapable of acknowledging an odd sense of mother?” competition, like, “Aha! I’ve been thriving since To be perfectly honest, I’ve been far more we split and you’ve been dwindling! I win!” And, brutal and vulgar in front of Mom, back when admittedly, because I have such deep rivulets of I was much more bitter, but I immediately abandonment and pettiness, there was indeed became defensive, standing guard over her, that moment, which turned quickly to shame, thinking, What the fuck, Steph? Seriously? I in accordance with my Catholic programming, treated your parents with respect. and so instead I set about helping and building it But Momma, in her divine innocence, heard back up as much as I could. nothing of what Steph had indicated, and the But to very little avail. Sadly, karate schools moment passed. Still, I was unnerved and annoyed. really aren’t worth much more than the sweat and The day of the test, I had to leave them alone the blood left on their mats. for the day while I did martial artsy things, At any rate, this had been my near-obsession and they spent hours downtown, at Pike Place for my thirty-ninth winter, and Steph had been » CONTINUED ON PAGE 15

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MY HEART IS A DRUNKEN COMPASS » FROM PAGE 13 Market, which is Mom’s favorite destination in Seattle because of all the flowers. She loves the flowers and takes pictures of the window boxes downtown to send back home to Texas. It’s actually quite adorable.

But I was nervous that Steph’s neurosis would prevail and she’d take something Mom said badly, and the situation would implode, or explode. So it was with some sense of doom that I awaited their arrival at the karate school for the test, to see how their interaction went.

When they walked in the door, I could immediately discern that my worry was without foundation; Steph was beaming, and my mother was carrying flowers. My mother’s simple sincerity and genuine personality had penetrated all of Steph’s defenses and laid them to rest, and Steph, who was expecting the sort of interactions she’d had with her own mother—slights mostly imagined on her own part—was now perfectly at home with my Momma, the way I was, too.

It’s healthy to love your Momma, when you’re past thirty-five.

For the test itself, I was able to make it through

And so, about two-thirds into my test, when I

began revealing the first signs of fatigue, I also began getting sloppy and lowering my guard, dropping my head forward and encouraging my opponent to get fancy so I could throw a fat, slow lead right down the center at his or her throat, lazily, like a howitzer, retreating into my comfort zone of a heavyweight boxer just come out of retirement for a huge Las Vegas payout, the way George Foreman beat the fight out of Michael Moorer.

On the mat, when you’re sparring, it’s a number of conversations, of nonverbal discourses. You can have the most violent, damaging exchanges with someone you adore and trust, and it’s out of a shared, mutual admiration of one another’s gifts and athleticism. Complete nonverbal bonding, through affectionate pummeling. I’ve engaged in

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A bit later, exhausted and stripped of my ability to hide my better self, my fresh opponent stepped in front of me to really test my control.

And BAM: Off we went, and he immediately started targeting my nose.

I should mention here that besides my mother and Steph, two of my closer friends, Andy and Kim, were in attendance, shouting their support from the sidelines. Dimly, I could hear them from their seats just off the mat.

I was a bit off in a corner, and they were behind me and to my left, so they couldn’t really see what was happening as my new opponent kept tagging me with popcorn-like agility on the nose. I was depleted at this point, exhausted and somewhat incapable of stifling or blocking his little, insubstantial Orville Redenbacher type pop-pop jabs going right at my bloody nose. I heard my mother from the sidelines saying, “He just had that sinus surgery a year ago!” and I said, I think for the fourth or fifth time, “Sir, please watch the nose,”

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the first part with the katas and the barked commands and the compliance of will with very little to report.

It was the sparring that was concerning me, which occurred at the end.

Sparring for green belt, in this style, was the gateway into the upper belts and the geometrically more complicated strikes and arm bars and kicks, so your green belt test was a way of really testing your commitment, testing your mettle and your ability to survive a full-on ass-kicking.

This was why, at twenty-five, it was the brick wall that I hit, stopping my advancement into the upper echelons, the more whimsical and insubstantial of martial flourish. And also because I felt anything beyond there was utter, useless bullshit in a fighting style: Most fights never get beyond a few thrown punches and a sprawling pindown or submission hold; I just couldn’t get past that, internally, and it showed, externally.

And if there’s something indisputable about sparring, it’s that your fatigue will show your true spirit, will drop your pants and show your soul to anyone watching.

In sparring veritas.

this many, many times.

Other times, it’s a polite exchange with someone you loathe, mostly because the last thing you want to do is exchange perspiration and let that person know how much you genuinely disapprove of them.

And the more tired you become, the less you’re able to disguise this.

So at the two-thirds mark the day of the test, one of the more ambitious members of the school started in on my reduction, started pushing me into that part of despair that truly tells a man, and I wasn’t handling it well.

Earlier, it had been grand: I’d sparred with the house giant, who was my friend and remarkably agile for a man of his size, about 280 pounds, and could kick and punch with surprising frequency and acuity, utterly unexpected from a guy who was shaped like a Klondike grizzly.

He’d actually bloodied my nose, when I had leaned away from him and thought I was out of reach from an extended kick, and sonofabitch if his foot didn’t come right up at me when I was turned totally in the opposite direction.

BOOM. Right away, my nose sprayed red, mingled my biota onto both his karate suit and the mat. (Some part of me felt completed at this moment, seeing that my blood had mingled with the school, ritualistically, like I was no longer an outlier, but included in the symbiotic whole, just another pair of hands helping tow a nautical rope in a Patrick O’Brian story.)

He and I stopped right then—and I’ll always love the big guy for this—and he grabbed my face in his mitted paws, tilted my head back, and looked up into my nose and said, “Yeah, you’ll be all right. Come over here,” and then someone handed him the medic kit, where he found a tampon and a pair of scissors; he cut the tampon in half and stuck it up my nose, with the string coming out of my right nostril.

I never felt so goddamned tough in my life as at that moment, with half a tampon sticking out of my nostril.

And back at it we went.

Two big, heavy fuckers going at it like George Foreman.

It was great. That’s love.

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MY HEART IS A DRUNKEN COMPASS » FROM PAGE 15

doing nothing wrong here.

Duck, dodge right, and a low right hook to her ribs. because it was, in all sincerity, a very good nose, Step back and wait for her to recover her large and Aztec and a pretty easy target, but finally breath.

I just lost it entirely and I grabbed him by the Shift stance, lead with two right jabs—fump dobak after he hit me again, and I lifted him up off fump—and a left hook to the head, and the supthe ground and slammed him on his back, into the ground, and stopped myself before I hit him square port I had been hearing from my mother and Andy and Kim went totally quiet, off to my right. in the face, on the ground.

I didn’t care, at this point. I was too exhausted (Again, point made about the higher flourfor higher functions, like sympathy. ishes of karate.)

I was locked in, like a terrier who’s noticed a squirrel scampering up a tree.

Right at that moment , Brenda Brown, who And still, there was this thought in my head: had magically appeared immediately to my left, This is all perfectly legal. This is the fight game. She’s called the round because she’d been monitora red belt. ing me. I was aghast at my loss of control and She kicked, responded with a “fancy” quick helped pick up my opponent off the floor with turn and I saw it coming and moved just off apologies, and he brushed himself off in a perto her left, where I would be just out of reach, snickety sort of way and walked off in a huff. and I dug the ball of my right toe just under I sheepishly made my way to the next station her ribs. And I followed it with another comin the circuit, utterly ashamed that my mother bination to her face that went right through and friends had seen that and feeling quite unanswered. horrible, and then things really went bad.

I started pummeling this sixty-year-old Again, I should mention, this is what this test is designed to do—reduce you to your baser impulses woman at about 10 percent more than I should so that you meet yourself, know yourself in such a have. Maybe 12 percent. Here and again, a 15 way that you’re able to understand your limits and percenter would slip out. And this was all taking place not ten feet triggers, in the hopes that in my mother, my the future, when you’re able to I started pummeling from girlfriend, and my two beat someone to a pulp, you’re best friends. able to keep from doing it. this sixty-year-old And I didn’t care.

And at this next part, I met woman at about 10 I was telling her, someone I didn’t know, not nonverbally, You’re a just in myself. percent more than Stop pretending.

She was standing at the I should have. Maybe fraud.

Then I’d hit her final station.

12 percent. again.

She was an older, grayI was asking her, haired lesbian, wearing a red belt in the Kinesis style—from this school!—and nonverbally, Where the fuck have you been, in patches from a series of other women’s karate helping this school? You wear this school’s red belt, and this is the first time I meet you, in five schools in Seattle. months? How do you like your patches?

A red belt, which was two belts higher Some more hits. than—no, scratch that, three belts higher, since I was just high yellow at this point, testing for green—me.

It went on for about two more minutes.

And I’d never seen her before.

I was a real asshole.

After all the fucking money and time and proAnd that’s why I never made it past green belt. motion and SHIT that I’d put into this school’s I just couldn’t play at that level. survival, this ostensible “student” showed up to My mother never really looked at me the same the test, which is considered the “cream” of the way again, after seeing me for who I really was. student experience, to enjoy the sparring, to show I realized I was much more like my brother her karate plumage to an audience.

Dan than I admitted to myself, had been tryTo “test” the testees, if you don’t mind the ing to deny, and that I only liked a good boxdouble entendre. ing match where I was winning. I saw that, Something switched over in me. at a fundamental level, I was competitive and And I heard Brenda behind me shout, “GO!” unyielding, unwilling to compromise when it meant something to the other person who was creating a fiction of him or herself. I wanted to Right away, it was George Foreman and be the one who pointed out where they were Michael Moorer.

I started thudding her—thump thump!—with wrong, when it meant something. I saw that I needed to be, quietly, right. Correct. I was big-mitted left jabs right at her face, keeping stripped down once again, and I didn’t like who her from gauging where I was and then bringI saw there. And I thanked the karate school, ing the big right straight down the middle and hitting her square in the mouth, to get the con- much later when I was able to think about the experience honestly, for showing me that. And versation started on the right foot. So to speak. that I needed to change, if I was going to grow BAM. up and be an adult. That sometimes, I needed She responded with nothing in return. to let the other person win, in a tug of war.

Now, I should emphasize, this is all perfectly (All rights reserved. © 2014 Domingo Martinez/ acceptable and legal on the mat, in this “converLyons Press) E sation” with a student of her status as a red belt and as an opponent of mine at high yellow: I was books@seattleweekly.com

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How food hubs are making it easier for farmers and consumers to buy locally.

BY JASON PRICE

The American Lamb Jam Global Flavors Tour comes to Seattle on November 2 at Bell Harbor. Local chefs participating in this competitive cooking event that benefits the University District Food Bank include Café Juanita’s Holly Smith, Mike Wisenhunt of Brimmer & Heeltap, and Sam Crannell of LloydMartin. Seattle Weekly’s Food and Drink Editor Nicole Sprinkle will be among the judges. $75 gets you butchery demos, American lamb appetizers, and home cooking tips from Smith and rancher Reed Anderson of Anderson Ranches. For $60, sample 16 globally inspired lamb dishes with a host of Washington brews and wines.

21 Acres farmers fill boxes for the Hub.

PHOTOS BY ROBIN CROWDER

» CONTINUED ON PAGE 20

morningfoodnews@gmail.com

TheWeeklyDish Parfaits at Trove

BY NICOLE SPRINKLE First, a confession: I don’t love ice cream. I realize that makes me a bit of a pariah in not just the food world, but the world at large. I generally find it to be too one-note, too sweet, with not enough textures to please me.

A lick or two and I’m usually sated. In college, this proved extremely frustrating for my roommate.

I’d buy a pint of ice cream (because I do crave it now and again), eat a few spoonfuls, and be done with it. She would then finish it off— unable to replicate my restraint. So it’s with that caveat that I tell you I love the parfaits at Trove, Seattle’s new noodle bar, Korean barbecue joint, cocktail bar, and parfait window—the last of which cleverly uses a food truck, but keeps it under cover of a roof. Three parfaits at $6 apiece are offered, each with a “New School” and an “Old School” version. I opted for the banana split, “New School.” Served in a small glass jar (bring it back and get $1 off your next parfait), the vanilla custard is layered with chili chocolate sauce, rice crunch, and passion-fruit tapioca. The combination of the sweet but spicy chocolate, the salty crunchiness, and the tartness of the jelly-like tapioca beads hits all the right notes in flavor and texture— never a dull moment. I’m glad I don’t live too close by, but I do foresee late-night drives to Capitol Hill to satisfy a yen for these yummy, Korean-inspired confections. E

nsprinkle@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

Sound economy. Who can argue with that?

As they learned about the marketplace, Norris had the idea to broaden it beyond traditional consumers and restaurants. So they developed a relationship with United General Hospital in Sedro-Woolley, which wanted to increase its local food budget. The Food Hub was a perfect partner.

Norris says, “We had talked to several buyers, and they were weary of the hassles of reaching out to lots of farms, writing dozens of checks, cutting PO’s, etc. Many customers didn’t want to go through that hassle, and were ordering through a distributor hoping what they were getting was local.”

The PSFH has expanded its relationships with hospitals and institutions over the past few years.

One of their biggest clients is UW Medical Center in Seattle. I spoke with Chuck Zielinski, director of food and nutrition, about the Center’s work with the Hub. His own department questioned its role as part of the Center’s mission to improve the health of their patients, staff, and community.

Zielinski states that the Center wanted to “create partnerships with farmers which gives their programs credibility while rewarding small farmers for going the extra mile in growing organic produce—a win-win for both of us.”

Hub Customers run the gamut: from hospitals, businesses like Microsoft, child-care centers, and restaurants to the City of Seattle (which established a grant to support child-care centers in purchasing from the Hub). One major client is food-

The 2015 James Beard Award nomination process is in full swing, and nominations for 21 categories can be submitted by diners. So log onto jamesbeard.org/awards and let them know who fills your belly and why they deserve to be recognized. E

NICOLE SPRINKLE

O

n a recent visit to Whole Foods, I had my pick of pears from Argentina, California, and Washington—in the middle of our state’s harvest season.

Why? Why do I need to choose between a pear that has traveled over 6,000 miles to Seattle or one grown an hour away? It makes no sense.

The food-distribution system in this country is broken. The supply chain bringing your farm products to market is cost-effective only for big enterprises. While semi-trailers, cargo ships, and airplanes move produce and meat all over the planet, small farmers are often relegated to driving small trucks to get products to local markets.

They don’t get to play with the big boys.

Enter Food Hubs—which are not a new concept. Essentially, they are aggregation and distribution points created for small farmers to get their products to new markets and customers. And they are picking up steam as consumers increasingly demand local products. They are also becoming more popular A thousand pounds of with small farmers as they look blueberries headed to for ways to break into new marMicrosoft. kets—without sacrificing profit margins through heavy transportation costs and middlemen.

As USDA Secretary Tom Vilsack stated in a May 2013 press release, “Skyrocketing consumer demand for local and regional food is an economic opportunity for America’s farmers and ranchers. Food hubs facilitate access to these markets by offering critical aggregation, marketing, distribution, and other services to farmers to start a formal food hub in partnership with 21 and ranchers. By serving as a link between the Acres, a Woodinville-based nonprofit learning farm or ranch and regional buyers, food hubs center focusing on organic agriculture. keep more of the retail food dollar circulating in Working with Robin Crowder, marketing and the local economy.” development director at 21 Acres, they expanded Putting its money where its mouths are, the the marketplace over the past three years to supUSDA recently announced a plan to fund a $52 port farmers from Whatcom, Skagit, Snohomish, million program to support local and regional King, and Island counties, and have gone from food systems like farmers’ markets and food hubs being open 11 weeks a year to nearly year-round. and to spur research on organic farming. The I spoke with Crowder about the drivers Feds are seemingly in support of an expanding behind the advent of the Hub. “Farmers were local, sustainable food system—or at least are already seeing the market for local was changing putting on a good show. and demand for local food was improving. We A few years ago, a bunch of farmers and buyers were hearing from farmers that they didn’t know convened under an overpass in Skagit County to about how to reach people outside of farmers transact their business. This clandestine operation markets, and that every restaurant account had was the start of what became the Puget Sound 10 other farmers competing with them.”

Food Hub (PSFH) in 2013. Lucy Norris, direcSo Norris and Crowder went to work on tor of the PSFH and marketing director for the building a better business model. Their goal was Northwest Agriculture Business Center (NABC), simple: to make it easier for farmers and buyers helped create this marketplace. She worked with NABC to get a value-added producer grant (given to connect so that buyers will always know their farmers and where they are getting their food to agricultural producers aggregating or enhancfrom—all while improving the overall Puget ing the value of raw products) from the USDA

FREMONT BREWING

Congrats to Fremont Brewing Company, winner of the Small Business of the Year award in the Fourth Annual King County Executive’s Small Business Awards Program.

19

food&drink»

A Quest for Pasties Warm comfort food with Nordic ties.

BY JACOB UITTI

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

M

y father, the son of two Finnish parents, grew up in the Upper Peninsula (U.P.) of Michigan in a town called Calumet, in an area affectionately called “Copper Country” for all its mines. If you live there, you’re called a Yooper, and if you’re a Yooper, you’ve assuredly eaten a Cornish pasty: oven-warmed wrapped piecrusts encasing beef, onion, potato and rutabaga (think: a peasant calzone without the cheese).

My family would take month-long trips to our little log cabin off Lake Superior, and for dinner we would eat either fresh fish we caught or pasties.

A U.P. specialty, pasties were invented in Cornwall, a county in the UK rife with mines (indeed, mining in Cornwall started in the Bronze Age), much like the U.P., and the tradition migrated to the Yoopers because of their convenience.

“Miners could set the pasty down and pick it back up and it stayed warm because of the wrapped dough,” says Raymond Gould of the U.P.’s famous Lawry’s Pasty Shop, which sells

hundreds a day. “Pasties migrated over this way and became a U.P. thing because there’s a lot of Finns and Swedes over here working in the mines.” So perhaps it’s no surprise that pasty shops exist in Seattle: We have a big Nordic population (by 1910, Scandinavians were the largest ethnic group in Washington), and the weather is right for them.

I have many fond memories of big, hefty, crusty, hot pasties, so I wanted to search out the dish in Seattle to compare how they match up.

My first stop was Twisted Pasty (2525 Fourth Ave. twistedpasty.com), a hop, skip, and a jump from the Space Needle. The ambience of the place, open for only about six months, is more upscale than the hole-in-the-wall spots in U.P. towns. But their miner pasty, the most traditional on the menu, is rich and fantastic. They use the standard recipe: potato, rutabaga, and onion with beef. While its crust isn’t as thick as those I remember from my youth (and my selfish side wishes they didn’t cut the dish in half ), I am more than satisfied with Twisted Pasty’s version.

» FOOD HUBS FROM PAGE 19

porters of the Hub since 2013. Not only are they suppliers, they provide facilities for aggregation and delivery three days a week—plus they manage the e-commerce platform. When I asked Harley about his experience working with farmers using the Hub, he tells me that “Drive time savings is amazing due to shared transportation.

Farmers are appreciative of newly opened markets with big corporate and institutional customers who wouldn’t order from smaller farms but are now able to through the Hub.” One of the primary reasons farmers use the Food Hub is the economics of the operation. The farmer determines prices—the Hub has nothing to do with it. They pay 10 percent of the sale price to the Hub plus 3 percent for credit-card processing fees. For 13 percent of the sale price, a farmer eliminates significant costs in marketing, sales, and distribution. Grants and private foundation donors offset the balance of operational costs for the Hub with an additional 10 percent contribution.

Supply-chain efficiency is another obvious benefit. Ethan Schaffer is the executive director at Viva Farms incubator in Mt. Vernon, which helps new farmers learn how to farm and experienced farm workers establish their own business.

service provider Bon Appétit Management Company, which orders in bulk for the Hutch, Amazon, Seattle University, and the Gates Foundation.

Currently 37 producers are registered to sell, with nearly 300 registered buyers. “Customers wanted to order from multiple farms, pay one invoice, and pick up . . . in a single location,” Norris adds. “We saved one chef about four hours every week.” Hub staff also works with customers and farmers to share feedback and information about farming practices.

This year has brought major change to the operations of the Food Hub. A new e-commerce platform was implemented earlier this year, making it easier for farmers to offer their goods and for customers to one-stop-shop online—a huge benefit for both. In addition, the Hub recently established a partnership with Cloud Mountain Farm Center in Everson, Wash., to facilitate the aggregation and distribution of farm products for Whatcom and Skagit counties.

Harley and Susan Soltes, owners of Bow Hill

20 Blueberries in Bow, Wash., have been key sup-

PHOTOS BY CASSIE ULRICH

Hot layers of love at Twisted Pasty.

It’s served with a rich red wine-and-beef gravy and a choice of soup, salad, or fries (note: Their house curry ketchup is amazing). I also tried the spinach-packed Greek veggie pasty, a good introduction to the dish for vegetarians.

“Our pasties,” says Twisted Pasty chef Mark McNutt, “have a lot of layers—I like to call them layers of love. Without these layers they don’t taste right. We slow-roast the beef and marinate it over eight hours. But the really important thing about a pasty is our dough; the traditional pasty has a thick and crunchy dough. When the owners here started the place, they wanted to go with something a little thinner and crisper.”

Kells Irish Restaurant & Pub (1916 Post Alley, kellsirish.com) was next. Sitting at the dimly lit bar, I notice the handful of patrons are all drinking Guinness. I order the corned-beef pasty (with Swiss cheese and cabbage) and a cup of split-pea soup. While Kells is obviously an Irish establishment (and not, say, Finnish or Michiganbased), their pasty menu is plentiful. They offer four versions in addition to the corned beef: a seafood pasty with crab and shrimp; a beef pasty with mushrooms; a chicken pasty with a tarragon cream; and a vegetarian pasty with three cheeses, garden vegetables, and a mornay sauce.

I’m told by the hurried bartender that pasties are also traditional Irish dishes. Makes sense—in Ireland’s cold, blustery climate, any dish made hot that keeps hot is welcome. The day I walk into Kells, in fact, it’s so rainy and windy that a few of the porch umbrellas jump out from their resting places and blow over.

My corned-beef pasty is small—daintier than the giant ones from Michigan—cheesy, and made with puff pastry rather than a big pie crust.

It’s very good, though, hearty and satisfying. But still different. “Traditionally,” says the bartender, dressed in a gray vest and bowtie, “the Irish ate their pasties with their hands.” Well, then!

The British Pantry in Redmond (8125 161st Ave. N.E., thebritishpantryltd.com) and the Hummingbird Saloon in Columbia City (5041 Rainier Ave. S.) also serve pasties. It seems that the cuisine I grew to love as a child in Michigan is in good hands here. E food@seattleweekly.com

I ask him about the benefits of using the Hub, and he points out both the supply-chain and online capabilities. “It makes sense for the food hub to run the supply chain and to pass this aspect of business off to someone who’s focused on logistics,” Schaffer says. “The use of online platforms is very new in the produce world. Even with big distributors, most sales are still done over the phone or person-to-person. The PSFH adds that capability for us.”

Farmers looking at their current marketing mix are giving the Food Hub strong consideration.

Norris says, “Maybe they’ve done a CSA program and are seeing a decrease in subscriptions. Maybe some farmers markets haven’t done so well. That’s where we help to enable them to meet the needs of customers that they wouldn’t otherwise have.”

Eating locally is both a choice and a necessity if we are to support small-scale, sustainable agriculture as well as improve the local supply chain.

If money is the language business listens to, then consumers must vote with their dollars to effect change. If demand for local meat, dairy, and produce increases, the system will change to support it.

Capitalist businesses always follow the money. E

food@seattleweekly.com

Wildwood Spirits Shakes Up the Distilling World

S

pend enough time around Seattle restaurateurs and you hear the same concern again and again: There are just too many restaurants. True or not, certain entrepreneurs are looking at different ways to expand their empires without necessarily opening a new joint. Some have experimented with cookbooks, spice rubs, and unconventional outlets at the airport or stadiums. Yet the most revolutionary gambit is John Howie’s: launching a distillery in Woodinville with the dual purpose of supplying his restaurants and local retailers.

At the heart of the venture

BY ZACH GEBALLE is head distiller Erik Liedholm, the longtime beverage director for John Howie Restaurants and a fascinating guy to talk to. I sat down with him recently to discuss his plans for Wildwood Spirits, and it was an eye-opening dive into the world of modern distilling.

Liedholm is incredibly knowledgeable about almost anything drink-related: he’s an advanced sommelier and soon will be a master distiller.

His intellectual curiosity is a driving force behind the project, as evidenced by the time he spent mastering the technique in Michigan State University’s Artisan Distilling Program working with noted distilling expert Kris Berglund.

Wildwood’s initial offerings have been the standard vodka/gin lineup, though the “Kur” gin has won a double gold medal and “Best in Show” at the New York World Wine and Spirits Competition. It’s definitely a more citrus-driven gin, and Liedholm shows his attention to detail by infusing the 13 ingredients separately, then blending the infusions. This allows more precise blending, and enables Liedholm to use hyperseasonal ingredients like Seville oranges yearround. Whiskey will follow, though of course barrel-aging is a necessary step in that process.

Moving forward, it’s the specialty spirits that most excite me, and, seemingly, Liedholm as well. The equipment installed in the distillery will let him work with volatile materials and make aromatic spirits like grappas and amaros, including custom grappas for area wineries. In fact, the only limitation seems to be his imagination: We speculated about aquavit, brandy, and single-malt whiskey.

While Wildwood is technically a separate business, John Howie’s backing will go a long way in giving Liedholm the freedom to play with techniques and ingredients without the financial pressures typical of a new distillery.

“Our production isn’t going to be governed by the same constraints as a typical start-up,” Liedholm says. “We don’t need as high a yield, so we can focus on higher quality.”

That economic reality underpins the venture.

While Wildwood’s success remains to be seen, especially in the wider market, it does seem like a harbinger. Alcohol is a major profit source for most restaurants, and if opening their own distillery (or brewery or winery) lowers costs in the long run, I expect to see other major players in the area explore it as well. E

THEBARCODE

thebarcode@seattleweekly.com

arts&culture

Predator? I Hardly Knew Her! Never mind the sexual politics; Seattle Opera makes Don Giovanni funny again—well, funnier.

ThisWeek’s PickList

BY GAVIN BORCHERT

THURSDAY, OCT. 23

ELISE BAKKETUN

of all soprano roles; her big Act 2 aria (rough translation: “I’ll kill the bastard, but I still pity him”) throbs with anger and deep feeling.

The plot’s launched by Don’s ravishment of another noblewoman, Donna Anna. Some productions question her innocence, implying there’s more consent in her close encounter with the Don than she lets on. Here Erin Wall plays the role completely straight, and thus less intriguingly, though she sings it vividly.

The third woman the opera throws in the Don’s path is Zerlina (Cecelia Hall), whom he pursues on her wedding day; when her fiance Masetto (Evan Boyer) blames her, she responds with these wince-making sentiments: Beat me, dear Masetto, beat your poor Zerlina.

I’ll stand here as meek as a lamb and bear the blows you lay on me.

You can tear my hair out, put out my eyes, yet your dear hands gladly I’ll kiss.

Ah! I see you’ve no mind to . . .

Under Gary Thor Wedow— Seattle Opera’s go-to conductor for pre-1800 works—the Seattle Symphony has never sounded more periodinstrument-y, lean and incisive; a few vibratofree passages brought a new and striking string color. Robert Dahlstrom’s set, a looming gray wall riddled with doors and windows sliding open, expands the action vertically onto a second level at the expense of flattening it out from front to back and cramping it. (It seemed like a fresher concept in 2007.)

In director Alexander’s best bit of stage business, Leporello and the Don switch clothing so the former can distract Elvira while the latter chases her maid—a hoary device that’s hard to make plausible, but it worked beautifully here, and hinted at what the opera could have been if those comic chops had been applied more broadly. E

gborchert@seattleweekly.com

DON GIOVANNI McCaw Hall, 321 Mercer St. (Seattle Center), 389-7676, seattleopera.com. $25–$223.

7:30 p.m. Wed.–Sat. plus Fri., Oct. 31. Ends Nov. 1.

Part of a nationwide series of literary walking tours, now in its third year, Lit Crawl stages its readings at one-hour intervals so you can choose and walk among its dozen-odd venues—most of them conveniently clustered on Capitol Hill. In addition to this week’s SW cover boy Domingo Martinez (see page 9), the roster of Northwest literary talent runs deep. Elissa Washuta, of the bipolar memoir My Body Is a Book of Rules, will join in a discussion with novelist Jonathan Evison (The Revised Fundamentals of Caregiving).

Spokane novelist Jess Walter (The Zero) will read from his new book of stories. Humorist Lindy West, of The Guardian and Jezebel, will join other female writers for a roundtable called “Working Stiffs.” And former SW staffer Bruce Barcott will discuss his forthcoming book (out in January) about the new entrepreneurial stampede to profit from legal marijuana, Weed the People. The evening concludes with a 9 p.m. after-party at Hugo House ($5 for the first pint, followed by cash bar), where most all the participating authors will convene. Richard Hugo House, Town Hall, Elliott Bay Book Co., and other venues. See litcrawl. org for map and full schedule. Free. 6 p.m. onward. BRIAN MILLER

Opposing Forces O’Neal out of the rehearsal studio.

When Amy O’Neal came to Seattle to study dance at Cornish in the ’90s, she arrived with a polyglot movement education, a disdainful attitude toward ballet, and an interest in the social dances she’d seen in clubs and on television. After two decades of performing and choreographing, that experience is broader.

Hip-hop and breakdancing are now part of her repertoire. Part of last season’s Northwest New Works Festival, her solo piece Something Light for the Sake of the Dark uses the physical control at the heart of much breakdancing to focus our

SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

Seattle Opera’s revival of its 2007 production, again directed by Chris Alexander, does move further in this direction—most apparent in Elizabeth Caballero’s flamboyant performance as Donna Elvira, the Don’s spurned lover. During the “Catalog Aria,” in which the valet Leporello shows off the contents of the Don’s not-so-little black book, she rips out a page, presumably hers; later she keeps a flask tucked in her bosom to swig liquid courage. Yet by the end she’s taken the full measure of one of the most richly layered

What’s a nice girl like her doing with him?

Cavallier and Hall.

Lit Crawl Seattle

What is a Zerlina supposed to do with this? That last line makes it clear she’s playing this ironically, trying to embarrass Masetto out of his anger; I would love to see this irony exaggerated, played for comic effect rather than earnestly, which just leaves a bad taste.

In the title role, Nicolas Cavallier cuts a figure similar to Kwiecień’s in 2007— swooping around the stage in an open robe, hair slicked back into a ponytail—but it’s played lighter, less reptilian; he may even have smiled once. Cavallier’s voice is more wool than silk, which can be commanding, but which leaves both his Act 2 serenade and his breakneck “Champagne Aria” a little gruff and labored.

Among the baritones, the most debonair voice, surprisingly, belongs to Erik Anstine as Leporello. Vocally, the most wondrous of all, as expected, is Lawrence Brownlee as Donna Anna’s fiance Don Ottavio, proving in his two arias why he’s one of today’s most sought-after lyric tenors.

NATE WATTERS

T

hese days, the sexual politics in Mozart’s Don Giovanni are nearly impossible to navigate. The zeitgeist can’t tolerate the glamorization of a serial seducer, so a likable Don is right out. Yet removing all redeeming qualities raises the question “So what does anyone see in him?” and makes the women in the opera seem masochistic, stupid, or both. From a feminist standpoint, it’s a lose/lose.

Another motive is that an edgier, “realer” Don Giovanni grabs an audience in a way that opera desperately covets, so recent versions I’ve seen have leaned the latter way: Kasper Holten’s 2011 film adaptation, Juan; Seattle Opera’s Young Artists Program production of the same year; and even Seattle Opera’s previous mainstage performance, from 2007, which starred Mariusz Kwiecień as a Don too obviously sociopathic to have any believable success with any non-lobotomized woman.

Probably the only way out of this dilemma is to double down on the comedy. Focusing less on the Don’s ad-campaign-friendly animal magnetism and more on the fact that, after all, none of his seductions come off as planned would help dilute (if not eliminate) the misogyny. (Yet another SO Young Artists production, from way back in the late ’90s, has stuck with me as a model Don Giovanni, precisely because it was funny all the way around.)

No one ever better grasped what makes this opera tick than critic Virgil Thomson, who wrote in a 1940 thinkpiece: “Mozart is kind to [his characters] and pokes fun at every one of them . . . It is all about love, and it kids love to a fare-ye-well. It is the world’s greatest opera and the world’s greatest parody of opera.” If everyone gets poked fun at, no one looks bad. Win/win.

» CONTINUED ON PAGE 22 21

arts&culture»

Follow us! instagram.com/ STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION

1. Title of publication: Seattle Weekly. 2. Publication number: 306-730. 3. Date of filing: 10/01/2014 4. Frequency of issue: Weekly. 5. Number of issues published annually: 52. 6. Annual subscription price: $180.00 7. Complete mailing address of known office of publication: Seattle Weekly, 307 3rd Ave.S., 2nd Floor, Seattle, WA 98104. 8. Complete mailing address of the headquarters of general business offices of the publisher: Same. 9. Full names and addresses of Publisher, Editor, and Managing Editor: Interim Publisher-Stephen Barrett, c/o Seattle Weekly, 307 3rd Ave.S., 2nd Floor, Seattle, WA 98104; Editor-Mark Baumgarten, c/o Seattle Weekly, 307 3rd Ave.S., 2nd Floor, Seattle, WA 98104; Managing Editor-Gavin Borchert, c/o Seattle Weekly, 307 3rd Ave.S., 2nd Floor, Seattle, WA 98104. 10. Owner: Sound Publishing, 11323 Commando Rd. W. Unit Main, Everett, WA 98204-3532. 11. Known bondholders, mortgagees, and other security holders: none. 12. N/A. 13. Publication name: Seattle Weekly. 15A. Average number of copies during preceeding 12 months (pressrun) 55,017. B1 Average individual paid or requested mail subscriptions: 76. B3. Average sales through dealers and carriers, street vendors, counter sales, and other paid and/or requested distribution: 48,611. C. Average total paid and/or requested circulation: 48,687. E. Average total nonrequested distribution: 0. F. Average total distribution: 48,687. G. Average copies not distributed: 6,330. H. Average total: 55,017. I. Average percent paid and/or requested circulation: 100. Actual number of copies for single issue published nearest to filing date. 14. Issue Date: 09/17/2014.

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E. Actual total nonrequested distribution: 0. F. Actual total distribution: 48,880. G. Actual copies not distributed: 6,075. H. Actual total: 54,955. I. Actual percent paid and/or requested circulation: 100. 17. I certify that the statements made by me, above, are correct and complete (signed) Mark Baumgarten, Editor-in-chief.

attention on detailed isolations and frozen, exquisite moments. It was a tour de force for her as a performer and choreographer, bringing the full toolkit of postmodern construction to bear on the task. Her newest project is another challenge in that direction. O’Neal won’t be dancing Opposing Forces ; instead she’s enlisted some of those dancers she shadowed in the past, creating a talented cast of five. Fever One, Alfredo “Free” Vergara Jr., Brysen “JustBe” Angeles, Mozeslateef, and Michael O’Neal Jr. are award-winning performers, but they’re hardly ever seen in concert dance settings.

(Through Sun.) On the Boards, 100 W. Roy St.,

This is a special one-off Halloween-themed edition of the popular Silent Movie Mondays series, with organist Jim Riggs accompanying the famous 1925 silent, starring Lon Chaney Sr. as the lonely, misunderstood, disfigured ghoul who haunts the Paris Opera. Based on the prewar serial novel by Gaston Leroux, the big-budget Universal Studios adaptation was a lavish horror spectacle, full of crowd scenes, fire, collapsing walls, falling chandeliers, thwarted passion, and fright makeup. The success of the movie— remade several times—helped make Universal the leading purveyor of monster and fright movies for the next three decades. This film and The Hunchback of Notre Dame also cemented Chaney’s iconic status during the silent era (and

217-9888, ontheboards.org. $23–$25. 8 p.m.

SANDRA KURTZ

The Phantom of the Opera

The Marines of Dogfight.

Dogfight

SEATTLE

Seattle Weekly’s New EVENTS APP

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

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

MONDAY, OCT. 27

MICHAEL BRUNK

WELCOME TO

22

» FROM PAGE 21

free download text PLAN to 77948 DOWNLOAD NOW & enter to win tickets to

TEATRO ZINZANNI!

Where were you in ’91? Nancy Savoca was then a rising indie filmmaker who gathered two bright young stars, River Phoenix and Lili Taylor, for a sad, lovely period drama filmed right here in Seattle. Dogfight follows a pack of young Marines bound for the Vietnam War in 1963, when Rose and Eddie become a couple—if only for one tender night—because of a cruel bet made among Eddie and his pals. (Essentially: Find the ugliest girl you can, a dog, for a fake date bound to end in humiliation.) Now this is not the most likely Hollywood property for a stage show, yet Peter Duchan and songwriters Benj Pasek and Justin Paul crafted a musical adaptation that debuted off-Broadway two years ago. The show received decent reviews (an “intimate, carefully tended new musical,” quoth The New York Times), and it’s here making its Northwest premiere despite the sudden collapse of Balagan Theatre, which was originally set to co-produce the show.

Local audiences will remember the Pasek/Paul team from their A Christmas Story, The Musical at the 5th Avenue four years back. What they’ve done, cleverly, to evoke the late-JFK era is to have Eddie and the boys harmonize like the Four Seasons, while the more progressive-minded Rose is already looking ahead to Dylan and Joan Baez. The show’s nominally set in San Francisco, and she’s a flower child in the making. Kody Bringman and Devon Busswood star as the central couple, leading a local cast directed by Mathew Wright. (Through Nov. 22.)

ArtsWest, 4711 California Ave. S.W., 938-0963, artswest.org. $5–$37. 7:30 p.m. BRIAN MILLER

later created a career for his son in talkies). Tonight, filmgoers are encouraged to wear costumes for the occasion, which can be commemorated at a photo booth in the lobby. Trader Joe’s will supply the seasonal snacks. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $10. 7 p.m.

BRIAN MILLER

TUESDAY, OCT. 28

Jonathan Powell

Born in England of Parsi descent, composer Kaikhosru Shapurji Sorabji (1892–1988), fed up with the cool reception his dumbfoundingly ambitious music got in conservative Britain, became something of a musical hermit. As he put it, “No performance at all is vastly preferable to an obscene travesty,” and it wasn’t until the 1970s and ’80s that he at last met pianists with the technique, devotion, and stamina required to bring to life his immense and complex music. There’s the hothouse lushness of Scriabin, but with a greater sinewy severity; the chaotic ecstasy of Messiaen, but with blurrier outlines; the formidably complex rhythms and saturated textures of Ives’ “Concord” Sonata—all mixed with rigorous contrapuntal structures that pile on further difficulties. Jonathan Powell has been one of the composer’s chief proselytizers, and brings two recitals’ worth to Seattle: shorter works tonight as an appetizer, and on Saturday, Nov. 1, Sorabji’s 1949 Sequentia cyclica super Dies irae—377 pages long, seven hours of music in all, deployed in bouts of roughly three, two, and two hours with two intermissions. You’ve heard nothing like it in this city, I promise you. PONCHO Concert Hall, Cornish College of the Arts, 710 E. Roy St., cornish.edu. $10–$22. 8 p.m. GAVIN BORCHERT E

D I NI NG

» Stage

Opening Nights

M US I C

E VE N T S

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

Worth My Salt VELOCITY DANCE CENTER, 1621 12TH AVE., 325-8773, VELOCITYDANCECENTER.ORG. $15–$20. 8 P.M. FRI.–SUN. ENDS OCT. 26.

FILM

PKinky Boots 5TH AVENUE THEATRE, 1308 FIFTH AVE., 625-1900, 5THAVENUE.ORG. $45.25 AND UP. RUNS TUES.–SUN. ENDS OCT. 26.

Worth My Salt is essentially a very loose origin story, as Cherdonna enacts her autobiography for the trio of toga-clad assistants—Jim Kent, Randy Phillips, and David Wolbrecht— who fill various roles, including cheerleaders, porters, fall guys, Fates, and chorus boys.

Cherdonna lives at an intersection of dance, comedy, drag, and performance art, shifting precariously among them at the bat of her false eyelashes.

Kuehner will pull the rug out from beneath herself, if no one else will do it for her. Even as the lights fade during the show’s seeming finale (a truly affecting performance of Mikhail Fokine’s Dying Swan), Cherdonna jerks back to her feet, proclaiming “I’m not gonna die!” in her endearingly screechy voice. It’s yet another detour in an evening full of baffling turns and changes of tone—a cliffhanger ending for this fascinating chapter in the ongoing story of Cherdonna Shinatra. SANDRA KURTZ E

stage@seattleweekly.com

AR T S AN D E N T E R TAIN ME N T

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A weekly list of the top drink specials right in your area.

www.HeartCenteredHealing.us Fremont Avenue Holistic Center

Village Theatre’s Production of

Disney and Cameron Mackintosh’s

A Musical Based On The Stories of P.L. Travers and the Walt Disney Film

Box Office: (425) 392-2202 • Nov 13, 2014 - Jan 4, 2015 • VillageTheatre.org

Now–Nov 16

See it with an ACTPass or purchase tickets today (206) 292-7676 • acttheatre.org

SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

Kuehner in character.

Open your heart to the healing energy of unconditional love.

ERIC PAGUIO

If you can’t see the Broadway original, a touring show is like the satisfying made-in-China knockoff of a famous designer brand. Thus the discount pleasure of Kinky Boots, which offers the style of a pair of (fake) Jimmy Choos coupled with the comfort of Uggs.

Winner of six Tony Awards, Kinky Boots only appears to be a subversive show. Based on the 2005 Brit-com (and some actual events), it follows the efforts of Charlie Price to save his struggling family shoe factory. He teams with drag queen Lola to revive the business by sating the neglected niche market for sturdy stilettos suitable for cross-dressers. Never mind the footwear or drag humor, this is an expertly crafted, mainstream show about accepting other people for who they are. No wonder it’s a Broadway smash, still propelled by the talents of director Jerry Mitchell, writer Harvey Fierstein, and songwriter Cyndi Lauper.

Lola is the flashy role here, yet Steven Booth’s depiction of demure Charlie demands as much attention as Kyle Taylor Parker’s pump-sporting Lola. And Joe Coots merits mention as the meat-headed bully Don, whose character undergoes a ponderous personal transformation.

This is a well-rehearsed ensemble—and also well-costumed, thanks to Gregg Barnes’ impeccably picked accessories—that delivers the big numbers with aplomb. The fashioneducation production number “Sex Is in the Heel” amusingly argues why flats are utterly unacceptable. Closing Act 1, the kinetic and crowd-pleasing “Everybody Say Yeah” has the company celebrate the first Kinky Boot prototype by dancing on conveyor belts à la OK Go’s video for “Here It Goes Again.” And the show’s feel-good finale, “Raise You Up/Just Be,” supplies more sparkle than a Merv Griffin TV show, while reminding millennials that before Lady Gaga, there was Lauper.

My evening’s performance was not without a few forgivable technical foibles, namely some failed microphones and other sound flaws. Thus, after the number “What a Woman Wants,” I was left wondering exactly what the answer was.

For the same price as a nice new pair of shoes at Nordstrom, a better value is a ticket to Kinky Boots—a show as classic as Chanel and as fun as Betsey Johnson. ALYSSA DYKSTERHOUSE

H A PPY H OUR

Both George Balanchine’s Apollo and Jody Kuehner’s Worth My Salt start with a birth and feature a trio of Greek muses/assistants—just one of myriad off-the-wall references in this new work featuring Kuehner’s stage persona Cherdonna Shinatra. The lanky, clownish Cherdonna and the Greek god both begin their lives as gawky, coltish newborns, then struggle for mastery of their physical selves and the worlds they grow into. But while Apollo finds himself through the discipline of neoclassical ballet, Cherdonna follows a more circuitous kinetic path—including snippets of Martha Graham in her high-priestess mode, Shelley Duvall as Olive Oyl in Popeye, and Goldie Hawn’s bikini-clad flower child from Laugh-In. Kuehner originally developed Cherdonna opposite Ricki Mason’s Lou Henry Hoover, creating a Mutt and Jeff pair: a tall and wobbly-voiced goof (Cherdonna) matched with a small, dapper host. In her first solo show, Cherdonna still has a knack for non-sequitur narration and over-the-top presentation—her makeup has shifted from drag queen to full-blown clown mask. Her wig (by Pakio Galore) looks like cotton candy styled in a wind tunnel. If possible, the physicality is even more random than in the past. Cherdonna resembles a marionette whose strings are attached to a cat’s tail, bobbing and weaving until she almost collapses, only to lurch off on another tangent. Corrie Befort’s stagefilling set, a box made of floral wallpaper, just barely contains her. You get the sense that without it she’d be wandering out onto the street.

PR OMO T ION S HEART CENTERED ENERGY WORK

© John Cornicello

MATTHEW MURPHY

Two to tango?

Booth and Parker.

WEEK LY

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(10/23) Jess Walter with Mary Ann Gwinn LitCrawl Seattle (10/23) Jaime Lerner Reshaping Cities, Block by Block TOWN HALL CIVICS SCIENCE ARTS & CULTURE COMMUNITY (10/24) LUCO presents Mozart, De Falla, & Respighi (10/24) Chris Guillebeau Finding Happiness in Life (10/25) OSL presents 25th Anniversary Gala featuring Beverly Graham (10/26) Simple Measures: Time Flies (10/26) Ian McAllister Preserving The Great Bear Rainforest (10/27) ParentMap presents Marsha Linehan and Laura Kastner Teen Extremes (10/27) Jim Dwyer Protecting Internet Privacy (10/28) Sustainable Path: Climate Change in the Northwest TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(10/28) Rick Steves WWW.TOWNHALLSEATTLE.ORG Israelis and Palestinians Today (10/29) University Book Store: Valerie Plame (10/30) Health Matters: The Human-Animal Health Connection (10/30) Seattle Radio Theatre LIVE Halloween Radio Play ‘A Walk in the Dark’

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

(10/31) Global Rhythms Los Texmaniacs with Flaco Jiménez

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(10/31) Earshot Jazz Festival: Chad McCullough’s Spin Quartet (11/1) EMG presents: Seattle Baroque Orchestra: ‘The American Dream’ with Matthias Maute (11/2) Seattle Festival Orchestra: Beethoven & Berlioz (11/2) Book Larder presents: Mario Batali (11/3) Seattle Arts & Lectures: Colm Tóibín The Irish Literary Renaissance

arts&culture» Performance Stage OPENINGS & EVENTS

BILL SHIVELY: A POET’S SENDOFF A memorial in honor

of the longtime director of Red Sky Poetry Theater. Spring Street Center, 1101 15th Ave., springstreetcenter.com.

4 p.m. Sat., Oct. 25.

BLOOD COUNTESS Kelleen Conway Blanchard’s play about Elizabeth Bathory and her unorthodox beauty regimen. Annex Theatre, 1100 E. Pike St., annextheatre.org. $5–$20. Opens Oct. 24. 8 p.m. Thurs.–Sat. plus Mon., Nov. 10. Ends Nov. 22.

DOGFIGHT SEE THE PICK LIST, PAGE 22.

BILL IRWIN An evening of performance and conversation with this master comedian, part of the Seattle Beckett Festival. Seattle Repertory Theatre, Seattle Center, brown papertickets.com.$10– $25. 7:30 p.m. Mon., Oct. 27.

MANIFESTO V. 4 Readings from new plays by Keri Healey, Trieu Tran, and others. Elliott Bay Book Company, 1521 10th Ave., raincityprojects.org. 2 p.m. Sat., Oct. 25.

NEIGHBORHOOD 3: REQUISITION OF DOOM In Jennifer Haley’s play, teens become addicted to a video game as the line between it and reality blurs. Cabaret Theatre, Hutchinson Hall, UW campus, uwuts.org. $5–$10.

Opens Oct. 23. 7:30 p.m. Wed.–Sun. Ends Nov. 2.

OR, THE WHALE A call-center employee shares Moby-Dick over the phone in this extrapolation of Melville. Stage One Theater, North Seattle College, 9600 College Way N., ponyworld.org. $16. Opens Oct. 23. 8 p.m. Thurs.–Sat. plus Mon., Nov. 3. Ends Nov. 15.

PAULA POUNDSTONE Known for her on-the-spot observational comedy. The Moore, 1932 Second Ave., 877-7844849, stgpresentsorg. $35. 8 p.m. Sat., Oct. 25.

SCREAM Ian Bell’s Brown Derby Series (“ridiculously staged readings of your favorite screenplays”) presents this meta-slasher cult fave. Re-bar, 1114 Howell St. $20.

8 p.m. Thurs., Oct. 23–Sat., Oct. 25.

THE SERVANT OF TWO MASTERS Double the pay and double the hijinks in Goldoni’s comedy, presented by SPT’s youth program. Bathhouse Theater on Green Lake, seattlepublictheater.org. Donation. 7 p.m. Fri., Oct. 24; 2 & 7 p.m. Sat., Oct. 25; 2 p.m. Sun., Oct. 26.

STORIES FOR BAD CHILDREN Cautionary tales from the Vox Fabuli Puppets and others. Richard Hugo House, 1634 11th Ave., voxfabuli.com. $15–$18. Opens Oct. 24. 8 p.m.

Fri.–Sat. Ends Nov. 1.

THIS IS HALLOWEEN Orkestar Zirconium and a few Circus Contraption alums are among the players in this burlesque revue. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $20–$40. Opens Oct. 23. 7 p.m. Tues.– Thurs. & Sun., 7:30 & 10:30 p.m. Fri.–Sat. Ends Nov. 1.

ZOMBIE CHEERLEADERS FROM HELL! The Heavenly Spies promise “a sinister evening of terrifying masks and gravity-defying hair.” The Can Can, 94 Pike St., heavenlyspies.com, thecancan.com. $20–$100. Opens Oct. 23. 7 & 9:30 p.m. Thurs.–Sat. Ends Nov. 1.

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CURRENT RUNS

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. 24.

BEAUTY AND THE BEAST Disney’s animated classicturned-hit musical. The Paramount, 911 Pine St., 877-STG4TIX, stgpresents.org. $25 and up. 7:30 p.m. Wed., Oct. 22–Thurs., Oct. 23; 8 p.m. Fri., Oct. 24; 2 & 8 p.m. Sat., Oct. 25; 1 & 6:30 p.m. Sun., Oct. 26.

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.

COLD EMPTY TERRIBLE A student-devised “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.

7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Oct. 26.

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.

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

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 impact-

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ful tempo and weight as guided by director Eric Ankrim.

GAVIN BORCHERT 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).

KINKY BOOTS SEE REVIEW, PAGE 23.

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.

NEW PLAY FESTIVAL A showcase of new work. PONCHO Theater, seattlerep.org, Seattle Center, 443-2222. $15. 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. 7, 8, & 9:30 p.m. Fri.–Sat. Ends Oct. 25.

THE ROCKY HORROR SHOW The camp musical that launched a thousand handfuls of rice. Renton Civic Theatre, 507 S. Third St., Renton, 425-226-5529, renton civictheatre.org. $20–$25. 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.

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. EXTENDED through Nov. 15.

TEATRO ZINZANNI: HACIENDA HOLIDAY TZZ’s new show keeps its dinner-cabaret formula fresh with acts that mash up entertainment skills in pairs: aerial plus dance en pointe by PNB alumna Ariana Lallone; trapeze plus contortion with Duo Rose; juggling plus the speed and aesthetic of thrash metal by Gamal David Garcia; and ballroom dance plus pole work by the astounding Vertical Tango. The storyline: Vivian Beaumount and Clifton Caswell (Christine Deaver and Kevin Kent) return to a swanky hotel to renew their vows. The mashing-up continues—by the end, as Beaumount and Caswell reconcile, they each adopt at least two sexes, maybe more. GAVIN BORCHERT Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni. com/seattle for exact schedule. Ends Jan. 31.

VANYA AND SONIA AND MASHA AND SPIKE

Chekhov and comedy don’t really go together—nothing aimed for belly laughs on the order of this 2012 farce by Christopher Durang, who gooses a Chekhovian situation: a pair of thwarted siblings still living in their dead parents’ house. Vanya (R. Hamilton Wright) and Sonia (Marianne Owen) are the shut-ins whose routine is disrupted by the arrival of sister Masha (Pamela Reed), an egotistical actress. Her trade allows Durang to send up both Chekhov and Hollywood. He laces his comedy with many lifts and themes from Chekhov (there are cherry trees, if not quite an orchard); and playfully considers the Russian playwright’s relevance to these modern-day neurotics.

BRIAN MILLER ACT Theatre, 700 Union St., 292-7676. $55 and up. Preview Oct. 22, opens Oct. 23. Runs Tues.–Sun; see acttheatre.org for exact schedule. Ends Nov. 16.

THE VAUDEVILLIANS Two song-and-dance artistes, touring Antarctica in the ’20s, get frozen in an avalanche for 90-some years. Jerick Hoffer and Richard Andriessen play chanteuse Kitty Witless and pianist Doctor Dan Von Dandy, who thaw out to find their numbers have, in the intervening decades, been plagiarized as pop hits. Hoffer in drag becomes a brassy belter with remarkable lungs and fabulous gams; I’d love to see him as Chicago’s Roxie Hart. 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. GAVIN BORCHERT Seattle Repertory Theatre, Seattle Center, 443-2222. $17–$67. 7:30 p.m. Wed.–Sun. plus some matinees; see seattlerep.org for exact schedule. Ends Nov. 2.

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Dance

OPPOSING FORCES SEE THE PICK LIST, PAGE 21.

• THE CHERDONNA SHOW: WORTH MY SALT SEE

REVIEW, PAGE 23.

• SOLEDAD BARRIO & NOCHE FLAMENCA are

reaching far beyond the standard flamenco presentation for this tour, turning instead to Sophocles’ Antigone for a dramatic framework that can stand up to the heightened theatricality of the dance form. The innate power of flamenco should be a wonderful match for Sophocles’ examination of honor and duty. SANDRA KURTZ Meany Hall, UW campus, 543-4880, uwworldseries.org. $47–$52.

8 p.m. Thurs., Oct. 23–Sat. Oct. 25.

HOME: LEANING ON A MOMENT LEFT BEHIND The life of dancer Kate Lounsbury is celebrated. Washington Hall, 153 14th Ave., deborahbirranedance.org. $10–$23.

7:30 p.m. Fri., Oct. 24–Sat., Oct. 25.

Classical, Etc.

SEATTLE OPERA SEE REVIEW, PAGE 21.

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.

SEATTLE SYMPHONY Free community concerts: Brahms and Tchaikovsky at Garfield High School, 400 23rd Ave., 7 p.m. Thurs., Oct. 23; Mendelssohn and Prokofiev at Roosevelt High School, 1410 N.E. 66th St., 7 p.m. Tues., Oct. 28. seattlesymphony.org.

LAKE UNION CIVIC ORCHESTRA Premiering PLU student Taylor Whatley’s Fanfare Giocoso alongside Falla, Mozart, and Respighi. Town Hall, 1119 Eighth Ave., 6524255, luco.org. $13–$18. 7:30 p.m. Fri., Oct. 24.

MARC SEALES & TOM COLLIER Jazz from this piano/ mallet duo. Meany Studio Theater, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. Fri., Oct. 24.

CAPPELLA ROMANA Sacred choral works from the Serbian Orthodox tradition. St. Joseph’s Parish, 732 18th Ave. E., 503-236-8202, cappellaromana.org. $22 and up.

8 p.m. Fri., Oct. 24.

SIMPLE MEASURES Celebrating 10 years of top-notch chamber music in informal places with Mendelssohn’s thrilling Octet, plus Bach, Piazzolla, and more. Mt. Baker Community Club, 2811 Mt. Rainier Dr. S., 7:30 p.m. Fri., Oct. 24; Town Hall, 1119 Eighth Ave., 2 p.m. Sun., Oct. 26. $15–$30. 853-5672, simplemeasures.org.

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. 8 p.m. Fri.–Sat. Ends Oct. 25.

SEATTLE SYMPHONY Bach and Handel with conductor Nicholas McGegan. (On Fri. and Sat., wine—$10 for four pours. Sun. is a one-hour “Untuxed” concert). Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony. org. 8 p.m. Fri., Oct. 24–Sat., Oct. 25, 2 p.m. Sun., Oct. 26.

SEATTLE SYMPHONY “Beethoven Lives Upstairs” is their family concert. Benaroya Hall, Third Ave. & Union St., 2154747, seattlesymphony.org. 11 a.m. Sat., Oct. 25.

SEATTLE PRO MUSICA “Nine NW” is a concert and community sing of new works by local composers. First Church Seattle, 180 Denny Way, 800-838-3006, seattle promusica.org. $15–$18. 7 p.m. Sat., Oct. 25.

NORTHWEST SYMPHONY Holst’s Planets (with high-def space images), plus Hovhaness and Wagner. Highline Performing Arts Center, 401 S. 152nd St., Burien, 800-8383006, northwestsymphonyorchestra.org. $12–$15. 7:30 p.m.

Sat., Oct. 25.

QUEEN CITY MUSICIANS Baroque vocal and chamber music from this new ensemble. Q Cafe, 3223 15th Ave. W., queencitymusicians. com. $22–$25. 7:30 p.m. Sat., Oct. 25.

PAUL KIKUCHI New chamber music from this Seattle composer. Chapel Performance Space, 4649 Sunnyside Ave. N., paulkikuchi.com. $5–$15. 8 p.m. Sat., Oct. 25.

UW WIND ENSEMBLE Music for small groups. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 1:30 p.m. Sun., Oct. 26.

MUSIC NORTHWEST Vocal chamber music from Northwest composers with Vox, Seattle Pro Musica’s small ensemble. First Lutheran Church of West Seattle, 4105 California Ave. S.W., musicnorthwest.org. $16–$18.

3 p.m. Sun., Oct. 26.

ONYX CHAMBER PLAYERS Haydn, Mendelssohn, and Brahms to open their season. First Church Seattle, 180 Denny Way, 800-8838-3006, onyxchamberplayers.com. $10–$25. 5 p.m. Sun., Oct. 26.

JONATHAN POWELL SEE THE PICK LIST, PAGE 22.

HEATWARMER This indie group performs, the guest of UW’s Center for Digital Arts and Experimental Media.

Meany Hall, UW campus, 543-4880, music.washington. edu. $12–$20. 7:30 p.m. Tues., Oct. 28.

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

GHOST GAME VIII: 13 WITCHES The Cabiri’s eighth

annual Halloween dessert cabaret presents tales of witchcraft and sorcery from ancient folklore and mythology via dance, aerial work, and acrobatics. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 800-8383006, cabiri.org. $30–$100. Preview Oct. 23, opens Oct. 24.

8 p.m. Fri.–Sat. Ends Nov. 1.

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

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» Visual Arts 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.

Openings & Events BEHIND THE TABLE Pike Place Market offers a chance

to meet local artisans, with live and silent auction of their crafts—jewelry, photography, ceramics, apparel, and more. Plus dinner from market vendors. Pike Place Market Atrium, 1433 First Ave, pikeplacemarket.org, $40. 6-10 p.m. Fri., Oct. 24.

JULIE BLACKMON AND HEIDI KIRKPATRICK Two photographers show their series side-by-side, one focusing on newly born humans and their growth, the other attempting to give new life to old found objects.

Opens Fri., Oct. 24. Reception and book signing 1 p.m.

Sat., Oct. 25. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Nov. 29.

CREEPY COMICS The motley local comics crew from The Intruder hosts a comics pop-up show and shop for Halloween (costumes encouraged). DJ Goo Goo and Bankie Phones will provide accompanying spooky jams. Cairo, 507 E. Mercer St., templeofcairo.com.

1-6 p.m. Sun., Oct. 26.

JOY GARNETT Being There is the first solo exhibition from the New York artist, whose paintings meditate on the modern state of the media. Opens Thurs., Oct. 23.

Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Nov. 29.

PILCHUCK ON DISPLAY A one-night exhibition featuring original glass work by more than 250 local and international artists. The Westin, 1900 Fifth Ave., 7281000, pilchuck.com. 6-8 p.m. Thurs., Oct. 23.

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JOHN ECONOMAKI AND BRIDGE CITY TOOL WORKS After suddenly developing a severe allergy to

wood dust, woodworker John Economaki had to shift his lifelong practice. He now makes tools for woodworkers—which this exhibit showcases. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5-$10. 11 a.m.-6 p.m. Tues.-Sun. Ends Feb 1.

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.

Bombsheller Art Labs, 424 Queen Anne Ave., bombshellerartlabs.com. Ends Nov. 10

M.C. ESCHER, TOMIYUKI SAKUTA, & TYNA ONTKO

Surrealism is the name of the game at Davidson this month—prints from the optical madman Escher will tessellate alongside Sakuta’s 100 portraits of bizarre faces and Ontko’s morhping, paper-cut installations.

Davidson Galleries, 313 Occidental Ave. S., 6247684, davidsongalleries.com. 10 a.m.-5:30 p.m. TuesSat. Ends Nov. 14.

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SEATTLE WEAVERS GUILD ANNUAL SHOW AND SALE Do you like tightly woven fibers? Does the word

“loom” make you swoon? Do you have an affection for warm, soft things? Well then, you are going to love all the locally made, handcrafted textiles and fiber art on display and up for sale at this weekend’s blanketfriendly blowout. St. Mark’s Cathedral, 1245 10th Ave. E. See swg-sale.com for hours. Thurs., Oct. 23-Sat., Oct. 25.

SUTTONBERESCULLER In conjunction with the trio’s current exhibition You knew it was wrong... but you did it anyway, SuttonBeresCuller will hold an artist talk on their work. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. Noon, Sat., Oct. 25.

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Ongoing

JAMES BROWN AND PAUL METIVIER No, this is not

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ZANETKA KRALOVA GAWRONSKI AND TONY DATTILO Gawronski shows her sculpture and paint-

ings alongside Dattilo’s woodwork and ink drawings.

Core Gallery, 117 Prefontaine Pl. S. (Tashiro Kaplan Building), 467-4444, coregallery.com. Noon-6 p.m.

Wed.-Sat. Ends Oct. 25.

YUMIKO GLOVER She shows brightly colored, manga-inspired paintings in Moe, Elements of the Floating World. Bryan Ohno Gallery, 521 S. Main St., 459-6857, bryanohno.com. 11 a.m.-5 p.m. Tues.-Sat. Ends Nov. 29.

ANN HAMILTON The famed artist has created new commissioned art for the Henry that she invites viewers to interact with through touch. Henry Art Gallery (UW campus), 543-2280, henryart.org. $6-$10. 11 a.m.-4 p.m. Weds., Sat. & Sun. 11 a.m.-4 p.m. Thurs. & Sat. Ends April 26.

HANDIEDAN AND SAIL These two artists both go by one name. Handiedan shows new collage work in Vesica Piscis. Sail creates narrative drawings in ink, collected in Canna Intrat. Roq La Rue Gallery, 532 First Ave. S., 374-8977, roqlarue.com. Ends Nov. 1.

•

GROUPS OF 10 OR MORE CALL (206) 315-8054 FOR SINGLE TICKETS CALL (877) 784-4849

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ANDREA JOYCE HEIMER AND JOE MAX EMMINGER Both of the artists wield a certain sto-

rybook sensibility in their acrylic work, which ranges from surreal images of people riding on animals to crude, metaphoric depictions of sex. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. 10:30 a.m.-5 p.m. Tues.-Sat. Ends Nov. 1.

KATY HORAN The spooky, folklore-loving illustrator shows her whimsical, ghost-filled drawings at this solo exhibition. Flatcolor Gallery, 77 S. Main St., 390-6537, flatcolor.com. Noon-6 p.m. Wed.-Sat. Ends Oct. 31.

AARON JASINSKI AND AUGIE PAGAN In Gods and Monsters, the artists deconstruct the concept of good and evil in pop culture. Ltd. Gallery, 501 E. Pine St., 457-2970, ltdartgallery.com. 11 a.m.- 7 p.m. Thurs.-Sat. Ends. Nov. 9.

KAMLA KAKARIA After an incapacitating surgery, Kakaria began incessantly observing the fish in her pond—this show collects the paisley paintings she made of the fish duing that period. Shift Gallery, 312 S. Washington St. (Tashiro Kaplan Building), shiftgallery.org. Noon-5 p.m. Fri.-Sat., Ends Oct. 24.

JAMES KEY AND CHRIS DUFALA Key displays his encaustic “landscapes” alongside Dufala’s sculptures. Both thier work critiques modern humanity’s relationship to technology and industry. Hall Spassov Gallery, 319 Third Ave. S., 223-0816, hallspassov.com. 11 a.m.-6 p.m. Tues.-Sat. Ends Oct. 31.

LINEAGE: UW FACULTY & STUDENTS This retrospective takes a look at the work of the heavy-hitting artists who have graduated from UW’s hallowed halls, including Chuck Close, Jacob Lawrence, Roger Shimomura, and Doris Chase. Seattle artREsource, 625 First Ave., 838-2695, seattleartresource.com.

10:30 a.m.-5 p.m. Tues.-Sat. Ends Nov. 22.

•

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

•

SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

a collection of work from the soul-singing legend. This particular James Brown trades in abstracted oil paintings on linen, while Metivier offers some terra cotta busts of various animals heads. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima.com. 10:30 a.m.5:30 p.m. Tues.-Sat. Ends Nov. 1.

ROMSON REGARDE BUSTILLO Long Stories features 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.

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 A dozen contemporary Indian artists are represented in this show organized by SAM and originating entirely from the private local collection of Sanjay Parthasarathy (a Microsoft millionaire) and wife Malini Balakrishnan. Scenes and icons from Mumbai to New Delhi are represented via photography and sculpture, from an all-native perspective. As tourists know, India is ridiculously photogenic, from its colorful idols and deities to the slums and beggars. It all depends on what you want to see. Photographer Dhruv Malhotra, for instance, takes large color images of people sleeping in public places—some because they’re poor, others because they simply feel like taking a nap. Nandini Valli Muthiah opts for more stage-managed scenes, posing a costumed actor as the blue-skinned Hindu god Krishna in contemporary

NOVEMBER 7 I 8 PM I THE PARAMOUNT THEATRE

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EXcLUSivE ENgAgEmENt StArtS FriDAY, octobEr 24 Q&As OPENING WEEKEND!

Seattle AMC Pacific Place 11 (888) AMC-4FUN

Practical Interfaith: How to Find Our Common Humanity as We Celebrate Diversity. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m. Wed., Oct. 22.

A. KA AND ZACHARY BONELLI Their two new fantasy novels are, respectively, The Autumn and Alterra.

University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., Oct. 22. local author considers his own family • ERIC LIUAThe history in Chinaman’s Chance: One Family’s Journey and the Chinese American Dream. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. 7 p.m.

Wed., Oct. 22.

GARTH NIX Clariel: The Lost Abhorsen is his new fantasy tome. University Book Store, Noon. Wed., Oct. 22. her new Pro: • KATHA POLLITT She’ll discuss Reclaiming Abortion Rights. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m.

Wed., Oct. 22.

LINDA CARROLL Her relationship guide is Love Cycles.

Third Place, 7 p.m. Thu., Oct. 23.

• NORMAN LEAR The legendary TV producer of Maude and All in the Family is also an unrepentant liberal activist. Now in his ninth decade, he relates his rich life (including WWII combat) in Even This I Get to Experience. University Temple United Methodist Church, 1415 N.E. 43rd St., 634-3400, bookstore. washington.edu. 7 p.m. Thu., Oct. 23.

JAIME LERNER His book Urban Acupuncture is about urban planning. Town Hall, $5. 7:30 p.m. Thu., Oct. 23.

EIMEAR MCBRIDE From Ireland, her debut novel is A Girl is a Half-Formed Thing. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Thu., Oct. 23.

JACQUELINE WEST She reads from Still Life: The Books of Elsewhere: Volume 5. University Book Store, 6 p.m.

Thu., Oct. 23.

DAVID HARTSOUGH His new memoir is Waging Peace: Global Adventures of a Lifelong Activist. University Temple United Methodist Church, 7 p.m. Fri., Oct. 24.

JODI PICOULT A mother goes missing in her Leaving Time. Seattle Central Library, 7 p.m. Fri., Oct. 24.

CORY DOCTOROW In UW Kane Hall, Room 130, he’ll discuss Information Doesn’t Want to be Free: Laws for the Internet Age. UW Campus, 7 p.m. Sat., Oct. 25.

SW’s senior film critic talks about • ROBERT HORTON his new book Frankenstein, about the history and cultural meaning of the famous 1931 horror movie, whose influence is felt to this day. Elliott Bay, 7 p.m.

Sat., Oct. 25.

BARBARA NATTERSON-HOROWITZ AND KATHRYN BOWERS They’ll discuss Zoobiquity: The Astonishing

Connection Between Human and Animal Health. Town Hall, $5. 7:30 p.m. Sat., Oct. 25.

• BOB ODENKIRK This comedy show from the reliably funny co-star of Breaking Bad includes a copy of his book, A Load of Hooey, with your ticket. Fremont Abbey, 4272 Fremont Ave. N., 414-8325, fremontabbey.org. $40. 8 p.m. Sat., Oct. 25.

The photographer shows images • IAN MCALLISTER from his Great Bear Wild: Dispatches from a Northern Rainforest. Town Hall, $5. 7:30 p.m. Sun., Oct. 26.

BRENDA PETERSON Her guide to memoir writing is Your Life Is a Book. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. 7 p.m. Sun., Oct. 26.

LINDA VIGEN PHILLIPS Crazy is her new novel detailing a mental health crisis. Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks.com. 3 p.m. Sun., Oct. 26.

P.C. CAST Redeemed is her new fantasy thriller. Third Place, 7 p.m. Mon., Oct. 27.

JIM DWYER He’s written More Awesome Than Money: Four Boys and Their Heroic Quest to Save Your Privacy from Facebook. Town Hall, $5. 7:30 p.m. Mon., Oct. 27.

The Republic of • AZAR NAFISI She’ll discuss her new. Seattle Central Imagination: America in Three Books Library, 7 p.m. Mon., Oct. 27.

She begins an Iowa-set trilogy with • JANE SMILEY her novel Some Luck. University Book Store, 6:30 p.m. Mon., Oct. 27.

WILLIAM GIBSON Advance book purchase required for this even with the sci-fi author of The Peripheral.

University Book Store, 7 p.m. Tues., Oct. 28.

BY B R IA N M I LLE R

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

•

» Film Father knows best?

Keaton and Stone.

OPENS FRI., OCT. 24 AT GUILD 45TH, PACIFIC PLACE, AND LINCOLN SQUARE. RATED R. 119 MINUTES.

OPENS FRI., OCT. 24 AT SUNDANCE CINEMAS AND OTHER THEATERS. RATED R. 108 MINUTES.

Thompson’s Sam stirs up trouble.

prowling around, looking for the newest breakdown. This, along with the lively—if not terribly fresh—showbiz satire keeps the film humming.

The movie’s subtitle, The Unexpected Virtue of Ignorance, hints at some of Iñárritu’s loftier tendencies. The director of Babel and 21 Grams has been guilty of a heavy touch in the past, and Birdman has a few such stumbles. But the result is truly fun to watch, and Keaton—the former Batman, of course—is a splendidly weathered, human presence. Ironically or not, he keeps the film grounded. ROBERT HORTON

PThe Blue Room OPENS FRI., OCT. 24 AT MERIDIAN AND VARSITY. NOT RATED. 75 MINUTES.

They don’t make movies like this anymore, a fact that director Mathieu Amalric immediately emphasizes with The Blue Room’s boxy old Academy ratio. Though set in the present-day French countryside, this crime tale operates according to very traditional conventions. It’s based on a 1963 mystery by the prolific Georges Simenon, who got his start in crime fiction during the 1920s.

Best known here for his Inspector Maigret mysteries, Simenon was a strict technician of plot and genre—those may be outdated notions today, but Amalric respects them scrupulously in this disquieting fat-free procedural.

We meet Julien (Amalric) during one of his regular hotel-room trysts with Esther (co-writer Stéphanie Cléau), also married, a biter in bed.

There’s something fierce and unbridled about her lovemaking—part of her appeal to Julien at first.

Later he’ll have cause to question that ferocity.

Scenes of their affair and its aftermath alternate unsparingly with Julien’s testimony to police, prosecutors, and lawyers. The Blue Room is all about withholding: Not until midway through do we learn who—apart from Julien—is alive, dead, or on trial for what crime. At home Julien’s got a lovely wife (Léa Drucker) and daughter whom he dragged back to his old village, where Esther and the other locals have cause to know him as something more than a successful tractor salesman. But again, that information is concealed, and Amalric carefully controls the slow drip of damning detail.

Amalric, of The Diving Bell and the Butterfly and Quantum of Solace, is blessed with one of those shifty, quick-eyed faces that makes it nearly impossible to trust Julien. He’s always calculating in what he says and reveals to Esther, his wife, and the authorities. Even if he’s completely

Justin Simien’s smart new college satire reminds you how lazy most American comedies are. In a very different Hollywood ecosystem, Netflix is paying Adam Sandler untold millions to produce four new doofus-coms. For the same price, Simien could create a dozen movies—and probably several TV series to boot. Moreover, they’d all be topical, engaged with the Twitter-lovin’ culture of today.

Dear White People forthrightly addresses race, though its antecedents and references range further back than the unhappy headlines from Missouri and Florida. Specifically, it feels like a follow-up—though not a rebuttal—to Spike Lee’s School Daze, made a generation ago. And like Lee, though with a lighter comic touch, Simien is interested in the stereotypes that black and mixed-race kids apply to themselves.

If anything, after YouTube and the Internet and smartphones and all the other mixed blessings inflicted on our youth since 1988, conformity and peer pressure have been amplified tenfold.

The movie’s title comes from the provocative campus radio show hosted by Sam (Tessa Thompson), who calls out all races for their shallow assumptions. Troy (Brandon P. Bell) is the seemingly perfect high achiever, son of a dean (Dennis Haysbert) and dating a white sorority girl. Coco (Teyonah Parris) is a savvy, sexy social-media queen, willing to play any role for the sake of fame. And new on campus is nappy-haired nerd Lionel (Tyler James Williams, from the TV show Every-

to relieve the stress of his Chosen One status.

After a hook-up, Coco shows the hollowedout sadness behind her ambition. Nobody is who they seem to be—including Lionel, whose gay editor is suddenly coming on to him, perhaps with good reason.

In his debut feature, Simien stuffs the plot with rather more stock elements than needed (a venal dean, racist frats, even a reality TV show come to mint/exploit new stars). But as with his characters, everything typical here gets comically upended. When he shows the Winchester University motto, “Nosce Te Ipsum,” Simien leaves the Latin untranslated: Know thyself. If only it were so easy. BRIAN MILLER

John Wick OPENS FRI., OCT. 24 AT THORNTON PLACE AND OTHER THEATERS. RATED R. 96 MINUTES.

In the title role of John Wick, Keanu Reeves plays the sort of cool, silent assassin who has only a few dozen lines. He’s a slick, lethal hit man; why should he talk much? And yet you wish he’d shut up already. This movie needs only a simple setup to function, but there’s John Wick, handcuffed to a chair and telling the bad guys why he’s doing what he’s doing.

We get it, man. Now why can’t you be as terse as Ryan Gosling in Drive?

The simple setup goes like this: Wick’s been out of the assassin game for five years, living a normal life for a while. His wife dies of illness,

SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

Even if it doesn’t live up to its festival reviews or its crazy possibilities, Birdman serves so many heady moments it qualifies as a bona fide happening. The movie begins quietly enough—an actor meditates in his dressing room before a stage rehearsal—but there’s a curveball. The actor is floating in mid-air.

No mention is made of this, nor of the other apparently telekinetic powers that belong to Riggan Thomson (Michael Keaton). A movie star in a career skid since he stopped playing a masked superhero named Birdman back in the ’90s, Thomson is preparing his big comeback. Unless it kills him first. He’s in the St. James Theater on Broadway for the final rehearsals on his own adaptation of the work of Raymond Carver. As his producer (Zach Galifianakis) keeps reminding him, Riggan’s own money is on the line, and so is whatever’s left of his reputation.

Obstacles abound: Riggan’s co-star (Andrea Riseborough, from Oblivion) announces she’s pregnant with his child; his grown daughter (Emma Stone) is his assistant, and not his biggest fan; a New York Times critic (Lindsay Duncan) plans to destroy the play and the habit of Hollywood people ruining Broadway. And, in the movie’s funniest headache, Riggan must endure a popular but insufferable stage actor (Edward Norton)—currently involved with the play’s other actress (Naomi Watts)—who’s full of pompous ideas about keeping it real. Speaking as someone who has always found Norton a faintly self-righteous screen personality, I can only say that the actor has found his ideal role. (Seriously, he’s great in it.)

This is all going on while Riggan maintains a tenuous hold on his own sanity—he hears Birdman’s voice in his head, for one thing.

To create Riggan’s world, director Alejandro González Iñárritu and Gravity cinematographer Emmanuel Lubezki present the film as a continuous unbroken shot (disguised with artful digital seams). At times we understand that a day or so has passed, but the camera just keeps

PDear White People

body Hates Chris), trying to navigate his way among cliques and not-so-coded expectations of What It Means to Be Black. (He’s also a covert note-taker, reporting a big exposé for the campus paper.)

While Sam and Troy are vying in some student-body election, and as a privileged white frat prepares for a bad-taste bacchanal, the real fun lies in the witty background chatter, grace notes, and text messages that undercut everyone’s public identity. To her white b.f. on the D.L., Sam confesses her Cosby Show nightmare—“The hair so perfect, the sweaters so big.” And though she praises Spike Lee, her secret favorite director is Ingmar Bergman. The shame! Meanwhile the Obama-smooth Troy reveals himself to be a closet toker, needing

ASHLEY NGUYEN

PBirdman

ALISON ROSA/FOX SEARCHLIGHT

Opening ThisWeek

innocent, Amalric plays him as if guilty. (Would you buy a tractor from this guy? Not very likely.)

I’d hesitate to call The Blue Room a wrong-man thriller in the classic Hollywood sense, and Amalric leaves the ending open for you to judge Julien’s final culpability. Outside the courtroom, the swarming media have branded him a monster, which gives The Blue Room a certain kinship with Gone Girl. Unlike Ben Affleck’s befuddled adulterer Nick, Julien seems like too smart a guy to have ended up in such a mess. But he chose the wrong woman, Esther, and that stupidity may be the real crime here. BRIAN MILLER

» CONTINUED ON PAGE 28 27

arts&culture» Film » FROM PAGE 27

“darinG, devastatinG, howlinGly funny.’’

-peter travers, rollinG stone

“Grand, spectacular,

s t a r - p o w e r e d c i n e m a.”

‘‘a triumph on every creative level.’’

-peter debruGe, variety

‘‘michael

Keaton soars

in alejandro G. iñárritu’s brilliantly directed darK comedy.”

-todd mccarthy, the hollywood reporter

‘‘a p h e n o m e n a l f i l m.

the entire cast is outstandinG.’’

28

More Moss, please.

ROBERT HORTON

ALL.BDM.1022.SW

WED 10/22 2 COL. (4.83") X 10.5"

MR

leaving behind a surprise puppy to console her husband. After the hothead son (Alfie Allen of Game of Thrones) of a Russian gangster (Michael Nyqvist) steals Wick’s car and kills the dog, merciless revenge is guaranteed. Wick’s rep is so badass that when the villains hear he’s been wronged, they all but commit hara-kiri on the spot; he’s the Michael Jordan of hit men, and it’s really just a matter of time (and 50 or so bodies) before he removes the Russian mob from the picture. As the movie presents it, Wick is actually pretty lucky his opponents are such bad shots—but at a certain point, you don’t apply real-world standards to a movie like this. This is a cartoon in which the brotherhood of assassins doesn’t just have its unspoken code (although everybody keeps speaking it—see above), it also has its own Manhattan hotel, a discreet place where Wick is welcomed as an old pal.

If you can put up with the constant gunfire and the aggressive score, John Wick offers ridiculous but satisfying action. Nyqvist, the star of the Swedish Girl With the Dragon Tattoo trilogy, brings a little twinkle to the otherwise stock Russian villain, and Willem Dafoe, Adrianne Palicki, and Ian McShane are fun condiments on the underworld smorgasbord. Reeves does his usual thing, striding through the mayhem in good-looking suits and patchy beard. Once the dog is dead, his motivation is locked in. And if you wonder whether a dog killing is sufficient justification for John Wick’s huge body count, you obviously haven’t been with a movie audience lately. The dog is adorable. Let the bullets fly.

SEATTLE WEEKLY - 4-COLOR

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

-jessica KianG, indiewire.com

TRIBECA FILM

-robbie collin, the teleGraph

Listen Up Philip OPENS FRI., OCT. 24 AT SUNDANCE CINEMAS. NOT RATED. 108 MINUTES.

Bellevue

eXclusive enGaGements Cinemark Lincoln Square Cinemas start friday, october 24 (800) FANDANGO #2172

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Anyone who had trouble putting up with Ben Stiller’s abrasive title character in Greenberg might pause before entering the world of one Philip Lewis Friedman. A bearded New York novelist whose second book is about to be published, Philip is self-centered, vindictive, and—worst of all—articulate. He’s played by Jason Schwartzman, an actor unafraid of letting his least appealing qualities hang out. Schwartzman understands how to throw himself into this kind of egotist; we can enjoy the actor’s skill even as we’re being repelled by the character. In Listen Up Philip,

this guy is meant to be a throwback to a certain kind of ’70s antihero (the movie’s got the grainy look of the era), as well as the kind of literary character that might have sprung from the pages of Philip Roth. Having said that, he’s still a jerk.

Writer/director Alex Ross Perry (The Color Wheel ) hedges his bets, letting Philip slide offscreen for most of the middle section of the film. There we concentrate on Philip’s live-in girlfriend Ashley, who’s probably been paying the rent with the money from her photography business. She is played by Elizabeth Moss, the increasingly essential actress from Mad Men and The One I Love, and her character is so much warmer than Philip that it’s a relief to watch her, even in the mundane business of picking out a new cat. Philip’s been taken under the wing of a famous writer ( Jonathan Pryce), who brings his protégé to his upstate cabin and gets him a teaching job in the vicinity. Philip encounters other women—the well-cast group includes Krysten Ritter, Joséphine de La Baume, and Dree Hemingway—but his erotic inclinations are frequently blocked by his sour disposition and his need to prove women wrong.

The way Perry spreads his attention across these characters is shrewd, because we probably couldn’t stay in Philip’s unpleasant cauldron for 108 minutes. Still, it’s not always easy to tell how much Perry is in control of Listen Up Philip—the way he keeps his actors in close-up suggests he’s searching for the key to each scene. A narrator, Eric Bogosian, gives the whole thing a fittingly literary feel. It might not add up to a complete package, but at least the movie delivers some smarts, as well as one very brave performance.

ROBERT HORTON

Stonehearst Asylum OPENS FRI., OCT. 24 AT SOUTHCENTER. RATED PG-13. 112 MINUTES.

There may be no ideal time to wander into the halls of a remote Victorian-era home for the mentally impaired, but the waning days of December 1899 appear especially unfortunate.

Nevertheless, a young doctor named Edward Newgate ( Jim Sturgess, from Cloud Atlas) arrives at Stonehearst Asylum just in time for Christmas dinner—because of austerity measures, the menu this evening includes roast squirrel. Almost the entirety of Stonehearst Asylum unfolds inside the place, so we have plenty of time to consider

the dismal setting and the wretched circumstances of the inhabitants. Still, Newgate is taken under the wing of the hospital’s director, Dr. Lamb (Ben Kingsley), an intense sort who seems open to new ways of treating his patients. Another bright spot is a patient, Mrs. Eliza Graves (Kate Beckinsale), imprisoned here for reasons that would hardly be considered insane in another era: She’s been abused by her husband and rendered sensitive to touch.

If this movie doesn’t have too many actual surprises in store, it at least benefits from a certain novelty factor—who makes period horror features based on Edgar Allan Poe stories anymore? That alone buys Stonehearst some goodwill, even if its initial intrigue gives way to pedestrian storytelling of the “Why didn’t he just do this?” variety. Director Brad Anderson, whose curious career has often veered into the twilight zone (The Machinist, Transsiberian), goes all in with the shadowy corners and steampunk devices. It follows that there is a dungeon below the asylum; and yes, it does hold secrets.

Other than the old reliable topic of whether the patients are saner than the doctors, Stonehearst Asylum is content to rely on its atmosphere, actors, and a couple of gimmicks to get by. The deadly earnestness of Sturgess and Beckinsale means we have to look around for more extravagant turns, including David Thewlis as a creepy handyman, Sophie Kennedy Clark (from Nymphomaniac) as a lovestruck nurse, and Michael Caine and Sinéad Cusack as voices of reason.

And Kingsley, of course, whose temperature is always on the boil—you really can imagine his character scuttling around a Poe story. Even for genre fans, though, the action here will feel hackneyed. Nothing wrong with being old-fashioned, but few movies can recover from stodginess.

ROBERT HORTON

Swim Little Fish Swim RUNS FRI., OCT. 24–THURS., OCT. 30 AT NORTHWEST FILM FORUM. NOT RATED. 95 MINUTES.

Scott MendelSon, ForbeS

The Tale of Princess Kaguya OPENS FRI., OCT. 24 AT HARVARD EXIT. RATED PG. 137 MINUTES.

A staple of Japanese folklore for 10 centuries, Princess Kaguya is now an anime eight years in the making from Isao Takahata, the 78-yearold co-founder (with Hayao Miyazaki) of Studio Ghibli. So there’s a lot of national and industrial history built into this rather lumbering, reverent tale. Frame by frame, it’s never less than lovely to look at. However, whether considered as storybook pages or animation cels, you want this ossified undertaking to flip faster—which Takahata (My Neighbors the Yamadas), in likely his last movie, simply refuses to do. It takes its time, and then some.

Kaguya is a foundling, that favorite orphan figure of folklore and the Bible. A poor bamboo cutter and his wife raise the girl, discovered inside a glowing bamboo stalk, who rapidly and unnaturally grows from doll-size to babbling cherub to teenage beauty in a few short seasons. Takahata’s main theme—I won’t speak for the source tale—is the innocence of Kaguya’s childhood in the hills versus the palace intrigue that awaits in the city.

Childhood is clearly the preferred milieu. All Studio Ghibli products are smotheringly nostalgic, pre-industrial, and pre-Western, and Princess Kaguya is no exception. From bobble-headed infant to woodland sprite, Kaguya and her vil-

» CONTINUED ON PAGE 31

i n t h e at e r s O c t O b e r 2 4

SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

Some movies are an argument against making movies; some marriages are an argument against having kids; and this addled New York indie neatly manages both feats at the same time.

French filmmakers Lola Bessis and Ruben Amar shot their debut feature mostly in English, with Bessis playing 19-year-old Lilas, a sexy couch surfer and aspiring artist who gently disrupts the fraying marriage of Mary and Leeward (Brooke Bloom and Dustin Guy Defa). The latter couple have a cute 3-year-old daughter and a Chinatown apartment overrun with hipster pals, precious little talent evident among them. Mary is meanwhile a nurse hoping to buy a house in

“One Of the best actiOn films Of the year!”

UNDER THE MILKY WAY

Olivia Costello plays the adorable daughter.

Jersey, growing ever more impatient with her musician husband’s anti-capitalist/slacker rhetoric. (He specializes in the genre of twee toy piano rock, but refuses to make demos, because this is the kind of movie where musicians won’t publicize their own art.)

Bessis and Amar show a great deal of affection toward New York, and for movies shot in New York during an earlier era (think: Something Wild), which is far greater than their enthusiasm about the hard, dull business of screenwriting. The marital conflict is rote, Leeward’s suburban Jewish family is dangerously close to stereotype, and Lilas’ mommy issues toward her famous artist mother (Anne Consigny) are clumsily sketched. There’s a generosity of spirit here, embodied by Leeward (also called Benjamin), who seems to befriend everyone he meets; yet none of those new characters add any impetus to the paltry plot.

Even as Lilas’ uncertain art-making gradually assumes more importance (she’s a filmmaker, natch), Little Fish unintentionally sides you with the practical-minded Mary and her worried in-laws, not the flighty bohemians. “I’m too old to have all these roommates!” wails Mary, who’s trying to scrape together the down payment for a mortgage. Of course Lilas, with her looks and wealthy mother, can’t comprehend such desperation. Give her 10 years, add some wrinkles, and take away her money—then this naïve young artist might understand. New York has a way of doing that to people. BRIAN MILLER

29

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arts&culture» Film » FROM PAGE 29

lage pals cavort through idyllic seasonal tableaux.

The backgrounds are generally static, like delicate sumi drawings, while the actual animation is kept to a minimum. The kids move trough the groves, smudgy shadows pass overhead, and the boughs gently drop their blossoms. Time barely figures, even as Kaguya prodigiously sprouts.

The court rituals of the city—made possible by the bamboo cutter’s continued magical bounty— are treated more for comedy. Being groomed for an aristocratic match, Kaguya protests her plucked eyebrows and blackened teeth. When five silly suitors come calling, she stalls for time by assigning them the most impossible tasks imaginable. Perhaps because of her accelerated childhood, she—along with Takahata’s animators—yearns for the playful forest, so free from civilized protocols. When the emperor comes courting, however, his is an offer she can’t refuse.

If Kaguya has a hearty village swain (Sutemaru) who loves her most, and most intrepidly, this isn’t the sort of cartoon where a happy ending might be monetized into a Broadway musical. No Ariel or Merida, she owes a fateful celestial debt that Takahata fails to translate for us.

BRIAN MILLER

White Bird in a Blizzard

Faster than you can say Young Adult novel, director Gregg Araki dives into a doomy ’80s wallow, the soundtrack throbbing with The Cure and This Mortal Coil. Adapting a book by Laura Kasischke, superficially a missing mommy mystery, he’s mainly concerned with the hormonal upheaval of 17-year-old Kat (Shailene Woodley of Divergent and The Descendants), who wears her Kate Bush T-shirts with mopey pride. Kat narrates

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her tale to us via therapy sessions (cue Angela Bassett, notebook in hand) and a few visits with the cop on the case (the bemulleted Thomas Jane), a more virile alternative to her dim-bulb boyfriend (who’s curiously averse to sex with her . . . hmmm).

Araki made his bones as a purveyor of New Queer Cinema (The Living End, The Doom Generation); he’s not a crime specialist, so it’s the repression and melodrama in Kat’s family that he savors. A drunk and sexually frustrated housewife before she disappears, Eve (Penny Dreadful’s Eva Green) despises her pea-green crockpots and Swanson-TV-dinner suburbia, but reserves special venom for her limp husband. His mustache drooping with defeat and humiliation, Brock (Christopher Meloni) is reduced to spanking off in the basement rec room. (Here special note must be made of the splendidly sad wood-panel and throw-rug decor, hand tools carefully aligned on a peg board, the set perfectly dressed for despair—or a Terry Richardson photo shoot.) Neither parent has any time or interest in Kat, though Eve does make a play for her boyfriend (who again seems curiously uninterested . . . hmmm).

Araki’s high-key lighting and saturated colors nod to Douglas Sirk (and Todd Haynes), and he even flashes back to Kat’s ’70s girlhood, giving Green a chance to rock some excellent polyester pantsuits in an eye-searing shade of fuchsia. Unlike most YA novels these days, where the fate of the world hinges on teen angst, no one here seems too terribly concerned about Eve’s fate. Eventually Kat goes off to college, where she majors in Depeche Mode. Three years later, mother almost forgotten, the mystery is solved—or told, really—as if Araki had forgotten about that plot driver, too. Mainly he understands in White Bird that for teenagers, no pleasure compares to hating your parents (not even hot, hairy detective sex).

Oh, what about the blizzard? Kat has snowy dreams, you see, regarding her lost mother (who was emotionally frozen!! Get it?!?). Gabourey Sidibe does supply a little warmth as one of Kat’s besties, and the movie may send you looking for those dusty old Siouxsie Sioux albums in the attic.

(If nothing else, Araki will count himself well contented with that.) And Twin Peaks fans take heart: Sheryl Lee makes a late-film appearance, so she’s ready for season three. BRIAN MILLER E

g all Playin KS W SEAHAMNF and es!

Gam

GKIDS

Kaguya and Sutemaru, back in the village.

31

arts&culture» Film Local & Repertory horror • ALL MONSTERS ATTACK! The GI’s annualSexcula

fest continues with the 1974 Canadian porno (Sat.), The Manitou (Thurs.), the excellent Swedish vampire movie Let The Right One In (Sat.-Thurs.), and a Scarecrow Video-curated program called “The VCR That Dripped Blood” (Sat.), among other frightful sights. See website for full schedule of terror! (NR) Grand Illusion, 1403 N.E. 50th St., 523-3935, grand illusioncinema.org. $5–$8. Ends Oct. 31.

AWAKE: THE LIFE OF YOGANANDA Deepak Chopra, George Harrison, and Russell Simmons are among those offering testimonials to Paramahamsa Yogananda (1893-1952) in this new documentary. (NR) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff. net. $7-$12. Fri.-Thurs.

CHILDREN OF MEN Alfonso Cuarón’s great 2006 apocalyptic fable of a barren planet is screened, featuring the amazing long-take camerawork of Emmanuel Lubezki (presently on view in Birdman). Note, however, that this is an all-day seminar on the film, taught by Seattle U professor Georg Koszulinski. (NR) SIFF Film Center (Seattle Center), 324-9996, siff.net. $19-$20 11 a.m. Sat. EARSHOT JAZZ FILMS As a sidebar to the 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 other notable titles for music lovers. (NR) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum. org. $6-$12. Ends Oct. 25.

FRENCH CINEMA NOW Ten titles are screened during this weeklong fest. Notable movies include Two Days, One Night, from the Dardenne brothers (starring Marion Cotillard); Youth, a somewhat autobiographical tale from the daughter of Louis Malle, Justine Malle; and the satirical Jacky in the Kingdom of Women, which features Michel Hazanavicius in an acting role.

The latter director will visit Seattle for the fest, accompanied by his wife, Bérénice Bejo, who starred in Hazanavicius’ Oscar-winning The Artist. She appears this week in the historical drama The Last Diamond.

Gala party opens the festival. See siff.net for full schedule and details. (NR) SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996. $7-$12. Thurs.-Thurs.

THE GHOSTS IN OUR MACHINE Discussion follows this documentary about animal rights. (NR) Keystone Church, 5019 Keystone Pl. N., 632-6021, meaningfulmovies.org. Free. 7 p.m. Fri. IRISH REELS FILM FESTIVAL See irishreels.org for the schedule to this weekend festival, which features a documentary about labor organizing (Inez: A Challenging Woman), a drama about an unlikely connection between Ireland and South Africa (The Good Man), and a comedy with a self-explanatory title: Bachelor Weekend. Parties and musical events are also on the schedule. (NR) SIFF Film Center, $8-$15.

Fri.-Sun. LIVE BY NIGHT A baby selling racket and forced suicide figure in Abandoned (1949), a little-seen noir from the postwar era. Look for Raymond Burr as a villain. (NR) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series. $8 individual.

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

LOVE IS STRANGE Meet Ben (John Lithgow) and George (Alfred Molina), whose cohabitation stretches back long before same-sex marriage was a realistic goal. Their new legal bond means that music teacher George is fired by the Catholic school where he has long worked—everybody there likes him, but they have to obey their bylaws. Manhattan is sufficiently expensive that Ben and George have to give up their place, and financial complications dictate a few months of couch-surfing before they can settle. George moves in with tiresomely younger, hard-partying friends; Ben takes a bunk bed in the home of relatives (Marisa Tomei and Darren E. Burrows), who already have their hands full with an awkward teen son. It’s one of those sad situations in which everybody generally means well, but things just aren’t working out. Yet director Ira Sachs (Keep the Lights On), who has charted an intriguing course for himself through the indie world, is confident enough to leave out the expected big scenes and allow us to fill in the blanks. The movie’s about a great deal more than gay marriage, if it is about that.

It’s about how nobody has any time anymore; and how great cities have priced ordinary people out of living in them; and how long-nurtured dreams have to be gently refocused. True to Sachs’ style, the movie isn’t designed as an actor’s showcase. We’re not supposed to notice the acting here—just the people. (R) ROBERT HORTON SIFF Film Center (Seattle Center), 324-9996, siff.net. $7-$12. 7 p.m. Mon.

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•

MIDNIGHT ADRENALINE Screening on Friday is Sam

Raimi’s 1987 Evil Dead II: Dead by Dawn, with Bruce Campbell. Following on Saturday is 2012’s The Cabin in the Woods, with a script cowritten by Joss Whedon that makes several nods to the Evil Dead franchise. (R) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff. net. $7–$12. 11:55 p.m. Fri. & Sat. POLTERGEIST From 1982, back before the Internet, The Ring, or most people had cable, Tobe Hooper’s creepy suburban fright flick had ghosts invade the home via plain old television set. (PG) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6-$8. 7 p.m. Fri.-Wed. SOUND & CHAOS: THE STORY OF BC STUDIOS The endangered Brooklyn recording studio of Martin Bisi is the subject of this new doc. There’s live music before and after the screening, with Bisi on hand to field your questions. (NR) Grand Illusion, $7-$15. 7 p.m. Fri. THEY LIVE! In John Carpenter’s 1988 satire, aliens have taken over the planet and conspired with yuppies to keep the working man—championed by wrestler Roddy Piper—in his place. Mind control is achieved through coded TV and advertising that Piper can discern, along with the aliens, thanks to magical eyeglasses. But it’s also the economic structure that has him living in a crowded Hooverville. And the film’s bleak end, like that of Carpenter’s The Thing, implies the system will prevail. (R) BRIAN MILLER Central Cinema, $6-$8. 9:30 p.m. Fri.-Wed. WALKABOUT Nicolas Roeg’s 1971 tale of white Australians and their aboriginal guide (the great David Gulpilil, now an Aussie film legend) is always worth watching. Discussion with psychologist Michael Brein follows. (R) SIFF Film Center, $7-$12. 7 p.m. Tues.

•

Ongoing

THE BEST OF ME 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, source novelist Nicholas 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. Amanda and Dawson spend part of the story as adults, the other part as teenagers, so the movie flips back and forth between two sets of actors: Michelle Monaghan and Liana Liberato split time as the high-bred Amanda; and James Marsden and Luke Bracey play dirt-poor Dawson. Amid the deep-fried melodrama, Monaghan and Marsden 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. (PG-13) R.H. Sundance, Kirkland Parkplace, Pacific Place, Lincoln Square, Cinebarre, others BOYHOOD Richard Linklater’s Boyhood was shot in the director’s native Texas in short bursts over a 12-year period—Linklater knew the shape of the film, but would tweak its script as time marched on, incorporating topical issues and reacting to his performers.

This means that unlike most movies, which remake the world and impose an order on it, Boyhood reacts to the world. Protagonist Mason (Ellar Coltrane), tracked from first grade to high-school graduation, is learning that life does not fit into the pleasing rise and fall of a threeact structure, but is doled out in unpredictable fits and starts. Linklater doesn’t reject melodrama so much as politely declines it, opting instead for little grace notes and revealing encounters. Patricia Arquette and Ethan Hawke are terrific as the parents, and Linklater’s daughter Lorelei is distinctive as Mason’s older sister.

(R) R.H. SIFF Cinema Uptown FURY In David Ayer’s proudly old-fashioned WWII drama, 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 Bible-thumper, Michael Peña the steadfast Mexican-American, 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. Fury covers 24 hours in April 1945, as Allied forces roll through Germany in the war’s endgame. Collier’s most lethal enemies are the few remaining Tiger tanks, much better armored than our flimsy Shermans. 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

•

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a Clifford Odets play with a Culture • PRIDE In essencePride is based on a true story in ’80s

Club soundtrack, 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 ST. VINCENT Bill Murray is pretty much the sole draw for the movie, and given his unique screen presence, it’s something. St. Vincent is 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 Brooklyn misanthrope is Vincent, who reluctantly agrees to babysit the 12-year-old son (Jaeden Lieberher) of his new nextdoor neighbor (Melissa McCarthy). This will take time away from drinking, gambling at the racetrack, or visiting his Russian prostitute (Naomi Watts). 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. But do stick around for the end credits, when Murray sings along to Bob Dylan’s “Shelter From the Storm.” It’s the movie’s one great sequence. (PG13) R.H. Seven Gables, Meridian, Lincoln Square, Kirkland, Majestic Bay, others 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 potential. A failed actor, Milo returns home to New Jersey, where Maggie’s a dental hygienist married to a doofus (Luke Wilson). 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, Sundance, Ark Lodge 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. Hossein Amini’s movie does nicely with the concept of a sunlit noir, though it doesn’t actually generate a lot of heat. For all that, I enjoyed the movie anyway. (PG-13) R.H. Varsity

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SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

is my home.” (German troops say the same thing during the finale—not that it saves them; Nazis die by the score.) Ayer creates a strange, overlong interlude at Fury’s midpoint, as two German women host Collier and Ellison, though this is hardly a date movie. In an otherwise predictable, patriotic flick, here Collier seems to yearn for a calm, cultured oasis amid the chaos of war. (R) B.R.M. Sundance, Pacific Place, Cinebarre, Bainbridge, Thornton Place, Lincoln Square, Kirkland, Ark Lodge, others 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. (R) B.R.M. SIFF Cinema Uptown, Sundance, Bainbridge, Ark Lodge, Kirkland, Cinebarre, Majestic Bay, others 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 (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. (R) R.H. Sundance, Kirkland, 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. The 10-yearold link seems incredible, but Webb finds sources in prison, Managua, and even Washington, D.C. 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. 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, Pacific Place, Oak Tree, Lincoln Square, others MEN, WOMEN & CHILDREN 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. If parents only knew what was on their teens’ phones and computers, they’d be shocked; and this is the kind of literal-minded movie, based on Chad Kultgen’s novel, that will inevitably bring them to that revelation. 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 Tim (Ansel Elgort), now a pariah for quitting the football team. Among the large cast, there’s also a meangirl 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. The various suburban pathologies here also extend to teen pregnancy, parental adultery, and suicide attempts. 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. (R) B.R.M. Sundance, Meridian, Thornton Place, others

LET THE RIGHT ONE IN

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arts&culture» Music

Forever Pink dinner & show

The Psychedelic Furs are indelibly linked to a 1980’s teen classic.

mainstage

BY DAVE LAKE

THU/OCTOBER 23 - SAT/NOVEMBER 1 • TIMES VARY CAN CAN PRESENTS THE 8TH ANNUAL HALLOWEEN SPOOKTACULAR

this is halloween!

SUN/NOVEMBER 2 • 7PM & 9:30PM EARSHOT JAZZ FESTIVAL PRESENTS

true blues: corey harris and alvin youngblood hart seattle women’s jazz orchestra w/ grace kelly WED/NOVEMBER 5 • 7:30PM

emily asher’s garden party THU/NOVEMBER 6 • 7:30PM

bill carter w/ baby gramps FRI/NOVEMBER 7 & SAT/NOVEMBER 8 • 8PM

over the rhine acoustic duo SUN/OCTOBER 9 • 7:30PM

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

adrian belew power trio

34

w/ saul zonana

next • 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 • 11/15 hypnotikon two w/ rain parade, master musicians of bukkake, tjutjuna, residual echoes • 11/16 martin hayes and dennis cahill

happy hour every day • 10/22 aarun & jonathan • 10/23 bakelite 78 • 10/24 ranger and the re-arrangers / cody rentas band • 10/25 sam marshall trio • 10/26 hwy 99 blues presents: randy norris and the full degree • 10/27 crossrhythm sessions • 10/28 max holmberg trio • 10/29 paul benoit trio 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

MAGGIE BUTLER

TUE/NOVEMBER 4 • 7:30PM - EARSHOT JAZZ FESTIVAL PRESENTS

I

The Psychedelic Furs, post-Ringwald.

t is both a blessing and a curse that Engwithout the song’s appearance. “It was such a lish rock band the Psychedelic Furs are good thing for us,” the band’s James Mercer tethered to the 1986 Molly Ringwald film told LEO Weekly earlier this year. “It’s somePretty in Pink. On one hand, the enduring thing that will be always there, and I mean, in teenage classic bears the name of a song the band 20 years, I guarantee you my children aren’t wrote and birthed an equally classic soundtrack, going to be complaining about it.” one of Rolling Stone’s greatest of all time.

Yet Pretty in Pink’s success found the Furs racing On the other, the association obscures the fact to release a follow-up album, Midnight to Midnight. that the Furs might have been the ultimate new It got a lukewarm response from fans who were wave band. The group, which brothers Richard already miffed at the band for having re-recorded and Tim Butler formed in the late ’70s, had punk “Pretty in Pink” for the film (it had debuted on roots but also a solid mastery of the pop hook; the 1981 release Talk Talk Talk). By 1991 the for a time it seemed it’d be the band from across band was no more, but not before leaving us with the pond to become stateside superstars. a handful of other enduring ’80s gems like “Love That’s not exactly how things worked out. U2 My Way,” “Heaven,” and “Heartbreak Beat.” went on the become More than most the biggest band in the bands of their generaThat’s not how things world, while the Furs tion, the Furs’ sound, became, well, that band never overly reliant worked out—the Furs with a song in Pretty in on synths, has been Pink. The story goes resilient, and their became, well, that band that Ringwald brought influence can be heard with a song in Pretty in Pink. in subsequent generathe song to writer John Hughes, who became so tions of alt-rock bands, enamored of it that he wrote the film around it. from Korn to the Killers, Jawbreaker to Interpol.

Turns out he didn’t exactly understand the concept. The group, reformed in 200, has been on the road “The song was about a girl who kinda sleeps playing their hits ever since—there’s even an around, and thinks it’s really cool and thinks album reportedly in the works, their first in more everybody really likes her,” Richard Butler told than 20 years. And despite all the ups and downs Mojo magazine in 2010. “But they really don’t. of their unexpected success, band members She’s just being used.” remain grateful for their cinematic association.

The Furs aren’t the only band with a strong “Maybe some people go, ‘Oh, that’s the band connection to cinema. It’s impossible to imagthat did Pretty in Pink,’ ” Richard Butler told The ine The Graduate without the music of Simon Quietus in 2010. “But if they didn’t say that, maybe and Garfunkel or Saturday Night Fever without they wouldn’t have anything to say about us!” E the Bee Gees. The placement of “New Slang” music@seattleweekly.com in Garden State, which Natalie Portman’s character promises “will change your life,” was THE PSYCHEDELIC FURS a turning point for the Shins, propelling their With the Lemonheads. The Showbox, debut album Oh, Inverted World to sales of 1426 First Ave., 628-3151, showboxpresents.

500,000 copies, a feat seemingly impossible com. $25 adv./$30 DOS. 8 p.m. Wed., Oct. 22.

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

TheWeekAhead Wednesday, Oct. 22

To listen to EVENING BELL, the collaboration of countryrocker Davidson Hart Kingsbery and Caitlin Sherman (Slow Skate, Sunday Evening Whiskey Club, Lusine), is to step back in time to the days when a hard day’s work on the farm was rewarded with a cold beer in a dusty barroom. Kingsbery’s guitar and Sherman’s piano roll languidly along like a tumbleweed passing through town as the pair takes turns singing lead and duetting.

Their voices shine on their own, but together there’s added soul to the rich tales they tell. With Foghorns, Banditos. Conor Byrne Pub, 5140 Ballard Ave. N.W., 784-3640, conorbyrnepub.com. 9 p.m. $8. 21 and over.

AZARIA C. PODPLESKY

and Dave Ramm—manages to turn seemingly mundane topics (couches, snakes, space, things that are too hard, and the Super Moon) into the inspiration for a handful of ridiculously fun songs on its latest EP, Couches. Ratner’s snarled and spunky vocal style adds even more power to the short, sharp tunes. With the Tripwires, Eyelids.

Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunset tavern.com. 9 p.m. $8. 21 and over. ACP

Friday, Oct. 24

J. Roddy Walston and the Business

ERIC RYAN ANDERSON

Despite no mention of pickup trucks, John Deere tractors, or other stereotypical country-music themes, J. RODDY WALSTON & THE BUSINESS is Southern through and through. Fronted by Tennessee born-and-bred Walston, the quartet imbues every aspect of its music with the spirit of the South. On the band’s latest album, Essential Tremors, Walston both mumble-sings and howls about family and moments of grace while playing a blistering guitar riff or banging away on a piano like Little Richard. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile. com. 8 p.m. $14. All ages. ACP

Thursday, Oct. 23

DEEP SEA DIVER front woman Jessica Dobson’s voice

is one of experience. Dobson, who performs with the Shins and has played with the likes of Beck and Conor Oberst, brings a smoky, wise-beyond-her-years maturity to the band’s latest, a collection of four ambientpop tunes called Always Waiting. Though brief, the EP shows why Dobson and her band have had such success. Her lyrics are intimate and honest, and the band manages to pack a variety of textures—from earthy guitar riffs to blasts of synth—into just 20 minutes of music. With Delta Spirit, SACCO. The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org/neptune. 8 p.m. $18 adv./$20 DOS. All ages. ACP

Odesza

Throughout her career, singer and multi-instrumentalist PJ Harvey has dabbled in just about every genre under the sun, from alternative to blues to lo-fi. It makes sense, then, that such an eclectic group of musicians will perform at the PJ HARVEY TRIBUTE NIGHT: Alt-country crooner Star Anna, members of electropop duo Glitterbang, alternative singer Dejha, and more will gather to celebrate one of alt-rock’s leading ladies and her illustrious career. Featuring members of The Redwood Plan, Night Cadet, Blackie, The Intelligence, Corey J Brewer, Lesli Wood, Kate Moore. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 9 p.m. $5 adv./$10 DOS. 21 and over. ACP On its third album, Mended With Gold, Canadian indierock trio THE RURAL ALBERTA ADVANTAGE wanted to give each song room to evolve. While working on the record, the band played new songs live, then listened to recordings of those performances while driving to the next show. In this way, singer Nils Edenloff, percussionist Paul Banwatt, and multiinstrumentalist Amy Cole were able to hear what worked and adjust what didn’t. This hands-off attitude is evident on Mended With Gold. In conjunction with Edenloff’s full-throated vocals and the album’s soaring choruses, each track feels unforced, as if it knew all along how it wanted to sound. With July Talk. The Crocodile. 8 p.m. $13 adv. All ages. ACP Punk rockers with a 9-to-5 will appreciate DEAD BARS, the Seattle quintet and its self-titled EP. On opening track “Funhouse Monday,” front man John Maiello shouts in a spectacular rasp about hitting up McDonalds after a shift at EMP before singing karaoke at the Funhouse.

And in “Los Marineros,” he’s waxing about going to a Mariners game (“I hope this season is better than the last one”) and spending every Wednesday drinking at the Little Red Hen. There’s no lack of punk attitude, but instead of fighting the Man, Dead Bars is fighting adulthood. With Sonic Avenues. Lo-Fi Performance Gallery, 429 Eastlake Ave. E., 254-2824, thelofi.net. 9 p.m. $8 adv./$10 DOS. 21 and over. ACP While French electro-pop trio YELLE’s lyrics may not translate to most American fans, the band’s exuberance certainly will. And after listening to its third album, it’s easy to understand why this show is sold out. The Dr. Luke–produced Complètement Fou (“Completely Crazy”) is a mix of jubilant synths, spacey blips, and atmospheric melodies. Lead singer Julie Budet alternates vocal styles from bright to dreamy to urban at the drop of a hat, which adds to the record’s spontaneous feel. With Lemonade, DJ Res. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. SOLD OUT. 21 and over. ACP With its self-titled full-length debut, THE APACHE RELAY has hit its stride. First single “Katie Queen of Tennessee,” a throwback to the days of classic ’70s folk pop, is likely to get you feeling nostalgic. The thumping percussion, rhythmic clapping, and otherworldly background vocals make “Ruby” sound like something out of a spaghetti Western, and the piano on “Terrible Feeling” sounds like it belongs in a saloon from the 1900s. This band is a delightful blast from the past, and the opening tracks alone are enough to draw you into the ambient world they’ve created. With Wild Feathers, Desert Noises. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $16. 21 and over. BRIAN PALMER

Saturday, Oct. 25

If “Listen to Someone Else,” the first track from Anacortes quartet BELLAMAINE’s upcoming self-titled album, is any indication of what the rest of the record has to offer, fans should expect lots of lovely harmonies from the husband-and-wife vocal team of Nick and Julianne Thompson. They’re joined by drummer Gaelan Sylvia and bassist Jordan Nielsen to celebrate the release of their CD tonight. With The Weather, Silver Torches.

Columbia City Theater, 4916 Rainier Ave. N.E., 722-3009, columbiacitytheater.com. 8:30 p.m. $8 adv./$10 DOS. 21 and over. ACP Electro- and chamber-pop musician PERFUME GENIUS, aka Mike Hadreas, is sticking it to homophobes everywhere with his latest album, Too Bright. Lead single

» CONTINUED ON PAGE 36

JAZZ ALLEY IS A SUPPER CLUB

TOM WOPAT

WED, OCT 22

‘‘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!

BOSSACUCANOVA

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

KARRIN ALLYSON

THURS, OCT 30 - SUN, NOV 2

‘‘...utter musical fearlessness... a complete artist - one of the jazz world’s finest.”

JASON MARSALIS VIBES QUARTET

TUES, NOV 4 - WED, NOV 5

Swinging jazz vibraphonist touring in support of his new release In a World of Mallets

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

EUGE GROOVE

THURS, NOV 6 - SUN, NOV 9

Contemporary jazz saxman and musical chameleon

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

SE ATTLE WEEKLY • O CTOBER 22 — 28, 2014

TONJE THILESEN

Seattle two-piece ODESZA makes electronic music for people who don’t like electronic music. In Return, the latest album from Harrison Mills (CatacombKid) and Clayton Knight (BeachesBeaches), is as chillwave as it gets, a breath of fresh air from the relentless energy of EDM cuts. The pair creates atmospheric songs with dreamy melodies, with multiple vocalists—including Zyra (“Say My Name”), Jenni Potts (“White Lies”), and Monsoonsiren (“Memories That You Call”)—adding a grounded feel. From the looks of it, people are responding well to Odesza’s relaxed vibe; most of their North American tour dates are sold out, including both of these shows. Through Friday (tickets to Thursday’s DJ set at Neumos are still available). With Hayden James, Ambassadeurs. The Showbox, 1426 First Ave., 628-3151, showboxpresents. com. 9 p.m. SOLD OUT. All ages. ACP

WIMPS—the punk-rock trio of Rachel Ratner, Matt Nyce,

35

a&c» Music » FROM PAGE 35

LUKE GILFORD

Perfume Genius

“Queen” finds Hadreas singing softly, yet forcefully, “Don’t you know your queen?/Gleaming, wrapped in golden leaves/Don’t you know me?” A chorus of “No family is safe when I sashay” drives the point home, and perhaps nods to a video for his sophomore album, Put Your Back N 2 It, that was rejected from YouTube for not being “family safe” (it featured Hadreas and another shirtless man embracing). But Hadreas doesn’t care about that; he’s sharing his secrets no matter what anyone thinks. With Matteah Baim. The Neptune.

9 p.m. $16.50 adv./$18 DOS. All ages. ACP There’s both a rasp and a clarity to NATHANIEL RATELIFF’s soulful folk voice, most recently heard on his sophomore album, Falling Faster Than You Can Run, that makes it immediately recognizable as his own.

Whispering or wailing, the intimacy in the Missouriborn, Denver-based musician’s voice pairs well with the warm yet sparse instrumentation. And when you also consider the wide range of emotions expressed here, from triumphant to content to contemplative, it’s obvious that Falling is distinctly Rateliff. With Dry the River, Kris Orlowski. Tractor Tavern. 8:45 p.m. $13 adv./$15 DOS. 21 and over. ACP

SEATTLE WEEKLY PROMOTIONS WIN TICKETS TO TuNE-YARDS

Monday, Oct. 27

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

TICKET GIVEAWAY! MuSTAChE DAChE

36

Fizz Events presents: Mustache Dache Saturday, November 8, 10 am, Warren G. Magnuson Park.

The Mustache Dache™ is Seattle’s biggest and most bristly mustache-themed run!

TICKET GIVEAWAY SANTAS VS. SuPERhEROS 5K

Seattle Marathon presents: Santas vs. Superheros 5k Saturday, November 29, 8:30 am, Seattle Center. This year we are thrilled to add a brand new theme to our Seattle Marathon 5K Race: Santas vs Superheroes!

TICKET GIVEAWAY ST. LuCIA

STG presents: St. Lucia , Saturday, November 1, 9 pm, The Showbox. Coming to town for The Night Comes Again Tour. With Special Guest Robert Delong.

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

www.seattleweekly.com/promo/freestuff

MIKE DRAVIS

STG presents: tUnE-yArDs, Saturday, December 13 8 pm, The Moore. Since 2009, tUnE-yArDs has been known for her explosive performance style & exciting song arrangements.

Bad Rabbits When we talked with BAD RABBITS’ Salim Akram in July 2013, he was a little apprehensive about playing the band’s first acoustic show, unsure how the energy of its funk-rock sound would translate. Turns out the guitarist had nothing to worry about. The Boston five-piece’s latest EP, Dusted, unplugs songs from its previous EP, Stick Up Kids, and its debut full-length, American Love, without losing any of the R&B grooves and rock-&-roll attitude that make the originals so much fun to listen to.

It’s the energetic Bad Rabbits fans know and love, but with more soul. With Irukandji, Hightek Lowlives. Chop Suey. 9 p.m. $12 adv./$15 DOS. All ages. ACP In a recent interview with Complex News, BIG K.R.I.T., aka Mississippi-based rapper/producer Justin Scott, revealed the story behind his upcoming sophomore album, Cadillactica. According to K.R.I.T., it’s the tale of how life unfolds on the eponymous planet that represents his self-conscious, from being “young and rambunctious” to looking back on your life and being content with your accomplishments. Southern-flavored beats, K.R.I.T.’s lightning-quick flow, and cameos by hip-hop heavyweights like Raphael Saadiq, E-40, and Lupe Fiasco all help bring that concept to life. With Two-9, Porter Ray, Ryan Caraveo, DJ Swervewon. The Showbox. 9 p.m. $25 adv./$30 DOS. All ages. ACP Send events to music@seattleweekly.com.

See seattleweekly.com for more listings.

The YWCA of Seattle-King CountySnohomish County seeks a Domestic Violence Advocate for the Downtown Emergency Shelter

The DV Advocate is responsible for providing crisis intervention counseling and other social services to women in crisis who are temporarily housed in the Downtown Emergency domestic violence shelter. Two positions available: day shift and weekend swing shift.

Part time, 16 hrs/wk. Rate $16.35/hr.

Respond to dohiring@ywcaworks.org Details @ www.ywcaworks.org

friday december 12 showbox at the market ON SALE

fri NOON

1-888-929-7849

monday december 15 showbox sodo

1426 1st Ave · seAttle, WA 8:00pm Doors · All Ages Full BAr With proper iD

1426 1st Ave · seAttle, WA 6:30pm Doors · All Ages Full BAr With proper iD

cOmiNg SOON: For All those sleeping · BAD rABBits · mc chris · king DiAmonD · FlyleAF · mAyDAy pArADe · mAriAchi el Bronx lAgWAgon · melAnie mArtinez · lights · the Bots · the ghost insiDe · emery · issues · circA survive · Asking AlexAnDriA · DoWn tickets AvAilABle in person At the shoWBox At the mArket Box oFFice mon-Fri 11:00Am-6:00pm · online At WWW.shoWBoxonline.com or WWW.Axs.com chArge By phone 1-888-929-7849 mon-Fri 9:00Am - 9:00pm · sAt 9:00Am - 4:00pm · sun 9:00Am - 3:00pm

El Corazon www.elcorazonseattle.com

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

THURSDAY, OCTOBER 23RD ZNi with

SUNDAY, OCTOBER 26TH

NTRL - No Truth Real Lies, Jake Nannery, Mairin Gorman Doors at 7:30PM / Show at 8PM, 21+. $8 ADV / $10 DOS “THE ONGOING FREAK SHOW TOUR” featuring: Lionfight, The Ongoing Concept, Silent Planet, Jenny’s Last Stand, Plus Guests Lounge Show. ALL AGES/BAR W/ID Doors at 7:00PM / Show at 7:30. ALL AGES/BAR W/ID $10 ADV / $12 DOS

MOURNING MARKET

FRIDAY, OCTOBER 24TH

SUNDAY, OCTOBER 26TH

ALL AGES/BAR W/ID. $1.00.

Doors at 12:00PM / Market Closes at 5:00PM

MIKE THRASHER PRESENTS:

with Capture The Crown, Ice Nine Kills, Palisades, Myka, Relocate, Youth In Revolt Doors at 5:30PM / Show at 6:00 ALL AGES/BAR W/ID. $13.50 ADV / $15 DOS

Doors at 7:00PM / Show at 8:00, 21+. $13.50 ADV / $15 DOS

FOR ALL THOSE SLEEPING FRIDAY, OCTOBER 24TH

AUSTIN LUCAS

with Jon Snodgrass, Northcote, Jayke Orvis Lounge Show. Doors at 9:00PM / Show at 10:00 21+. $10 ADV / $12 DOS

SATURDAY, OCTOBER 25TH JAVANAN MAGAZINE PROUDLY PRESENTS:

1ST ANNUAL SEATTLE HALLOWEEN PARTY

featuring, Top 40, Persian, Electronic, International and Hip-Hop Grooves by: DJ Behzad, DJ Ashkan, Plus Guests Doors at 9:30PM / Show at 9:30PM 18 and Over, $10 ADV / $15 DOS For More Info: (425) 256-3733 or seattle@javanan.com

THE ACCOUNTANTS

with Dolly Shock And The Death Kats, Crystal Desert, A Breakthrough In Field Studies (acoustic), Plus Guests Lounge ShowDoors at 8:00PM / Show at 8:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

MC CHRIS with MC Lars, Spose, Plus Guests

MONDAY, OCTOBER 27TH

ALIVE AND WELL

with The New Tribe, The Exchange, Adventures In Wonderland, Michael Monroe Lake Hood, Emerald Skyline ALL AGES/BAR W/ID Doors at 7:00PM / Show at 7:30 $8.00 ADV / $10 DOS

TUESDAY, OCTOBER 28TH

THE PROTOMEN

with Urizen, Stay Tuned, Abducted By Sharks Doors at 7:00PM / Show at 8:00 ALL AGES/BAR W/ID.$15 ADV / $18 DOS

JUST ANNOUNCED 11/5 LOUNGE - HERMOSA 11/21 - EMERY / THE CLASSIC CRIME 11/25 LOUNGE - LORD DYING / CASTLE 12/5 - THE ICARUS LINE 12/13 - AURELIO VOLTAIRE

12/16 - BUTTONS 12/19 & 12/20 - X / THE BLASTERS 1/27 - MAYHEM / WATAIN UP & COMING 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 11/6 LOUNGE - INSVRGENCE 11/8 PANCAKES & BOOZE ART SHOW 11/9 LOUNGE - OSEDALE 11/10 - JEFF TIMMONS OF 98 DEGREES 11/11 - MARIACHI EL BRONX 11/11 LOUNGE - DRAGONFLY 11/12 - LAGWAGON 11/13 LOUNGE - ALEXZ JOHNSON 11/14 LOUNGE - MELANIE MARTINEZ 11/15 - SYMMETRY

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 22 — 28, 2014

MIKE THRASHER PRESENTS:

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a&c» Music

PR OM O TI ONS

Selfies With Lucifer

EVENT S

M USI C

PROMOTIONS NEWSLETTER

The inside scoop on free tickets, and event photos.

EMA takes on Internet slang.

BY DUSTY HENRY

FILM

HA PPY HOU R

Q

AR T S AND E NTER TA I NM ENT

N I G H TC LU B U P C O M I N G

E V E N T S

W E D N E S D A Y, O C T O B E R 2 9 T H

P

ortland songwriter EMA didn’t ask to be music’s spokesperson for the social-media generation. Yet the artist, aka Erika Anderson, has ignited conversation over the lyrics on her sophomore record, The Future’s Void, a noise-rock epic full of abrasive synth lines and brooding drum beats.

“I think there’s a misconception with some of the language I’m using, because it’s very new,” Anderson says. “Internet terms in a rock song.”

Her inspiration was the online reaction to her debut record, Past Life Martyred Saints, which was lauded by the likes of Pitchfork and Spin but also racked up derogatory comments by online trolls. “I went offline feeling unsettled and unsafe,” she said in an interview with The Guardian earlier this year.

The Future’s Void explores those realms of the digital world, with an added paranoia. With the lyrics “Feels like I blew my soul out across the interwebs,” the song “3Jane” touches on the emotional disconnect so many online users experience.

Elsewhere, the stirring “Dead Celebrity” addresses

On the Road

Tomo Nakayama gets mobile, new album in tow.

SEATTLE WEEKLY • OCTOBER 22 — 28, 2014

BY GWENDOLYN ELLIOTT

38

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ith his three-month residency at Town Hall a wrap and a new recording completed, singer/ songwriter Tomo Nakayama wanted to do something different to celebrate the release of his album, Fog on the Lens.

The 34-year-old solo artist, collaborator, and recent actor—who can be seen alongside Ellen Page in Lynn Shelton’s 2013 Touchy Feely—came up with an idea for a marathon—an album-release marathon. The one-day event, Tuesday, November 4, will comprise 14 mini-shows at nontraditional venues from a yoga studio to a grocery co-op to a

the morality of clickbait, and “Neuromancer” broaches the topic of selfies—and Lucifer.

Void has also been well-received, yet Anderson feels that her word choices have caused some confusion over what she’s really trying to say. “I feel like [some people] misinterpreted [“Neuromancer’] as being a rebuke on narcissistic millennials,” she says. “That’s the words of the older generation talking . . . We’re seeing another generational divide.” Yet, as she told Seattle Weekly while in town for the Capitol Hill Block Party, her intent wasn’t to indict the modern generation, but to spark dialogue about Internet culture.

“It seems ridiculous to pretend those things don’t exist, people don’t use words like [selfie],” she says. “People spend a huge portion of their time online. So why not talk about it?” E

music@seattleweekly.com

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hair salon. If all goes according to plan, that is.

“I have the drives all figured out,” he says. “We’re trying to travel light and still make it a show.”

He’ll attempt the feat—which, sometimes in the span of 30 minutes, will involve setting up, playing a show, packing, and moving to the next spot—with a small crew, including Yuuki Matthews of the Shins, who helped produce the new record. Despite the logistical challenges of navigating Seattle traffic these days, Nakayama is excited about what the unconventional format might bring about.

“I think it’s interesting to people,” he explains.

While some of his fans and friends can head out for a late-night show, he says, others have to work in the morning, or are moms with young children. “I wanted to do something a little more smaller and more intimate, at places that weren’t normally [venues] you’d hear music in the background and random live music during the day.”

Though he took to Facebook and his website (tomonakayama.tumblr.com) to announce his plans, he wants to establish a personal connection with the listeners who come out, beyond the web.

“We’re really kind of living in a totally different reality, stuck on social media,” he says. “I know [artists] with hundreds of followers who never go out and play shows and meet people.” Playing to a smaller crowd and getting to know his fans, Nakayama says, is “more gratifying to me.”

What’s more, the unexpected surprise of a live music at, say, Lifelong Thrift Store, where he’s slated to gig at 2:30 p.m., will hopefully inspire his accidental listeners to seek out more live music in Seattle. “We’re a close-knit community of people working together to do something unique and different,” he says, adding, “And personal, which I think is the most important.” E

gelliott@seattleweekly.com

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