OCTOBER 29-NOVEMBER 4, 2014 I VOLUME 39 I NUMBER 44
SEATTLEWEEKLY.COM I FREE
HENRY YESLER'S GHOST! » PAGE 5 DAN AUERBACH'S DOPPELGANGER » PAGE 33
E R U T U F E D H T F FOO O
For the planet, for its people, for our palates— bugs are what's for dinner. BY ELLIS E. CONKLIN » PAGE 7
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SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
inside» Oct. 29-Nov. 4, 2014 VOLUME 39 | NUMBER 44
» SEATTLEWEEKLY.COM
a night of
artful pairings
ExcEptional local WinEs. DElicious FooD pairings. spEctacular sEtting. »18
news&comment 5
THE END OF GENESIS BY MATT DRISCOLL | Six years later,
the recession’s still devastating socialservice programs. Also: Halloween wear for the modern-day Seattleite.
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THE OTHER OTHER WHITE MEAT
BY ELLIS E. CONKLIN | Find the protein
of the future—some with six legs, some with more—on a menu near you.
food&drink
14 RED-HOT CENTER
BY NICOLE SPRINKLE | Brunswick &
Hunt: yet another reason Northwest 70th Street is the city’s new food mecca. 14 | FOOD NEWS/THE WEEKLY DISH 17 | THE BAR CODE 18 | DAMN FINE PIE!
arts&culture 19 THE TOP 41
BY GAVIN BORCHERT | The Frye ranks
its art according to Internet voters.
Hamlet works, and ACT stages a Tonywinning comedy.
23 | PERFORMANCE/EAR SUPPLY 25 | VISUAL ARTS/THE FUSSY EYE 26 | BOOKS
27 FILM
OPENING THIS WEEK | Edward
Snowden speaks! Plus art forgery and the meanest music teacher in the world. 30 | FILM CALENDAR
33 MUSIC
BY STIRLING MYLES | Hey! You’re the guy who looks like that one guy! Plus: noise yoga and a punk-pioneer reunion. 35 | THE WEEK AHEAD
odds&ends 38 | CLASSIFIEDS
»cover credits
PHOTO BY NATE WATTERS GRASSHOPPER FROM INVERTEBRATES OF AMERICA, COURTESY OF DAVID GEORGE GORDON, ‘THE BUG CHEF’
Join Chihuly Garden and Glass and wine makers from
cadence ambassador salida col solare lauren ashton cellars aVennia
And last year’s winner of the mystery tasting
Editor-in-Chief Mark Baumgarten EDITORIAL Senior Editor Nina Shapiro Food Editor Nicole Sprinkle Arts Editor Brian Miller Entertainment Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Intern Jeanny Rhee, Abby Searight Contributing Writers Rick Anderson, Sean Axmaker, James Ballinger, Michael Berry, Roger Downey, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Megan Hill, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Jessie McKenna, Jenna Nand, Terra Clarke Olsen, Brian Palmer, Kevin Phinney, Jason Price, Keegan Prosser, Mark Rahner, Tiffany Ran, Michael Stusser, Jacob Uitti
dunham cellars
thursday, noVember 13 6 pm - 9 pm
For tickets and more information:
seattlevinearts.com
69
$
plus tax & gratuity
a portion of the evening’s proceeds will support
305 harrison street, seattle, Wa 98109 / chihulygardenandglass.com
PRODUCTION Production Manager Sharon Adjiri 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 29 — NOVE MBER 4, 2014
19 | THE PICK LIST 21 | OPENING NIGHTS | Dogfight bites,
»36
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6TH ANNUAL
NO V 14 & 15
WINE, FOOD & TRADI TI ON
SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
TA S T E O F TU L A L I P. C O M ON SALE NOW!
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news&comment
Losing Motivation
Costume Ideas for Civic Spooksters
Six months after the closure of Genesis House, Puget Sound families dealing with addiction face an uncertain future.
BY THE GHOST OF HENRY YESLER
BY MATT DRISCOLL
W
oOooOOooOoOoOo! It is I! The manifest spirit of the seventh mayor and “economic father” of Seattle, Henry Yesler! Why, yes indeed, I am the man that steep-ass street in the middle of town is named after. But I haven’t come back from the dead to talk about high-grade topography. In life, my wife and I were avid Spiritualists, which basically means that our favorite holiday was totally Halloween. I’ve apparated here into the present day to give you some highly relevant Seattletastic costume ideas that are scarier than a runaway log speeding down Skid Road. WoOooOOooOoOoOo!
This is all that remains of Genesis House.
MORGEN SCHULER
So what’s to blame for the closure of Genesis
House and the financial struggles of programs like it? One popular alleged culprit is the Affordable Care Act (“Obamacare”) and the expansion of Medicaid that the law has made possible in Washington. But while the ACA-related uptick in Medicaid—which will see 400,000 additional enrollees by 2015—has put stress on many of the state’s outpatient facilities, Genesis House was not affected directly by this change. The facility never received Medicaid money, due to a longstanding, and much-derided, federal law that prohibits any Medicaid money from flowing to facilities with more than 16 beds. Therefore Genesis House was largely dependent on DSHS contracts and state general-fund dollars, leaving it vulnerable to economic shifts, like the one that hit six years ago.
The grip of the Great Recession is still being felt in Washington, and Beyer says that since 2009, money for chemical-dependency treatment coming out of Olympia has flatlined. The last time the state studied the rates it pays chemicaldependency treatment providers was early 2000, and as Beyer puts it, “We haven’t really made significant changes since then.” Throw in inflation over the past five years—the cost of running a treatment facility has only gone up—and you’ve got a recipe for financial peril. The decision to close the doors at Genesis House, in other words, was made by cold, hard economics. “When recessions roll around and cuts have to be made to the budget, it’s often the 100-percentstate-funded kind of things that end up coming up for consideration, largely because by cutting those dollars you don’t lose federal matching dollars,” says Byers. “The chemical-dependency system took some cuts. I remember sitting in those rooms and having horrible discussions.” While there’s some hope that future state budgets will include more funding for drug treatment—and a statewide switch in 2016 that will bring chemical-dependency and mental-health treatment together under a managed-care plan provides further cause for optimism—no one seems to be holding their breath. Meanwhile, what the future of Washington’s chemicaldependency treatment landscape will look like remains anyone’s guess. E
mdriscoll@seattleweekly.com
crime of passion » Regarding a Pilfered Pump
On Monday, police released a photo of a man accused of stealing nearly $400 of “intimate items” from the Castle Adult Megastore in Capitol Hill. Included in the haul were several pairs of hosiery, some lube, and a “Hercules” penis pump. Our readers had some thoughts on the matter. “Maybe the black market for sex toys is happenin’ out there and we just don’t know it!” —Greg Justice, via Facebook “That’s going to be some Halloween costume.” —Christian Burnham, via Facebook “A man that wants to please his woman is a-ok in my book. Corporations are not people!” —Sherri Danner, via Facebook “This is why straight marriage should be illegal.” Janet Krueger, via Facebook
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Bertha For this costume you will need a shovel, some shells, and a large tube from Home Depot. Step 1: Go to the nearest plot of soil you can find and dig a 60-foot-deep hole. Step 2: Climb into your Home Depot tube and recruit three or four friends to slowly lower you into the hole. Step 3: Have your friends scatter the shells about the hole. Step 4: Do not trick or treat or move at all until March 2015 at the earliest. Ask your friends in the meantime to research where those shells came from. Who knows? They might be special shells.
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I-502 For this costume, you will
need a suit and tie, a clipboard, 300 warning letters, and a JUJU Joint. Step 1: Put on your formal government-approved attire. Attempt to appear as officious as possible. Step 2: Map out your trick-or-treat route, which should consist of every medicalmarijuana outlet in the city. Step 3: When you’ve reached your destination, knock on the door. Just as the retailer inside reaches out to give you candy, promptly blow recreationally legal JUJU Joint vapor in their face, and serve them a letter warning that they have until July 2015 to obtain a business license that does not yet exist, or face closure. Step 4: Run as fast as you can in the opposite direction. Step 5: Repeat 300 times.
Amazon For this costume, you will need a website and venture capital. Step 1: Go to surrounding candy suppliers and buy up all their product. Take candy from any children you encounter in South Lake Union as well. Step 2: Resell the candy online, severely undercutting the prices of surrounding candy retailers. Step 3: Begin to offer premium free shipping on the candy to bolster sales. Step 4: Once you’ve achieved a monopoly on Halloween candy, hire 80,000 seasonal workers to maintain your dominance. E
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news@seattleweekly.com
SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
Without these places, says former Genesis House family-services director Ian Bell, the destructive cycle of addiction strikes families hard. “I just heard from an old colleague that someone we know from the recovery community relapsed,” Bell tells Seattle Weekly. “She has lost her 1-year-old to the state, and it looks like she will have to wait months to find a bed in an inpatient facility. . . . The state will either wait to give her the child back until after treatment or at the end of her program, which means the soonest the child will be in the care of her mother will be eight to 10 months.”
GHOST ICONS BY XAVIER GIRONÈS FROM THENOUNPROJECT.COM
I
just want to say this program saved my life.” This is one of the many messages posted on the “Friends of Genesis House” Facebook page since the 48-bed inpatient rehab center closed six months ago. “I have over two years clean,” it continues. “Without Genesis House and all the staff and people there I don’t know where I would be. It hurts to know that it closed and no one else will receive all the blessings I got from there.” More than blessings, Genesis House provided one of the greatest weapons in the battle against serious drug and alcohol addiction: motivation. The particular brand of motivation offered at the 41-year-old Madrona treatment center was among the rarest in the world of chemicaldependency recovery: The facility was one of only a handful in the state that allowed recovering addicts enrolled in inpatient treatment—whether under court order or their own volition—to stay with their children. Even rarer, Genesis House offered intensive six-month treatment services to men and women with children—predominantly low-income clients—offering care for kids up to age 12. In other words, Genesis House was a place where addicts could kick their habit without breaking up their family. It also allowed parents whose kids had been removed from their care by the state a chance to reunite with them under the agency’s supervision. “It was a huge motivator,” says Laurel Reiter, who worked a total of 12 years at Genesis House, most recently as a clinical supervisor. “Of the people we got into treatment, the majority were parents. A lot of them came in because their kids had been taken and they knew they could be reunited with them [at Genesis House].” Daniel Masler, a doctor of clinical psychology contracted to conduct trauma and parenting groups at Genesis House, echoes the sentiment. “When we can safely reunite families, with consistent treatment, people start feeling hopeful,” Masler tells Seattle Weekly. “There’s something to start living for. I can’t tell you the number of times a resident would say, ‘Yes, this is tough, but I’m going to push through for my kids. I’ll do this just to start being with my kids.’ ” In the past year, that type of service has become harder to access. The demise of Genesis House followed the closure of Perinatal Treatment Services last October, leaving just one facility in the Puget Sound region that offers similar services. Seadrunar, a drug and narcotic treatment center near White Center, has the capacity to serve 150 adults, but only 25 children, up to 12 years old.
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SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
The Future of Food The day may soon come when Seattle foodies say ‘Insects— they’re what’s for dinner.’ BY ELLIS E. CONKLIN
raised for human consumption, like crickets and grasshoppers and mealworms. Besides, my mom said it was bad luck to kill a spider.” Seldom will a day pass, explains Dhalwala, when she doesn’t sit for a solid hour and read nonfiction, which is how, in the midwinter of 2008, she stumbled upon an article that stole her full attention. It was a story in The New York Times Magazine, cleverly titled “Man Bites Insect,” about a bug-devouring man named Dave Gracer. A writing teacher at a community college in Providence, R.I., Gracer consumes insects—“I’ve eaten at least 5,000 insects at this point, and probably 60 to 70 different species of them,” he told me earlier this month—not only because he truly likes them, whether sautéed, filleted, or roasted, but because, he says, they are nutritious and easy to raise without harming the environment. The line in the article that most moved Dhalwala was Gracer’s quote: “Insects can feed the world. Cows and pigs are the S.U.V.’s; bugs are the bicycles.” To this day, she enjoys reciting the passage.
Enraptured by the notion that insects, already
eaten by a majority of the world’s inhabitants, could solve the problem of food sustainability— and might someday land as the plat du jour at her restaurant—Dhalwala tracked down Gracer. She told him she was interested in learning about the potential of bug farming and perhaps adding insect dishes to Vij’s seasonal bill of fare. She asked if he would come to Vancouver. Gracer said he couldn’t—but really there was no reason to, for living just down the road in Seattle was none other than David George Gordon, a renowned entomophagy (bug-eating) expert and a personal friend of Gracer. Give him a call, Gracer advised, and tell the Bug Chef, as he’s known far and wide, that Gracer sent him. Dhalwala did just that, and Gordon—the Lake City–based author of The Eat-a-Bug Cookbook (first published in 1998) who’s sometimes referred to as the “Godfather of Insect Cuisine”—was only too happy to oblige. Gordon was flattered when she reached out to him, almost as much as he’d
been some years before when The New York Times heralded his Field Guide to the Slug as “gripping.” Gordon knew of her Vancouver eatery, known for its imaginative creations and wild-harvested ingredients and hailed by food writers as among the finest Indian restaurants in the world. Within a week, Gordon was on his way north in his ’93 Toyota Tercel for a taste-testing with Meeru, her husband Vikram, and assorted members of the restaurant staff. He brought samples of dried European house crickets, Mexican chapulines (small grasshoppers), king mealworms in Ziploc bags, and live wax worms slithering about in a plastic carton. “I ate the crickets, but I really didn’t want the worms,” recounts Dhalwala. “But David put them right there in front of my face, like it was nothing to him, which it isn’t. So I grabbed them and popped them in my mouth like it was a grape. I felt really bizarre inside me. But I was trying to be professional.”
SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
NATE WATTERS
M
eeru Dhalwala will forever remember the orange roughy dish she prepared years ago. Never could she have suspected that serving this over-fished deep-sea perch would one day lead her to crunch into a concoction of crispy crickets and a squirming swirl of live wax worms that she skittishly slid into her mouth. Admittedly, she was repulsed, grossed out—but intrigued. It wasn’t that bad, and no, these cold-blooded critters didn’t taste like chicken. The crickets had an earthy, nutty flavor, Dhalwala remembers, and those worms, why, they reminded her of pistachios. “And to think I was a frilly little girl, scared to death of bugs,” she says, her face crinkling into a playful grin. On the last day of September, the dining room at Shanik, the sleekly appointed Indian restaurant Dhalwala opened two years ago in South Lake Union, is as dim as the late-afternoon skies outside, where a soft rain has begun to fall. The dinner rush is hours away and a pleasant lull has taken hold, only the muffled jangle of kitchen pots and pans. Dhalwala is seated at a table, dressed in a black jumper, her hands wrapped around a cup of steamy chai. She’s eager to tell the story of how she came to embrace the creepy-crawly world of eating and serving sixlegged creatures—well, at least ground-up crickets, for the time being. It is one of many insects, scientists and nutritionists believe, that could become the protein-rich meat of the future—indeed, the other other white meat. Jiminy Cricket! “I was the chef and owner with my partner at Vij’s in Vancouver [B.C.],” Dhalwala begins, “and this very prominent food writer came in, and after he saw me with the roughy, he asked, ‘Do you realize that you are serving an endangered fish?’ I thought, ‘Oh my God, I’m serving an endangered fish?’ I was shocked because I had been reading about climate change and had discovered all this information about sustainability. And I believe in serving the right food because it is a responsibility, like bathing your children. My job is to give my customers well-sourced food.” Dhalwala, who turned 50 earlier this month, is an animated woman with a shiny thicket of curly black hair. Born in India, she was raised by socially conscious parents in the tony northernVirginia enclaves south of Washington, D.C. She speaks quickly in big thirsty gulps, her hands in perpetual, punctuating motion. “No, I’d never eat a cockroach,” she says with a pretend shudder. “No, no, no, and never a scorpion or any sort of spider—only insects that are
» CONTINUED ON PAGE 8 7
The Future of Food » FROM PAGE 7
SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
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KYU HAN
A little cilantro, cumin, jalapeños, and ginger rolled into whole-wheat flour dough—then just add crickets.
Dhalwala found a cricket supplier, Reeves Cricket Ranch, up in Everson, Wash., near Bellingham. “I called him and asked him, ‘Are your crickets good for human consumption?’ And he goes, ‘Ugh.’ Then he laughed and said, ‘Yes, I can do it.’ ” For many years, like most cricket farmers, Clyde Reeves has been selling his critters to places like the San Diego Zoo and big petfood suppliers. ($15 fetches a thousand Reeves crickets.) “People like to feed them to their lizards, bearded dragons, mice, and the like,” says Reeves. More recently, Reeves has been looking to market some of the 2.5 million crickets, raised on apple feed and hatched weekly at his 10,000-square-foot plant, for human consumption. “We’ve done a lot of testing, and we are getting close to coming up with cricket flour that can be ground into burgers or into pancake and
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cookie dough.” His daughter, Courtney, will soon be opening a facility in Phoenix, charged with turning the insects into snacks—Jurassic Snacks. Not long after Meeru and Vikram devised a recipe for what they eventually named cricket parantha—an appetizer of crickets seasoned with Indian spices and mashed into flatbread—a veritable food fight erupted. “I got hate mail when I first started serving them [in Canada],” exclaims Dhalwala. “A lot of people were very upset. I got e-mails like, ‘You are an embarrassment to the Indian culture’ and ‘First crickets, what’s next, mud from Haiti?’ People were much more accepting in Seattle.” On May 13, 2013, the Food and Agriculture Organization of the United Nations issued a seminal report that raised deep concerns about global food security. The stunning document, titled “Edible Insects,” strongly suggests that eating insects might be the effective way to fight world hunger, and reminds Westerners to get
Roasted crickets like these at Shanik are just the beginning.
THIS WEEK’S CONCERTS: KYU HAN
already eating bugs. For years the FDA has put out a handbook on “defect labels,” spelling out what potential contaminants are acceptable in processed, canned, or frozen foods. Peanut butter, for one, is allowed 30 insect fragments per 100 grams (thus there are possibly as many as 135 fragments in a 16-ounce jar), and chocolate passes muster at up to 60. And let us not forget that honey is bee vomit. Man and bugs have been grazing on each other since the beginning of time. Usually the bug has gotten the worst of it. The Greeks snacked on them. Beetle larvae were like caviar to ancient Romans. The Old Testament makes frequent mention of feasting on crickets and grasshoppers. An influential article on insect-eating in The New Yorker several years ago reported, “The manna eaten by Moses on his way out of Egypt is widely believed to have been honey dew, the sweet excrement of scale insects.” And Gordon notes in his Eat-A-Bug Cookbook that the first peoples of North America were avid bug eaters. Hollywood has long portrayed the eating of bugs as disturbing and disgusting; in the recent movie Snowpiercer, the huddled masses at the back of the train speeding through a postapocalytic cold world are fed black protein bars composed of the bodies of insects. Yet go to a movie house today in Colombia and don’t be surprised to see patrons munching on big-butt ants, brown cockroach-sized guys, like they were popcorn. Listen to Gordon the Bug Chef describe the taste of the many edible arthropods he’s put down the old gullet in his many years involved in entomological epicureanism. “Yeah, I like the tails and claws of scorpions,” he muses. “The legs of tarantulas are great, a lot of muscle and very chewy. I do them deep-fried and they taste like crab.” He goes on. “Tomato horn worms are good too, nice and meaty. They have a leafy green taste. I make little hot dogs with them. Now grasshoppers, those little chapulines from Mexico, I season them with chili sauce and lime. Wax worms are actually white caterpillars. They have a sweet taste when cooked, kind of like pistachio nuts.” Gordon is a trip. At the drop of a batch of sweet-and-sour silkworms—one of the 40 recipes in his award-winning cookbook—he will embark on still another culinary road less traveled. He’s a sweet, kindly man with a wizardly air and the bespectacled persona of an absent-minded professor. He comes with a spray of grayish-white hair, a scruffy goatee, a slight paunch, and a mischievous gleam in his eyes that declares I know you may think this odd, but I really can whip up a mean scorpion scaloppine. To the burgeoning clan of insect-eating devotees, Gordon is a cult hero—in the same exalted class as Dave Gracer. Excited, Gracer informs me
» CONTINUED ON PAGE 11
Frank Catalano Quartet
The brawny Chicago saxophonist lights up two party nights at Seattle’s classic jazz club with his solid quartet. Saturday, NOvember 1 rOyal rOOm, 8pm
Jacob Fred Jazz Odyssey & McTuff
More fun! Mix-and-match pairings with two of the most legendary, road-tested, avant-gritty, alt-jazz bands in the world.
Saturday, NOvember 1 chapel perFOrmaNce Space, 8pm
Battle Trance
This genre-defying tenor sax quartet conjures whirling soundscapes “with the ephemeral and unquestionable logic of a dream” (AdHoc). Saturday, NOvember 1 NOrdStrOm recital hall, 7:30pm SuNday, NOvember 2 KirKlaNd perFOrmaNce ceNter, 2pm
Seattle Repertory Jazz Orchestra
Seattle’s all-star big band salutes “Quincy and Ray on Jackson Street.” (Presented by Seattle Repertory Jazz Orchestra.) SuNday, NOvember 2 emp level 3, 7:30pm
Industrial Revelation Cuong Vu & Ted Poor
A live filming of the beloved jazz, soul, hip hop, groove, punk, indie rock, rock-solid Industrial Revelation, sharing the stage with the equally genre-bending new project of Cuong Vu, Ted Poor, and synthist Pete Rende. (Filmed for Icons Among Us: Jazz in the Present Tense, in cooperation with EMP and Argus Fund.) SuNday, NOvember 2 triple dOOr, 7pm & 9:30pm
True Blues: Corey Harris & Alvin Youngblood Hart
With one foot in tradition and one in experimentation, Harris joins the “cosmic love child of Howlin’ Wolf and Link Wray.” mONday, NOvember 3 barbOza, 8pm
Crystal Beth & the Boom Boom Band
One of the most fearless musicians in the city unleashes her psychoactive, euphoric, libidinous Liberation Ritual 1.
tueSday, NOvember 4 pONchO cONcert hall, cOrNiSh cOllege OF the artS , 8pm
Hal Galper Trio w/ Jeff Johnson & John Bishop The veteran bebop pianist stretches out with Seattle legends Jeff Johnson and John Bishop to celebrate a new CD. tueSday, NOvember 4 triple dOOr, 7:30pm
Seattle Women’s Jazz Orchestra featuring Grace Kelly
This evening, the ensemble welcomes special guest Grace Kelly, already a master saxophonist at 22. The concert also includes two world premiere performances from the orchestra’s second annual competition for women jazz composers.
COMING UP...
Pharoah Sanders Quartet, Anton Schwartz Quintet, Roosevelt High School Jazz Band, Bad Luck | Scott Cutshall/John Gross Duo, Racer Sessions +, Miguel Zenón Quartet, and the Earshot Jazz Festival Wrap-up Party
More than 50 events in venues all around Seattle Buy tickets at www.earshot.org & 206-547-6763
SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
over their bug phobias and join the other two billion people on the planet, mostly in Asia, Africa, and Latin America, who have long supplemented their diets with slimy, cringe-inducing creatures. By 2050 the world’s population will exceed 9.2 billion, and the demand for meat and fish will grow with it. The U.N. predicts that 70 percent more food will be needed to sustain that population. In the report, the authors offer this somber assessment: “To accommodate this number, current food production will need to almost double. Land is scarce and expanding the areas devoted to farming is rarely a viable or sustainable option. Oceans are over-fished and climate change and related water shortages could have profound implications for food production. To meet the food and nutrition challenges of today—there are nearly 1 billion chronically hungry people worldwide—and tomorrow, what we eat and how we produce it needs to be re-evaluated. Inefficiencies need to be rectified and good wastes reduced. We need to find new ways of growing food.” Enter insects, of which there are six million species on Earth, 1,900 of them edible. Beetles, wasps, caterpillars, dragonfly larvae, water bugs, ants, locusts, and grasshoppers, to name only a few, are high in protein, micronutrients such as iron and zinc, and mineral content. Crickets, in particular, used widely in the South a half-century ago as fish bait, were highlighted in the groundbreaking U.N. report as an invaluable food source. And they need 1/12 the feed that cattle do to produce an equivalent amount of protein. From an ecological standpoint, eating insects would seem a no-brainer. Raising and harvesting them requires nowhere near as much land, water, and energy consumption as it takes to bring cows, pigs, and sheep to your dinner table—not to mention that insects, unlike farting cows, emit virtually no greenhouse gases. Agriculture accounts for 8.1 percent of the greenhouse gases in the United States. “There were one million downloads of this report in the first 24 hours after it came out,” marvels Dr. Florence Dunkel, a well-regarded entomologist at Montana State University and editor of The Food Insect Newsletter. Her husband calls her Ladybug. “For the very first time, experts throughout the world,” Dunkel contributed to the “Edible Insects” report, “all had the same message: that this is the food of the future.” “Outside of some apocalyptic event, insecteating, especially crickets and cricket flour, is definitely here to stay,” says Dr. Aaron Dossey. Two years ago, the Bill and Melinda Gates Foundation awarded Dossey’s company, “All Things Bugs,” a grant to pursue its project of coming up with a viable insect protein to combat malnutrition in children. Oddly enough, though many of us may wince at the notion of sitting down to a plate of curried termite stew or a creamy katydid soup, we are
Friday, OctOber 31 & Saturday, NOvember 1 tula’S reStauraNt aNd Jazz club, 7:30pm
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SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
The Future of Food » FROM PAGE 9
dedicated one of his books to her, The Compleat Cockroach. Why? “Because she always said you can always find something nice to say about anyone.” After a pause, he adds, “Did you know there are in a phone call that he went on a 75 percent insect 3,500 different kinds of cockroaches? It comes diet in 2008 and lost 14 pounds, and that when it from the Spanish word, la cucaracha.” was over 30 days later, he felt better than Tony the With a degree from Northwestern University Tiger. That year, Gracer appeared on The Colbert in aquatic biology, Gordon headed west in 1981 Report. He brought a platter of bugs, and before to take a job setting up exhibits at the Point a crowd “Eew!”ing loudly, gobbled down a palmDefiance Zoo & Aquarium in Tacoma. “I was sized dry-toasted cicada as if it were a slice of blown away by Elliott Bay, and pretty soon I blueberry pie. The high-voltage Gracer boasts that started writing my Field Guide to the Gray Whale. it was he who arranged the choreography (bugs But it was the Field Guide to the Slug that came and all) for the insect-eating party where Mark out in 1994 that was a changing moment. I Ruffalo meets Gywneth Paltrow in the 2012 found that if you can get people excited about comedy-drama Thanks for Sharing. Gordon, 64, lives in a modest two-story home writing about slugs, anything was possible.” These days, Gordon continues, “bugs are tucked away in a shadowy glen in Lake City, just around the corner from the Bigfoot Car Wash. “I becoming a very trendy good. I travel around think that’s fitting,” he cracks, “since I’m work- Middle America and people are still grossed ing on another book on Sasquatch.” The walls of out, but among the young foodies out here, the top floor are lined with moody landscapes, they are titillated.” While the thought of biting into an insect painted by his wife Karen Luke Fields, who did the illustrations for the bug cookbook. In his tiny may trigger your gag reflex, so it was for many crammed office, bookshelves filled with a stewpot Americans in the post-World War II years when of natural-history tomes climb to the ceiling. In one Chinese cuisine, just beginning to take root in suburban areas, seemed bookcase are giant water beetles strange and mysterious. Simiencased in glass, dozens of live “I HAVE PROBABLY lar reactions greeted the arrival mealworms, a flying cockroach of sushi. (long deceased), and a mounted SERVED MORE As Tulio chef and owner pair of scorpions clinking minBUGS TO PEOPLE Walter Pisano puts it, iature martini glasses. when tongue In his garage sits a large white THAN ANYONE IN “Remember was first put on the menu? freezer. It is where Gordon keeps I mean, tongue?! And then the bug food he needs when THE WORLD there was bone marrow and traveling the country to share —I’D SAY 50,000.” so on. I think this is all going his exotic cuisine in presentato be very interesting. The tions at colleges, science fairs, and various entomological workshops. For the public will decide if eating insects is a trend.” As road, he packs a deep-fat fryer in his suitcase; for now, Pisano is sticking to Italian fare at his frozen bugs are placed in an insulated beer cooler downtown establishment. “We’ve got to get over our silly fears,” observes with blue ice and checked as baggage. He’s taken his show—which he’s given such teasing titles as Thierry Rautureau, owner of the Loulay, a French “From Soup to Gnats: Adventures in Bug-Eating” bistro downtown near the Sheraton Hotel. “I’ve and “Adventures in Entomophagy: Waiter, There’s had crickets and they are delicious, but it’s going NO Fly in My Soup”—to the Smithsonian, the to take a while to get people on board. But I San Francisco Botanical Garden, and, naturally, think they will.” He too has no plans to put an Ripley’s Believe It or Not! museums in Hollywood insect dish on the menu. In fact fewer than 20 restaurants nationwide, and Times Square. On this early October day, his freezer brims with plastic pouches containing most of them high-end eateries, have bravely vencentipedes, scorpions, tarantulas, crickets from tured into offering bugs. In Seattle, in addition to Shanik, there’s Poquitos on Capitol Hill, where one Cambodia, and grasshoppers from Florida. can get a small plate of roasted grasshoppers for $2. “I have probably served more bugs to people (La Carta de Oaxaca in Ballard also serves crickets, than anyone in the world—I’d say 50,000 bugs though they are not listed on the menu.) [served] since I started doing this 16 years ago,” Gordon, a vegetarian during his salad days, says Gordon. His usual presentation: “I’ll start gobbled down his first bug in 1996, not long out with mealworms dipped in tempura batafter his cockroach book was published. It was ter. They look like Cheetos. Then it is on to the at a bug fair in Everett. The critter, he recalls, cricket stir-fry, and then the breaded scorpion was a small, dark-gray cricket lying dry-frozen scaloppine and grasshopper kebabs. The grand in a bowl of Chex Mix. “Since then, I eat bugs finale is the deep-fried tarantula.” once a week, mainly because I am working on recipes for them,” he says. The Bug Chef grew up on the north side of Chi“My first wife didn’t appreciate what I was cago. When he was 5, Gordon’s father, a producdoing. We used to get into some pretty ugly fights tion foreman at Helene Curtis Cosmetics, bought over what I was doing for a living,” ruminates him an aquarium. “I was mesmerized by it. I’ve been a nature nut all my life. Some people are born Gordon. “My daughter was 10 when I wrote the cookbook [in 1998]. She thought it was wrong, with their passions; I know I was. I spent most gross. But then the years went by, and so one day of my time as a kid in our little backyard, crawlshe heard about this radio promotion on The End ing around, looking for ants. Marlin Perkins was [107.7 FM] that they were doing. If you could my hero.” And so was his mother, a high-school English teacher. His dad died when he was young, do something really weird, then the winner, they and it was Mom who raised the family. Gordon » CONTINUED ON PAGE 13
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SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
The Future of Food » FROM PAGE 11 said, would get to meet Radiohead. Well, she really wanted to meet Radiohead, and told them she would eat insects. And she got on the air and ate a centipede and a grasshopper. She won!”
sorts. “You know, my husband hunts deer; I hunt grasshoppers. I harvest from my own garden here in Bozeman. I do sautéed grasshopper in soy sauce and put it over fresh spinach,” says Dunkel. “Black ants are also quite delicious,” Dunkel happily continues. “I’ve had them as decorations on white cake. I’ve also had silkworm pupae and cream cheese. That’s very good. I did in Montreal once have an opportunity to eat scorpion, but I passed on it. Never had a cockroach, either, but I hear they’re very good.”
SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
“I can’t keep crickets in stock,” says Justin Marx, who in November 2012 opened a specialty foods store on Lower Queen Anne. “My first order six months ago, we sold 10 cartons [each containing 150 crickets]. Now I’m hitting 30 carAt last it’s time for me to eat cricket. Meeru tons. I’m blown away.” Dhalwala wouldn’t have it any other way. In Marx Foods is a culinary concierge. This is the kitchen she spreads several hundred frozen where one ventures for niche products such as crickets onto a steel container. “Now I’m going to Peeks Pantry bun jam, pine-cone-bud syrup, add a little bit of olive oil and sprinkle them with maybe some fennel pollen or green-cucumber salt. You see? Then I add the red chili pepper vinegar, or perhaps a $30 jar of Fiddyment Farms and gently mix it all together. I know, it grosses pistachio paste. The colatura (Roman fish sauce) people out, because yes, they still look like they is to die for, enthuses Marx. He also sells kangaare alive.” She puts them into the oven, where roo meat for $11 a pound. “Rich people come in they will roast for three minutes at 375 degrees. to buy it for their dogs.” Dhalwala cuts up cilantro, jalapeños, cumin As for the uptick on crickets,“I’m not surprised. It’s seeds (“I like a lot of cumin”), and ginger. It will going to be a future protein, all be blended into a branas soon as we get over the and whole-wheat-flour “I THINK WE’RE psychological barriers. I eat dough, softened with butit myself,” says Marx. “It’s not termilk. GOING TO BE SEEING really the flavor they come for “You find crickets in the [in cricket], because there’s bush, and so the cilantro is CRICKETS IN OUR really not too much to it. It’s like the leaves in the bush,” BREAKFAST CEREAL . . . she says. “The ginger is like driven, I think, by an environmental consciousness.” IT’S JUST A SUPERIOR the brush, and the jalapeño Every few months Marx is the grass, and the cumin, FORM OF PROTEIN.” and his staff assemble in the the cumin is the dirt. I test kitchen around the corner worked at least a month from the small showroom, break out the booze and on this recipe before we started serving it earlier wine, and try the latest foodstuffs that come their this year. This is not something you’d find in a way. “We tested some insects recently. I think we cookbook.” went through 20 species. We rejected the giant male The dough is rolled flat and placed into a rhino beetle. Too tough.” sizzling-hot iron pan. It is nearly done, a small Since late July, Central Co-op has been selling pizza that will be topped with tomato-onion packets of mealworms, roasted crickets, and cricket chutney and a small tangle of cabbage and kale. flour, which runs a pricey $77 a pound. The meal“The key is to make it palatable, non-threatenworms, says marketing director Susanna Schultz, ing. To do that, you need to hide the crickets. make a good salad topping. As for the crickets, The chutney acts as the pizza sauce.” Dhalwala “I’ve been to dinner parties where people have says she serves as many as 10 orders of cricket brought them out as conversation pieces,” she says. parantha on a busy Saturday night. I must inquire: What do vegetarians say about “Are you ready for a piece?” I take it in my this? hands, and for all the world it looks like a slice of “Well,” slowly replies Schultz, “we have had a pizza. I bite into it. Good, very good. I can taste small number of vegans who thought this was a the spices, the heat from the jalapeños, the fresh step too far.” smell of cilantro and ginger. And then comes the Pat Crowley, founder of Chapul, a Salt Lake unmistakable crunch, crunch, crunch. I cannot City–based company which each month sells pretend that it is something other than pulversome 15,000 cricket energy bars to health-food ized cricket littered within that dough, for I saw stores and places like Central Co-op, tells me, these varmints only minutes before lying ugly “I think we’re going to be seeing crickets in our and naked on that steel container. breakfast cereal, in veggie burgers, pizza, and Later a colleague asks, “What did the crickets pasta. It’s just a superior form of protein.” taste like?” But all the fuss crickets are getting really “Earthy, I guess, nutty,” I say, “but overall, sort bugs Gordon. “There are 1,900 other species of tasteless, really. They’re just crunchy.” to choose from, so why are we eating the same Still, something tells me this whole matter of thing you get in a pet feed store? I know that eating bugs will not fade away anytime soon. It’s crickets and mealworms are the only insects a movement that has legs. E being raised commercially, but we need to move econklin@seattleweekly.com on,” he says. “I think the next big thing will be The Bug Chef, David George Gordon, will locusts and grasshoppers.” appear at Marx Foods (144 Western Ave. W., Like Gordon, Dunkel, the 72-year-old Mon447-1818) on Thursday, October 30 from 5 to 7 tana State entomologist, looks forward to a more p.m. to present a range of edible insects and adventurous insect diet—something besides explore how they pair with various flavors. crickets to chirp about. She too is a bug chef of The event is open to the public.
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food&drink
Dynamite and Discerning
FoodNews BY JASON PRICE
Brunswick & Hunt brings a classic touch to trendy Ballard.
BY NICOLE SPRINKLE
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You may have heard of a wondrous fried chicken
served here, and your server may in fact tell you that it’s one of their most popular dishes (though on one visit he told me they might be discontinuing it). But don’t order it if you truly love a traditional Southern fried chicken. The dish features two large pieces that have been brined in saltwater for 24 hours and then cooked sous vide for three more. The result is moist meat, of course; that’s what sous vide does. But moistness alone does not a great fried chicken make. While some things, like fatty meats, are great for sous vide, this technique doesn’t necessarily
SASQUATCH BOOKS PHOTOS BY MORGEN SCHULER
A circa-1900 landscape painting reflected in the beautiful bar. Below left: duck au poivre. Below right: oxtail with pasta.
More local goodness continues with several of Linda Derschang’s restaurants (Tallulah’s, Oddfellows, and Smith) participating in Meatless Monday on November 3. Ten percent of all proceeds will benefit Pasado’s Safe Haven, an 85-acre animal sanctuary north of Seattle, where domestic pets and farm animals can lead a better life in peace and harmony. Sleepy Magnolia gets a brewery! Urban Family Brewing just opened its new tasting room, open Friday–Sunday at 4441 26th Ave. W., where you can try cleverly named brews such as So West It’s East IPA and Deuce Is Wild, an eight-month, winebarrel-aged symphony of hoppy goodness. E morningfoodnews@seattleweekly.com
TheWeeklyDish Hot noodles are perfect, post-power outage BY NICOLE SPRINKLE
lend itself well to lean chicken. The result was a strangely rubbery, artificial texture and tasteless meat, with a skin that pops off like a shell. OK, let’s move on. From the menu’s “To Share” section: Buckwheat hearth bread with roasted Hatch chile mornay, jambon cru, and pickled peppers is essentially a queso, but the best one you may ever have in your life. Ditto for their fries, served with a stone-ground mustard and a curry ketchup. Seattle restaurateurs: Please come and try these fries and figure out how to replicate them. And while you may be feeling a little tired of the Brussels sprouts craze, this version from the “Small Plates” part of the menu will surely whisk away your jaded air. Cooked with walnuts, lardons, and truffled honey, these sprouts could be a complete meal by themselves. And though the cauliflower served with roasted golden beets, nuts, and seeds was a little on the dry side, the blast of mint vinaigrette almost made up for it. Entrées, chicken aside, were some of the best I’ve had this year. I’ve seen barely any restaurants doing duck lately (unless it’s a confit), and the pan-seared duck breast au poivre
There’s been a lot of buzz about this Japanese ramen chain’s first stand-alone location in the U.S.—in Bellevue. Open now for a few months, Hokkaido Ramen Santouka is the sort of place people line up for, and that’s just what we did this weekend. The crazy weather had caused power outages the previous night, leading to a limited menu (only ramen and rice dishes), but we weren’t deterred. We had, after all, come for the ramen. They’re best known for their tonkotsu (pork) broth, and after my friend ordered it with cha-shu (twice the amount of meat, which includes braised pork belly), it was obvious why. The creamy, salty broth had a wonderful burst of umami flavor and the pork was incredibly tender. But I also really enjoyed my bowl: In the tonkotsu kara miso ramen, served extra-spicy, the bonito-flavored pork broth gets a hit of miso paste. Both bowls of soup came with bamboo shoots and seaweed sheets. The noodles here are superlative, with just the right chew. There’s a reason we voted it Best Ramen in Seattle. E NICOLE SPRINKLE
SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
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hey had me at green velvet.” That’s what my dining partner said when we were led to the dark-green velvetseated and matching leather-backed booths at Brunswick & Hunt, a new restaurant on Ballard’s increasingly restaurant-clad Northwest 70th Street. (It joins Delancey, Essex, The Fat Hen, and Honoré Artisan Bakery). And I couldn’t agree more. The restaurant’s interior has a backstory, of course, concerning how its very old paintings and bar were found and restored. To be honest, I’m pretty maxed out on the folklore of dining establishments and their “reclaimed” accoutrements (bring me a Roman relic and we’ll talk), so I’m not going to share, even though I have a little sheet detailing the story in front of me. (They give them out at the restaurant, so if you really care, read it there.) But don’t let my lack of enthusiasm for the tale of the interior belie how much I love it. A massive fin de siècle landscape painting and a smaller sister painting are lovely and help give the restaurant its clubby, rustic elegance. And the behemoth antique backing the bar is one gorgeous feat of woodworking, the place’s piece de résistance. It’s huge, walnut-hued, and bears intricate carved detailing. These items, paired with those gorgeous greens, combine to great effect—and, what’s better, tie in with the restaurant’s Pacific Northwest take on classic dishes. Here is a restaurant for adults, thought out by adults; it’s the first one I’ve been to since Westward’s opening that feels like a complete vision realized. The kitchen, too, manages something few restaurants in Seattle do: cooking quality food flawlessly without relying on all the voguish ingredients that ultimately are either scant in a dish or irrelevant. Yes, there is foie gras, but it’s done thoughtfully, as salt-cured medallions that melt into a sweet carrot purée with a basil pistou. But before I speak of all the things I love here, let me address the elephant—er, chicken in the room.
For those of you who love free events, pop into World Spice Merchants on November 5 from 5:30–8:30 p.m. and toast the release of their new cookbook, World Spice at Home, a collaboration between WSM owner Amanda Bevill and author Julie Kramis Hearne. Its 75 recipes will transmogrify your ordinary meal into a delicious dinner using spice blends. Both authors will be at the open-house event; giveaways will include spice and recipe samples.
here makes you wonder why not. Duck breast, when cooked to this medium-rare precision so that the subtle pepper sauce beautifully accents its natural sweetness, is a grown-up dish that requires no bells or whistles. It’s served simply with wild rice, which you’ll use to sop up all the meat’s juices and the sauce. So smugly satisfied with my dish, I tried my friend’s entrée with little interest, ready to dive back into my duck instead. But, to my surprise and delight, his meal closely rivaled mine. Shredded pieces of braised oxtail came on a bed of orecchiette pasta with an arugula coulis, cipollini, fried crimini mushrooms, and pecorino. Somehow the mix of the rich meat with the hearty pasta, the bright arugula sauce, and the sweetness of those lovely onions combined to create a perfect, uniquely inspired dish.
» CONTINUED ON PAGE 17
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food&drink» Brunswick & Hunt » FROM PAGE 14 Dessert, an apple fruit crumble, was also a winner. Unlike a lot of crumbles, the fruit cooked down to mush and laden with far too much crumble, this one had large chunks of sweet baked apples that still had a crunch to them and just a smattering of topping. A dollop of crème fraiche was a perfect, restrained touch. Again, grown-up fare.
One Wine Event You Don’t Want to Miss
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place. I secured a Friday-night reservation the day before—but with only two options, 5:45 or 8:30. Once I was there, the room quickly filled, and the same server who’d been almost too didactically helpful on an earlier weeknight was now harried and curt. In fairness, only one other server was working the large room. This meant that we lingered over our drinks for quite a while waiting for our appetizers (I suggest the Alouette if you like citrusy cocktails; the Huntsman if you’re more of a whiskey drinker), and that the fries we planned to eat with our entrées got gobbled up during the 20-minute wait. I’m hoping that they simply weren’t prepared for such early success and will staff up accordingly, at least on the weekends. After a spate of lackluster openings, it was a pleasure to dine in a restaurant that knows itself. Brunswick & Hunt is the real deal. And, hey, if you find yourself with a little wait time between courses, maybe it’ll give you a chance to read about the provenance of this wonderful restaurant’s fabled decor. E
aste of Tulalip is my favorite local tasting event, an unrivaled opportunity to taste world-class wines in a gorgeous setting, and it’s just a few weeks away. I’m obviously very excited, but any serious tasting requires a certain amount of preparation. Beyond the obvious (but important) tips like “Don’t drink and drive” and “Don’t wear white,” I’d like to pass BY ZACH GEBALLE along a few other bits of wisdom, many of which can be used for tastings in general. Wait on the red. Yeah, I know, you’re really excited to get to Quilceda Creek or Caymus or some of the other iconic West Coast wineries that will be present, and I get it. Those are great wines, but can be hard (or expensive) to taste normally. Yet they’re also some of the most intensely flavorful wines you’ll find at Taste; if that’s your first stop, stepping back to Oregon pinot noirs, let alone whites, will be tricky. Eat something! First of all, lots of great food will be available, and missing out on it would be a shame. Second, having food in your stomach will keep you sober. Lastly, some wines are simply more enjoyable when paired with foods. Keep a sharp blue around for those big red wines, or some hard cheese for a lean, acidic white. Go global. While most attendees are mobbing the Washington, Oregon, and California wineries, you can beat the crowds and explore world-class wines you rarely see from Germany and New Zealand. That reminds me . . . Embrace your sweet tooth. German rieslings are generally ignored by most wine drinkers because they have the unsavory reputation of being sweet. While there’s some truth to that, well-made German rieslings are some of the finest wines on the planet. Yes, when poorly balanced, that sweetness can be overwhelming and unappealing, as was often the case with the commercially available rieslings in the U.S. for many years. At their best, though, German rieslings contrast their residual sugar with electric acidity and a stark, powerful minerality. The combination, when properly balanced, creates exceptionally complex and interesting wine. In particular, the wines from Joh. Jos. Prüm, Ernst Loosen, and August Kesseler are worth your full attention. Find a pace. It’s a long event. You don’t need to rush to every single stand or try every wine in one go. Taking a break or two to eat, breathe, and rest your palate will make your experience all the more enjoyable. So there you go. A few tips to help you better enjoy this yearly celebration of wine. Are you going? Drop me a line at thebarcode@seattleweekly.com and I’ll find you by the riesling! E
BRUNSWICK & HUNT 1480 N.W. 70th St., 946-1574, brunswickandhunt.com. 5–10 p.m. Wed.–Sun.
TASTE OF TULALIP Tulalip Resort Casino, 10200 Quil Ceda Blvd., Tulalip, Wash., 1-888-272-1111, tasteoftulalip.com. $95 and up per person. Fri., Nov. 14–Sat., Nov. 15.
THEBARCODE
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PHOTOS BY MORGEN SCHULER
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urns out more than just quirky FBI agents and Twin Peaks fans like cherry pie. “All people love pie, especially old folks,” says Kyle Twede, owner of Twede’s Cafe in North Bend, recently on the phone. “A lot of folks who come in here for pie don’t know about the Twin Peaks connection. They see a pie sign from the street and will turn around for it.” In the cult series that ran from 1990 to 1991 on ABC, his restaurant served as the Double R diner, and was frequently praised in the show for its “cherry pie that’ll kill ya” and “damn fine coffee.” Advertised in oversized letters on the storefront—”Home of Twin Peaks Cherry Pie”—his cafe and the pie within are ground zero for the area’s daily influx of visiting pilgrims. Fans are in a frenzy over the recent announcement that Twin Peaks will return in 2016 with nine new episodes in celebration of the 25th anniversary of the end of its first run. There’s no official word yet if creators David Lynch and Mark Frost will double back to North Bend and the Snoqualmie Valley, where some of the show’s iconic scenes were captured, but the buzz alone has perked the attention of the business owner who says he sees about “one or two tables a day” who come in specifically because of the show. On a recent visit I counted four of the eight tables having cherry pie and coffee, and multiple tourists taking pictures in the parking lot. In addition to the photo opportunity offered by the diner’s facade, with Mount Si looming in the background, there’s a mural on the side of the building where fans can pose in front of a mock “Welcome To Twin Peaks/Population 51201” sign. Remodeled after a fire in 2000, Twede’s interior bears little resemblance to the campy lumbertown hangout portrayed onscreen. Look closely enough, though, and you’ll see its bones are still intact: that row of booths on the left, the lunch counter, the door and window to the kitchen in the back. If you’ve never been in before, your
“Diane, if you ever get up this way, that cherry pie is worth a stop.” —Agent Dale Cooper
server can spot you a mile away. “Cherry pie and coffee?” ours asks on a recent visit. Tourist meccas not being known for quality fare, the pie and coffee were pleasantly surprising. Twede’s brews coffee from the Pioneer Coffee Roasting Company in nearby Cle Elum, and it was fresh, hot, and strong when ordered during the atypical mealtime of 4:45 p.m. on a Sunday. (I successfully restrained myself from specifying how I take it—“Black as midnight on a moonless night.”) Also good was the pie, which, if you can get over the canned filling, has an excellent crust: dense and buttery with just a little flake, more like a tart crust than a traditional homemade shell. Twede’s approach to piemaking has evolved since he took over the business in 1997. By then the series was off the air, but offering cherry pie was still “something I had to do.” After trying different recipes for years, he finally settled on the nine-ingredient winner his landlord gave him; he’s been using it for about 12 years. The pies are made by hand by a baker onsite. “I can’t tell you the ingredients, of course,” he jokes, but explains he opts for canned filling over something more artisanal because of its visual punch. “Real cherries have the tendency to look off-color,” he says. He’s quick to talk up other items on the menu. “Pie is not a money-maker,” Twede says. “It’s labor-intensive, and you need multiple ingredients. If [David Lynch] calls me, I’m going to tell him, ‘Let’s do a damn fine pancake this year!’ ” E
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arts&culture
Running the Numbers Two approaches to art at the Frye: quantitative and qualitative. BY BRIAN MILLER
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was trending upward, like a penny stock or a Taylor Swift song. Put differently, we follow the numbers. And I wonder now if other museums will follow the Frye’s provocative example.
bmiller@seattleweekly.com
FRYE ART MUSEUM 704 Terry Ave., 622-9250, fryemuseum.org. Free. 11 a.m.–5 p.m. Tues.–Sun. (11 a.m.–7 p.m. Thurs.)
Okada and Riva as postwar lovers. FRIDAY, OCT. 31
Hiroshima Mon Amour
The great French director Alain Resnais died in March, after 60 years of filmmaking. His very last feature, Life of Reilly, just played the New York Film Festival and will eventually reach one of our repertory houses. In the meantime, his 1959 feature debut, written by Marguerite Duras, has been given a spiffy new 4K digital restoration, meaning that the voluptuous blackand-white cinematography of Sacha Vierny will be that much more exquisite. Hiroshima is both a dreamy meditation on that destroyed city and the ruins of love. In never-ending, overlapping flashbacks, we learn how the postwar affair between a Japanese architect and a visiting French actress (Eiji Okada and Emmanuelle Riva of the recent Amour) is informed by her prior World War II romance with a German soldier. Duras’ poetic dialogue and voiceovers can seem a bit pretentious to modern ears, but this beautiful, timeless film was a revelation to its original U.S. audiences. Resnais and fellow travelers in the nouvelle vague swept through American arthouses—along with the new postwar cinema from Japan and Italy—just as the old Hollywood genres and formulas were growing stale. There’s a frankness here about female desire, and an insoluble dramatic situation (who can ever reconcile present and past? who can ever explain an affair?), that beguiled viewers then as today. (Through Thurs.)
SIFF Cinema Uptown (and SIFF Film Center), 511 Queen Anne Ave. N., 324-9996. $7–$12. See siff. net for showtimes. BRIAN MILLER
BAM Biennial: Knock on Wood
Again, there’s a very materials-focused emphasis to this biannual group show. Clay and fiber art were featured in 2012 and 2010, respectively; now it’s the chisel-and-mallet set’s turn to display their creations. Some of the three dozen artists featured you know or have seen before at BAM (or local galleries), like Rick Araluce, Whiting Tennis, and W. Scott Trimble. The juried selection offers every variety of woodworking from the Northwest, ranging from indigenous Native American carvings to smartly modern furniture that might fit into your SLU condo. In addition to a juried award, which bestows a
SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
It would’ve been inhospitable to place visiting Chinese artist Pan Gongkai into the same #SocialMedium competition, though a more daring curator might’ve done just that. (Or better, put him into a contest with Ai Weiwei.) Pan led a press tour through Withered Lotus Cast in Iron earlier this month, and he’s very much a safe, state-sanctioned artist with academy positions and institutional laurels. He’s no dissident, no innovator, and his large ink-on-paper paintings have a comfortable heft and solidity. They’d look good on the walls of bankers’ high-rise conference rooms in Shanghai or Hong Kong. Organic forms are paramount; there’s even one landscape (a moonlit lake from 2005); and the recent Frye-commissioned works are studies of the richly symbolic lotus flower. Pan, born two years prior to the 1949 birth of Communist China, lived through the Cultural Revolution (when his father, a political prisoner, was persecuted to death). But to succeed in the modern Chinese state, he’s learned to paint around such unpleasant things. The patient lotus endures muddy tumult; the flower can survive 1,000 years and even seemingly resurrect itself from death. If not a symbol of overt resistance, it remains aloof from man’s petty, short-term squabbling. A century’s political upheaval means nothing to such delicate fortitude, which Pan presents on a nearmonumental scale. (The title piece in Pan’s first U.S. museum show, on view through January 18, stretches across 50 feet of wall space!) Withered Lotus is just one guy, one body of recent paintings (17 in total) curated by the Frye’s Jo-Anne Birnie Danzker. Neither Facebook nor Instagram nor the Internet-voting public had anything to do with it. I don’t find the show particularly impressive, but there’s a unity to it, a sense of deliberate selection. The mob may have its strength in numbers, yet the artist’s individual hand—or curator’s judgment—stands above it. Rather like the lotus, in fact. E FRYE ART MUSEUM
he audience votes with its feet. At least at the museum, where you’re not supposed to applaud or cheer, people walk in—and out—purely on the basis of what they like. All museums track attendance figures; though I’ve often felt in our current age of RIFD tags that museums should monitor the duration of visits, as websites do. What’s popular—if not to say worthwhile—is measured by the swings of the door. What’s good is counted by the seconds per painting that patrons spend looking. Or, it could be; this might be tracked via motion sensors and such— like the Henry’s Sanctum. (Somebody ought to launch a The winner! Scheuerer’s Peacock. At right, Pan’s High Autumn. Kickstarter campaign . . . ) but this is also a useful inducement to visitors— All of which brings me to #SocialMedium , which is every museum’s goal. The Frye even just which the Frye is proudly calling its first got a write-up in The Wall Street Journal, a rare “crowd-curated” exhibit, selected in August and deserved instance of national recognition. from 232 museum-nominated paintings by 4,468 online voters. Now 41 works are on view through January 4, with their likes tallied and Still, there’s a binary aspect to #SocialMedium. selected online comments appended. A like is akin to the famous Siskel and Ebert Who’s #1? That question is both the problem thumbs up or down—judgment stripped of with the show and what’s interesting about it. Why critical nuance. And speaking of thumbs: Also must art be ranked? Should art be ranked like the on the wall cards with the vote tallies are little movies’ weekend box-office numbers or Nielsen TV pictographs and emoticons, badges of the new ratings? Isn’t a museum where we go to escape from Internet literacy (or illiteracy, depending on such fleeting indices of popular taste? Just because your perspective). The show both celebrates and everyone’s reading Jodi Picoult today doesn’t mean reduces; the canon becomes a list. she’ll be remembered in a century alongside Jane The danger here is the trivialization of art as Austen. Fine art—meaning the classics—is supclickbait. (“You’ll be shocked by this one weird posed to stand up against the caprices of time. painting the Frye curators don’t want you to The top five vote-getters are displayed up see!”) Moreover, the show’s conceit is better front, with the following 35 bridesmaids arrayed and broader than the art it actually contains. more by curator’s eye. The elect group is led by Yet it doesn’t go far enough. Why not collect the obscure—to me, anyway—Julius Scheuerer more data? Why not compare more disparate and his 1907 Peacock, which earned 3,525 likes art—even from different collections? Why not on Tumblr. It’s no great painting, but it’s got an (see above) map museumgoers’ circulation pateasy, Audubon-style accessibility. Plus there are terns and viewing times? If museums are going animals involved (as with #4, Moulting Ducks), and to delve into data, go all the way like Amazon, there’s a landscape aspect to it (like #5, The Shepwhose stealthy algorithms track our shopping herdess). I would’ve placed my money on the Frye’s habits—actually a measure of thinking and signature Franz von Stuck nude Sin to win, but it personality—to such an alarming, comprehenended up #2. Plumage trumps sex? Go figure. sive degree. (If you like Goya, you might like Online comments, almost interchangeable, Velazquez.) Big Art, meet Big Data. are featured on wall cards. This lends to the The Frye’s crowdsourcing experiment is populism—some might say narcissism—of the another example of the leaderless quantificashow, a kind of “Look, there I am!” aspect for tion of taste, like The New York Times’ list of local visitors. (The actual voting was unrestricted most-e-mailed articles. If other people think it’s and worldwide; over 17,000 likes were cast.) The good, you’re more likely to turn in that direction. names of voters are even painted in the entry Peacock won by a wide plurality over the next four foyer, almost like institution-sanctioned graffiti; paintings not because it’s better but because it
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comedy material through town almost annually. What’s he—in his angry, exaggerated stage persona—upset about today? Where to begin? It’s almost easier to assess what’s not making him irate. Still, since the midterm elections are nigh, let’s focus on Black’s new pet peeve, the subject of an ACLU campaign right now that’s called, quite appropriately, Fuck Voter Suppression. In it, he tries to keep cool as a lawyer explains what’s happening in North Carolina, Florida, Wisconsin, and Texas. “Why stop people from voting early?” Black fumes. “What’s next, a poll tax? No fucking way! Elected officials shouldn’t get to choose who gets to elect their officials!” We here in mail-in-voting Washington can feel safe from Black’s scorn, but next Tuesday’s election results will probably give him a whole new source of outrage. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $21–$46. 8 p.m.
BRIAN MILLER
N-E-X D-O-C-S Elaine Hanowell’s Crouching Dog.
» FROM PAGE 19 future solo show and a $5,000 prize (the winner to be announced this week), there’s a popular balloting system whereby visitors can select their own favorite pieces. Unlike the Frye’s current crowdsourced #SocialMedium show, here you cast your voting on regular old scraps of paper— appropriate, of course, since they were originally made of the same material the artists are using. (Through March 29.) Bellevue Arts Museum,
510 Bellevue Way N.E., 425-519-0770, bellevue arts.org. $5–$10. 11 a.m.–6 p.m. BRIAN MILLER
Ghost Game VIII: 13 Witches
The Cabiri love a good ghost story, especially when there’s flying involved. For this ongoing Halloween-themed show, they use their considerable talents as dancers and aerialists to illuminate a baker’s-dozen scary tales. Performed in cabaret style, with a dessert menu from Dilettante Chocolates, the company will slither and swing through the audience, while we shiver in delight. Tonight’s performance includes a costume competition, so you can dress for the occasion. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., cabiri.org. $30–$100. 8 p.m. (Repeats Sat.)
SANDRA KURTZ
SATURDAY, NOV. 1
Lewis Black
TICKETS: SNOCASINO.COM OR THE SNOQUALMIE CASINO BOX OFFICE SEATTLE’S CLOSEST CASINO | I-90 E, EXIT 27
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Thoughtful playwright or ranting stage performer: Black comes in two modes, like an on/off switch hissing smoke and sparks, about to catch fire. Seattle’s had the pleasure of experiencing both positions, since his marital comedy One Slight Hitch was performed at ACT two years ago, and he tours his more topical
Fall is the season when serious documentary contenders begin to show their hand for the Oscar nomination shortlist, e.g., this week’s Citizenfour. But a whole lot of worthwhile nonfiction filmmaking is being done without benefit of theatrical releases, HBO backing, or national publicity. This five-night, five-title documentary series samples the global zeitgeist, ranging from Ukrainian protesters to Portuguese architecture. Somewhere in the middle is the Appalachian poverty belt visited in Surviving Cliffside (5 p.m. Sun.), which director Jon Matthews, a former ACLU lawyer, will introduce. Matthews once attended summer camp in the West Virginia community of Cliffside, where his drug-addicted, petty-thievin’ cousin E.J. now resides with his wife and two young daughters (one recently recovered from leukemia). Cliffside is something of a freak show, like Werner Herzog-meets-Honey Boo Boo, but Matthews doesn’t condescend to his country cousins—even while accompanying E.J. on drug runs and shoplifting errands. And if the little cancer-survivor girl wants to compete in pee-wee beauty pageants, fine; Matthews doesn’t poke fun at the sequins and glitter. Poverty and drug use are the real pathologies here, and when Matthews interviews a sad, spastic junkie trying to dance himself awake—i.e., stay out of a drug coma—you feel those crushing burdens upon the rural populace. The series begins tonight with Jessica Oreck’s exploration of Eastern European folklore, The Vanquishing of the Witch Baba Yaga. (Through Wed.) North-
Ask him about voter suppression.
west Film Forum, 1515 12th Ave., 2675380, nwfilmforum. org. $6–$12. 5 p.m. BRIAN MILLER E
.COM LEWISBLACK
SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
THUR | NOV 13 | 8PM
COURTESY ELAINE HANOWELL
arts&culture»
(10/28) Sustainable Path: Climate Change in the Northwest (10/28) Rick Steves Israelis and Palestinians Today
» Stage
Opening Nights Dogfight ARTSWEST, 4711 CALIFORNIA AVE. S.W., 938-0339, ARTSWEST.ORG. $5–$37. 7:30 P.M. WED.–SAT., 3 P.M. SUN. ENDS NOV. 22.
(10/29) University Book Store: Valerie Plame
TOWN HALL
outrage if we’ve just spent 10 minutes laughing at women made to appear as grotesque as possible? That was a specific problem. Dogfight’s overall problem is that it evokes next to nothing of the film’s peculiar bleak bittersweetness, either in the Eddie/Rose plotline or in the backdrop of the Vietnam War experience (we spend a good amount of time with Eddie’s fellow soldiers) and the cultural rift it caused, still an open wound
air. Tim Gouran’s Laertes self-detonates as only Gouran can. And the various lesser characters played by Brandon Simmons and Scott Ward Abernethy manifest more secret personality than many a principal character in other productions. Quibbles? Kristen Kosmas seems too mature for Ophelia, Todd Jefferson Moore’s wide-eyed, doddering Claudius too broad. Kazanjian stages the famous bedroom scene between Hamlet and Queen Gertrude (Elizabeth Kenny) with zero Oedipal tension, and the fight choreography is a bit tentative. Still, I found myself riveted by this tiny yet immersive production, where Nina Moser’s set evokes a compact, creepy Elsinore with candlelight and brick. The air smells dank, and the dirt floor offers actors anguished loamsmearing opportunities. A single row of seating puts the cast within a few feet of the audience, revealing Hamlet’s abject inner life as if in highdef close-up. MARGARET FRIEDMAN
MICHAEL BRUNK
a half-century later. Co-credited to Benj Pasek and Justin Paul, the music is more or less Rentlite (though attractively orchestrated), just like, it seems, every other small-scale musical since, and the lyrics rhyme a bit glibly, especially coming from the mouths of Marines. Eddie, Rose, and Vietnam all deserve a deeper treatment than what is basically a Very Special Episode of Glee. But it’s that party scene in particular that demands rethinking, because as it stands it’s as near-unwatchable as anything I’ve ever seen on a stage. GAVIN BORCHERT
PHamlet NEW CITY THEATER, 1404 18TH AVE., 271-4430, NEWCITYTHEATER.ORG. $15–$20. 7:30 P.M. THURS.–SAT. ENDS NOV. 15.
Four years after Seattle Shakespeare’s indelibly satisfying Hamlet, there’s another notable local production of the play that shouldn’t be missed. The prodigiously pliable Mary Ewald stars as young Hamlet, shedding decades off her impressive odometer with astutely formulated adolescent smoldering. Her face and minimalist gestures are endlessly engrossing, made for the minute nuances of low-action theater like Beckett. (For the duration of 2011’s Happy Days, only her face was visible atop a mound of sand.) Such emotional articulation pays off handsomely in Hamlet’s sleuthing and dithering, making the often muddled shades of his indecision utterly distinct. Under the unambiguous direction of John Kazanjian, the play’s twists and shadows have never been more comprehensible to me. There are also many gems among the supporting performances. A svelte Peter Crook scrumptiously deadpans Polonius’ insouciant hot
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(11/5) Town Music NOW Ensemble (11/5) Richard Brookhiser Abraham Lincoln’s Many Fathers TOWN MUSIC (11/6) Forterra presents
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(11/7) Matt Barreto Latinos, Shaping American Politics (11/7) Earshot Jazz Festival: Pharoah Sanders Quartet (11/8) Dunava presents Harmonies from Bulgaria (11/9) Seattle Slack Key: 6th Annual Seattle Slack Key Festival
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SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
The title of this musical—based on the affecting 1991 movie—refers to a hideous sort of malebonding competition among a group of Marines the night before they ship out of San Francisco: Whoever brings the ugliest woman to a party wins. But Eddie ends up falling for Rose, the shy aspiring singer/songwriter he’d intended to humiliate, and they spend an increasingly tender night together. It’s 1963, so you know where he’s shipping out to, and that adds a melancholy foreboding to their eight-hour romance. The film’s a potentially powerful basis for a stage work; my hopes were high; and last Thursday’s opening night of ArtsWest’s production started engagingly enough. Until we got to the party scene. A pretty vile idea, right? Cruel public ridicule of innocent women? Well, unbelievably, the scene is played for laughs, broad ones at the women’s expense, and it got them. One of the women was played by a man in drag; another flung herself around the dance floor deliberately spastically; another was supposed to be Native American, which topped this shitpile with a charming dollop of racism. I’m not sure whether this approach was the intention of the book writer, Peter Duchan, or the brilliant idea of director Mathew Wright. In either case, I’ve never seen a more staggeringly misguided, profoundly offensive misreading of artistic intent. The scene simply invalidates the rest of the show. Though Devon Busswood, as Rose, gives her all to her subsequent solo lament, how hypocritical is it to expect the audience to be moved by her mistreatment when the show itself does what Eddie did? There’s an attempted rape near the start of Act 2; how are we supposed to feel this as a moral
ARTS & CULTURE
(10/30) Seattle Radio Theatre LIVE Halloween Radio Play ‘A Walk in the Dark’
ACT THEATRE, 700 UNION ST., 292-7676, ACTTHEATRE.ORG. $55 AND UP. RUNS TUES.–SUN. ENDS NOV. 16.
Busswood’s forlorn Rose.
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(10/30) Health Matters The Human-Animal Health Connection
Vanya and Sonia and Masha and Spike
Every morning Vanya and Sonia drink coffee while watching the blue heron feed at their pond in Bucks County, Pennsylvania. The scene seems serenely perfect, except it’s not. Vanya (R. Hamilton Wright) and Sonia (Marianne Owen) are unmarried 50-something siblings—Sonia is adopted, and she’ll keep reminding us of that— who cared for their dying parents and still live in their childhood home. Their sister Masha (Pamela Reed), an aging starlet, funds their bleak lives (someone has to). Though cut from the same proverbial cloth, Vanya and Sonia and Masha are as unique as they are the same. Their theater-loving parents named them after Chekhov characters, and the specter of Chekhov hangs over Christopher Durang’s Tony-winning comedy. Director Kurt Beattie mixes the absurdist levity with a whirlwind of bittersweet emotions; the effect is often frustrating but also satisfying. Durang’s characters can seem flat, at times almost caricatures, though his themes are resoundingly heartfelt. There’s more mood here than solid plot (again: Chekhov), which revolves around a family reunion of sorts. Masha visits her siblings with her boy-toy Spike (the excessively bare-chested William Poole) with the intent of selling the house, a misfortune foretold by Cassandra the housekeeper (the gregarious Cynthia Jones). Meanwhile neighbors visit, siblings bicker, compliments are undone by criticism, schemes are uncovered, and parties end in disaster. Despite all Durang’s amusing references to Chekhov, Pirandello, Greek tragedy, and even Snow White and the Seven Dwarfs, you sometimes feel you’re watching a clever yet contrived sitcom. The happy ending is a given, and the play’s almost more interesting for its individual character and scene studies. For instance, a phone exchange between Sonia and a gentleman caller creates unexpected pathos and brings to light the allure of self-sabotage. A spastic outburst from Vanya on the nature of change may cause you to wonder if he’s about to suffer a nervous breakdown. And the prima donna Masha’s inability to give up the spotlight is seen to be human, however inane. A carefree country life this isn’t, and Carey Wong’s ironically idyllic set holds enough dust and skeletons to fill a lifetime—or three. IRFAN SHARIFF E
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NOW PLAYING AT ACT THEATRE Buy tickets today, or see both shows with an ACTPass!
©John Cornicello
Now–Nov 16
SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
Oct 30–Nov 9
22
PART OF
A cycle of plays exploring the theatrical and playful evolution of silence and language.
acttheatre.org | (206) 292-7676 | 700 Union Street, Downtown Seattle
arts&culture» Performance Stage OPENINGS & EVENTS
ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Judith Viorst herself wrote
the book and lyrics for this musical adaptation of her popular kids’ book. SecondStory Repertory, 16587 N.E. 74th St., 425-881-6777, secondstoryrep.org. $10. Opens Nov. 1. 1 & 3 p.m. Sat.–Sun. Ends Nov. 23. LEWIS BLACK SEE THE PICK LIST, PAGE 20. THE EDGE Bainbridge Island’s own improv troupe presents a special 20th anniversary show. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. $12–$16. 7:30 p.m. Sat., Nov. 1. ENDGAME/NDGM Beckett’s theater-of-the-absurd classic is paired with Blood Ensemble’s reimagining of Beckett’s themes. Ballard Underground, 2220 N.W. Market St., ghostlighttheatricals.org. $18–$20. Opens Oct. 31. 7:30 p.m. Fri.–Sat. plus Mon., Nov. 3 & Thurs., Nov. 13 & 20; also 2 p.m. Sun., Nov. 9. Ends Nov. 22. FAST COMPANY “Meet the Kwans: a ChineseAmerican family of expert con artists” in Carla Ching’s comic crime caper. Theatre Off Jackson, 409 Seventh Ave. S., 800-838-3006, porkfilled.com. $12–$18. Opens Nov. 1. 8 p.m. Thurs.–Sat., plus 8 p.m. Mon., Nov. 10 and 2 p.m. Sun., Nov. 16. Ends Nov. 22. FERNANDO The Seattle Playwrights’ Circle presents a reading of John C. Davenport’s play, which promises “passion, family, folklore, mysticism and baseball.” Elliott Bay Book Co., 1521 10th Ave. $5. 6 p.m. Sun., Nov. 2. 5 BY BECKETT Act Without Words I and II, Rough for Theatre I and II, and Catastrophe, presented by Sound Theatre Company as part of the Seattle Beckett Festival. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $15–$25. Opens Nov. 1. 8 p.m. Thurs.– Sat., 2 p.m. Sun. Ends Nov. 9. I NEVER BETRAYED THE REVOLUTION Christopher Danowski’s play sends up Soviet history. West of Lenin (get it?), 203 N. 36th St., 800-838-3006, west oflenin.com. $15–$20. Preview Oct. 30, opens Oct. 31. 8 p.m. Thurs.–Sat., 2 p.m. Sun., plus 8 p.m. Mon., Nov. 10. Ends Nov. 23.
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THE LIVES OF THE GREAT RUSSIAN COMPOSERS
CURRENT RUNS
AFTERLIFE An improv look at The Big Question.
Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions.org. $12–$15. 8:30 p.m. Fri.–Sat. Ends Nov. 22. BLOOD COUNTESS Kelleen Conway Blanchard’s play about Elizabeth Bathory and her unorthodox beauty regimen. Annex Theatre, 1100 E. Pike St., annex theatre.org. $5–$20. 8 p.m. Thurs.–Sat. plus Mon., Nov. 10. Ends Nov. 22. CAMPFIRE Improv scenes based on spooky ghost stories. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpectedproductions.org. $10. 8:30 p.m. Thurs. Ends Oct. 30. CLUES Jet City’s board-game-based improvised murder mystery. Jet City Improv, 5510 University Way N.E., 352-8291, jetcityimprov.org. $12–$15. 8 p.m. Thurs.–Fri. Ends Nov. 21. DISASTER MOVIE An improv take on one of Hollywood’s most spoofable genres. Unexpected Productions’ Market Theater, 1428 Post Alley, unexpected productions.org. $7. 8:30 p.m. Sun. Ends Nov. 23. DOGFIGHT SEE REVIEW, PAGE 21. 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 SEE REVIEW, PAGE 21.
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ing up? The ladies in Jenny Rachel Weiner’s play did. Annex Theatre, 1100 E. Pike St., annextheatre.org. $5–$10. Opens Oct. 28. 8 p.m. Tues.–Wed. Ends Nov. 19.
NEIGHBORHOOD 3: REQUISITION OF DOOM
In Jennifer Haley’s play, suburban teens become addicted to a video game as reality begins to blur. Cabaret Theatre, Hutchinson Hall, UW campus, uwuts.org. $5–$10. 7:30 p.m. Wed.–Sun. Ends Nov. 2. OR, THE WHALE A call-center employee shares MobyDick over the phone in this extrapolation of Melville. Stage One Theater, North Seattle College, 9600 College Way N., ponyworld.org. $16. 8 p.m. Thurs.– Sat. plus Mon., Nov. 3. Ends Nov. 15. 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. 31. Ends Nov. 1. SPLIT SECOND IMPROV Second Story’s improv competition. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $20. Two shows each Sat.: 7 p.m. for families, 8 p.m. could get naughtier. Ends Dec. 13. STORIES FOR BAD CHILDREN Cautionary tales from the Vox Fabuli Puppets and others. Richard Hugo House, 1634 11th Ave., voxfabuli.com. $15–$18. 8 p.m. Fri.–Sat. 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. seattleimmersivetheatre.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. All this is organized by just the lightest spritz of storyline: Vivian Beaumount and Clifton Caswell (Christine Deaver and Kevin Kent) return to a swanky hotel to renew their vows. By the end, the gender-melding is complete—Beaumount and Caswell reconcile, each adopting at least two sexes, maybe more. It’s a romantic finale as spicy as the Southwest-inspired menu. 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. THIS IS HALLOWEEN SEE THE WEEK AHEAD, PAGE 35.
Performing Stardust, a hip-hop-inflected coming-of-age story Nov 20-22
Jon Kimura Parker Pianist explores the fantasia, from Beethoven to Wizard of Oz
The
• • VANYA AND SONIA AND MASHA AND SPIKE SEE REVIEW, PAGE 21. • THE VAUDEVILLIANS Two song-and-dance artistes,
touring Antarctica in the ’20s, get frozen in an avalanche for 90-some years and stage a post-thaw comeback. Jerick Hoffer and Richard Andriessen, in their stage personae of Jinkx Monsoon and Major Scales, assume the characters of chanteuse Kitty Witless and pianist Doctor Dan Von Dandy, who awaken to find their numbers have, in the intervening decades, been plagiarized as pop hits. Hoffer in drag becomes a brassy belter with remarkable lungs and fabulous gams; I’d love to see him as Chicago’s Roxie Hart. There’s a hint of Megan Mullally’s Karen Walker in his vocal inflections as Witless—maybe Karen impersonating a Carol Channing impersonator, or vice versa. Their flow of shtick never slows, gags and mugging are sprayed at a machine-gun pace, and in the audaciously invasive audience-participation segments, Hoffer’s ad-lib skills are peerless. If the pair stretches Act 2 a bit thin, Witless will be damned if she doesn’t make up for it. 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. ZOMBIE CHEERLEADERS FROM HELL! Burlesque troupe The Heavenly Spies promises “a sinister evening of terrifying masks and gravity-defying hair.” The Can Can, 94 Pike St., heavenly-spies.com, thecancan. com. $20–$100. 7 & 9:30 p.m. Thurs.–Sat. Ends Nov. 1.
Touré-Raichel Collective featuring Vieux Farka Touré Idan Raichel Souleymane Kane Uri Kleinman
Masterworks of collaboration and improvisation
PAGE 20.
INTERNATIONAL BALLET THEATRE: DRACULA
The Saturday evening performance is followed by a Halloween costume party. Meydenbauer Theater, 11100 N.E. Sixth St., Bellevue, 425-284-0444, IBTbellevue.org. $25–$45. 7:30 p.m. Fri., Oct. 31, 2 & 7:30 p.m. Sat., Nov. 1, 2 p.m. Sun., Nov. 2.
» CONTINUED ON PAGE 24
Nov 15
Miró Quartet
Dance
GHOST GAME VIII: 13 WITCHES SEE THE PICK LIST,
Nov 14
Works by Haydn, Beethoven and Schuller
Nov 18
MEANY HALL ON THE UW CAMPUS | 206-543-4880 | UWWORLDSERIES.ORG
SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
Celebrating the works of Pushkin, Lermontov, and Shakespeare in music and prose. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $10–$15. 7 p.m. Tues., Nov. 4. POLAROID STORIES Naomi Iizuka’s “spellbinding tale of young people pushed to society’s fringe, inspired in part by Ovid’s Metamorphoses.” Cornish Playhouse Studio, 201 Mercer St., 800-838-3006, cornish.edu. $5–$12. 8 p.m. Wed., Oct. 29–Fri., Oct. 31; 2 & 8 p.m. Sat., Nov. 1; 7 p.m. Sun., Nov. 2. THREE SISTERS To accompany Christopher Durang’s comic take on Chekhov now running at ACT, here’s the original. Cornish Playhouse at Seattle Center, 800838-3006, cornish.edu. $5–$17. Opens Oct. 31. 8 p.m. Fri.–Sat. plus 2 p.m. Nov. 2 & 8. Ends Nov. 8. THE TIGER LILLIES Music and black humor combine to make “anarchic Brechtian street opera.” Teatro ZinZanni, 222 Mercer St., 802-0015, zinzanni.com/ seattle. $32–$42. 7:30 p.m. Tues., Nov. 4–Wed., Nov. 5.
HORSE GIRLS Did you go through a horse phase grow-
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arts&culture» Performance » FROM PAGE 23
Classical, Etc. 60X60 In the New Media Gallery, a collage of an hour’s
worth of one-minute electroacoustic pieces. Jack Straw Studios, 4261 Roosevelt Way N.E., jackstraw. org. Free. 7 p.m. Wed., Oct. 29. SEATTLE OPERA The sexual politics in Mozart’s Don Giovanni are nearly impossible to navigate; to make the Don likable glamorizes a serial seducer, but to remove all redeeming qualities raises the question “So what does anyone see in him?” and makes the three women circling him look like masochists, idiots, or both. The solution may be to emphasize the comedy, and Seattle Opera’s revival of its 2007 production moves a bit in this direction—most apparent in Elizabeth Caballero’s flamboyant performance as Donna Elvira, the Don’s spurned lover. Nicolas Cavallier plays the title role lighter, less reptilian; he may even have smiled once. His voice is more wool than silk, which can be commanding, but which leaves his two main arias a little gruff and labored. Vocally, the most wondrous of all, as expected, is Lawrence Brownlee as Don Ottavio, proving why he’s one of today’s most sought-after lyric tenors. GAVIN BORCHERT McCaw Hall, Seattle Center, 389-7676, seattleopera.com. $25–$223. 7:30 p.m. Wed.–Sat. plus Fri., Oct. 31. Ends Nov. 1. UW SYMPHONY Strauss’ jaunty Horn Concerto no. 1 (with the Seattle Symphony’s Jeff Fair) plus Dvorak and Mendelssohn. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Thurs., Oct. 30. SEATTLE SYMPHONY SEE EAR SUPPLY, BELOW.. HALLOWEEN ORGAN CONCERT An annual tradition from students of Carole Terry. Kane Hall, UW campus, 685-8384, music.washington.edu. $15. 7:30 p.m. Fri., Oct. 31. THE MET: LIVE IN HD Opera from NYC at a moviehouse near you. This week, Bizet’s Carmen: a bit long, but otherwise perfect for opera newbies (you can
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already whistle a few of the tunes). See fathom events.com for participating theaters. 10 a.m. Sat., Nov. 1; encored 6:30 p.m. Wed., Nov. 5. JONATHAN POWELL Kaikhosru Shapurji 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. 2 p.m. Sat., Nov. 1. SEATTLE BAROQUE Music from colonial Boston, from theater to home to church, including homegrown composers and European music popular at the time. Town Hall, 1119 Eighth Ave., 325-7066, earlymusic guild.org. $20–$45. 8 p.m. Sat., Nov. 1. SEATTLE REPERTORY JAZZ ORCHESTRA “Quincy and Ray on Jackson Street” salutes 1940s jazz on the Seattle street where Jones and Charles got their starts. Benaroya Recital Hall, Third Ave. & Union St., 7:30 p.m. Sat., Nov. 1; Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 2 p.m. Sun., Nov. 2. $15– $47. 523-6159, srjo.org. LAKE WASHINGTON SYMPHONY Michael Miropolsky conducts The Planets, Dvorak, and Mendelssohn. Westminster Chapel, 13646 N.E. 24th St., Bellevue, 800-838-3006, lwso.org. $15–$30. 3 p.m. Sun., Nov. 2. OPERA ON TAP Bel canto and beer at The Royal Room, 5000 Rainier Ave. S., operaontap.org/seattle. $5. 8 p.m. Sun., Nov. 2. NOW ENSEMBLE Music by Judd Greenstein and Derek Bermel, part of the Town Music series at Town Hall, 1119 Eighth Ave., townhallseattle.org. $5–$25. 7:30 p.m. Wed., Nov. 5.
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B Y G AV I N B O R C H E R T
Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended
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End Times “Indian summer” is a term often applied to Richard Strauss’ last works, in which he set aside the sensationalism of his earlier tone poems and operas in favor of a unique sort of intimate nostalgia: two BY GAVIN BORCHERT Mozartean wind sonatinas, a snappily heroic horn concerto, a fragrant waltz titled simply Munich. That all these were written during World War II might surprise, but their surface detachment from the horrors of the war intensifies their fragile bittersweetness. One work of this period, though, which does seem to reflect Strauss’ feelings about the events surrounding him is his anguished Metamorphosen for strings, written in March–April 1945. (The immediate spur to this work may have been the firebombing of Dresden on February 13–15.) Now consolatory, now soaring, now weighted by grief, it’s clearly an elegy for something: musical romanticism, the war’s victims, the past glories of German art, so perverted by the Third Reich—or for the Reich itself, as at least one contemporary critic claimed accusingly. Or even for Strauss himself, as Glenn Gould seemed to suggest when he wrote of Metamorphosen in 1962: “I can think of no music which more perfectly conveys that transfiguring light of ultimate philosophic repose . . . the vast harmonic imagination always characteristic of Strauss . . . conveys a vivid sense
SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
EARSUPPLY
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Windgate Charitable Foundation
In 1945, the elderly Strauss had much to grieve for.
of one who has experienced great doubt and still finds affirmation . . . of one who has recognized the many sides of truth.” In this sense it’s an insightful companion piece to Mozart’s deathbed Requiem, which ended up being his final, unfinished work; the Seattle Symphony plays both this weekend under conductor Ludovic Morlot. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $20–$120. 7:30 pm. Thurs., Oct. 30; 8 p.m. Sat., Nov. 1; 2 p.m. Sun., Nov. 2.
» Visual Arts Openings & Events
WORKS After suddenly developing a severe allergy to
wood dust, woodworker 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.
• AHTSIK’NUK (GOOD WITH THE HANDS) A col-
lection of “rare and unusual” carvings from the Nuucha-nulth Nations of BC and Washington. Opening reception 5-7 p.m. Sat., Nov. 1. Steinbrueck Native Gallery, 2030 Western Ave., 441-3821, steinbruecknativegallery.com. Mon.-Sun., 11 a.m.-5 p.m. Through December. SIMPLE CUP SHOW Don’t let the word “simple,” deceive you. These are some fancy cups. While you may not have thought much about the design of whatever goblet or mug you’ve been chugging out of all these years, this one-day show, sponsored by KOBO, gathers an enormous cast of international artists who are offering their “contemporary interpretations of the cup.” It’s time to upgrade your chalice. Seward Park Clay Studio, 5900 Lake Washington Blvd. S., 7226342, sewardparkart.org. 7-9 p.m. Sat., Nov. 1. WE’RE STILL STANDING A multimedia group show from Erin Frost, John Criscitello, Leigh Riibe, Sierra Stinson, Lisa Orth, and others. Awesome Witch of Rad will perform. Cairo, 507 E. Mercer St., templeofcairo. com. 7-10 p.m. Wed., Oct. 29.
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Ongoing
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. 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. 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. Dhruv Malhotra, for instance, takes large color photos of people sleeping in public places—some because they’re poor, others because they simply feel like taking a nap. Nandini Valli Muthiah opts for more stage-managed scenes, posing a costumed actor as the blue-skinned Hindu god Krishna in contemporary settings; in one shot I love, he sits in a hotel suite, like a tired business traveler awaiting a conference call on Skype. Sculptor Debanjan Roby even dares to appropriate the revered figure of Gandhi. BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $12–$19. Weds.-Sun. Ends Feb. 15.
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JOHN ECONOMAKI AND BRIDGE CITY TOOL
THEFUSSYEYE
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., 624-7684, davidsongalleries.com. 10 a.m.5:30 p.m. Tues-Sat. Ends Nov. 14. JOY GARNETT Being There is the first solo exhibition from the New York artist, whose paintings meditate on the modern media. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com. 11 a.m.-5 p.m. Wed.-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—elements of the show can be ripped off the wall and kept for later. 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. 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. NEVER FINISHED Lilienthal|Zamora take their intricately designed, sculptural light installation work to the big atrium. They aim to create a glowing vortex that stretches from floor to ceiling. Suyama Space, 256-0809, 2324 Second Ave., suyamaspace.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Dec. 19. POP DEPARTURES This exhibit takes a look at the Pop Art explosion of the ’60s, tracing its influence from Warhol and Lichtenstein to those who can be considered direct descendents, like Lynn Hershman Leeson and Jeff Koons. Seattle Art Museum, Ends Jan. 11.
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STGPRESENTS.ORG
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A high energy performAnce by northwest Artists celebrAting rich culturAl music And dAnce trAditions feAturing AfricAn, mexicAn, sAmoAn, tongAn, filipino, hip hop And more!
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toward the languorous old “Floating World” of the Edo period, but they’re mostly overlaid with tokens of the present: cellphone bangles, Sega video-game creatures, jet liners, and nighttime cityscapes. The orb-eyed cuties and too-short plaid skirts are all familiar from manga, only they feel wrenched out of context. Glover’s frames are crowded, not settled, with some areas of the canvas even degrading into pixels—as if the source code has been corrupted. Bryan Ohno Gallery, 521 S. Main St., 4596857, bryanohno.com. Free. 11 a.m.–5 p.m. Tues.–Sat. Continues through December.
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F R I D AY , N O V E M B E R 7 • T H E M O O R E T H E A T R E YUMIKO GLOVER
Yumiko Glover left Japan as young college graduate and never went back. After working in business and as a simultaneous translator, she settled in Hawaii, trained as a painter, married an American, BY BRIAN MILLER and began her second career. Moe: Elements of the Floating World is her first solo show, one that will nicely overlap with SAAM’s Japanese Neo-Pop show by the artist known as Mr. (opening Nov. 22). Glover, by virtue of her sex, wouldn’t receive such acceptance in the Japanese academy; like other educated, independent women, she’s found more freedom outside her homeland. Her bright acrylic paintings look back uneasily on a native culture saturated with anime imagery, sex, video games, schoolgirl fetishes, naive folklore, and the whole kawaii industry. (Moe is a slang shorthand for idealized youth and femininity, where the creepy meets the innocent—usually from a male perspective.) There are gestures
M.C. ESCHER, TOMIYUKI SAKUTA, & TYNA ONTKO Surrealism is the name of the game at
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SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
Innocence Lost
NOVEMBER 7 I 8 PM I THE PARAMOUNT THEATRE
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LIVE @ BENAROYA HALL A DEPARTURE FROM THE EXPECTED
JANUARY 20 & 22
PINK MARTINI
WITH THE SEATTLE SYMPHONY S. Mark Taper Foundation Auditorium Pink Martini, the Portland-based “little orchestra,” returns to Benaroya Hall for two nights in concert with the Seattle Symphony. Revel in Pink Martini’s lush signature sound, which crosses the genres of classical, jazz and old-fashioned pop.
SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
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a&c» Literary Author Events AN EVENING OF WILLIAM COWPER Works by the
18th century English poet are read. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Wed., Oct. 29. JOHN MARZLUFF The local ornithologist shares from Welcome to Subirdia. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m. Wed., Oct. 29. VALERIE PLAME Book is included for this event with the author of the thriller Burned. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $32.66. 7:30 p.m. Wed., Oct. 29. CHARLES D’AMBROSIO The Portland author visits his old home with Loitering: New & Collected Essays. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Thu., Oct. 30. HEATHER MCHUGH The local poet reads in Kane Hall, Room 220. UW Campus, 7 p.m. Thu., Oct. 30. PATRICK ROTHFUSS & NATE TAYLOR The author and illustrator, respectively, share from The Slow Regard of Silent Things. University Temple United Methodist Church, 1415 N.E. 43rd St., 634-3400, bookstore. washington.edu. 7 p.m. Thu., Oct. 30. TODD WILKINSON WITH BOB FERRIS They discuss their Last Stand: Ted Turner’s Quest to Save a Troubled Planet. Third Place, 7 p.m. Thu., Oct. 30. HAUNTED HUGO HOUSE PARTY Costumes, booze, food, and more are part of this Hugo House fundraiser. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org. $5. 7 p.m. Thu., Oct. 30.
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BARBARA NATTERSON-HOROWITZ AND KATHRYN BOWERS They’ve written Zoobiquity: The Astonishing
Connection Between Human and Animal Health. Town Hall, $5. 7:30 p.m. Thu., Oct. 30. GAYLE LAURADUNN The New Mexico poet reads from her collection Reaching for Air. Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks.com. 1:30 p.m. Sat., Nov. 1. GARTH STEIN AND LYNN BRUNELLE Stein’s new novel A Sudden Light concerns the fading fortunes of a local timber dynasty. Brunelle’s memoir is Eagle Harbor Books, 3 p.m. Sat., Nov. 1. MICHAEL BLUMLEIN AND EILEEN GUNN They collect new stories in separate volumes: What the Doctor Ordered and Questionable Practices, respectively. University Book Store, 3 p.m. Sun., Nov. 2. • JACQUES BOYREAU The film historian has a new collection of awesome old movie posters, published by Fantagraphics, called SuperTrash. Elliott Bay, 3 p.m. Sun., Nov. 2. world’s top alpin• BARRY BLANCHARD One of the ists, he shares from his memoir The Calling: A Life Rocked by Mountains and will likely show slides. Feathered Friends, 119 Yale Ave. N., 292-2210, featheredfriends.com. 7:30 p.m. Mon., Nov. 3. SCOTT ELLIOTT Temple Grove is his locally set new novel. University Book Store, 7 p.m. Mon., Nov. 3. MOLLY GLOSS Her novel Falling From Horses is set among the Hollywood stuntmen (and women) of the 1930s. Third Place, 7 p.m. Mon., Nov. 3. (Also: Elliott Bay, 7 p.m. Wed., Nov. 5.) DAVID HASKINS A veteran of Bauhaus and of Love and Rockets, he shares from his memoir Who Killed Mister Moonlight? Elliott Bay 7 p.m. Mon., Nov. 3. DAVID ROTHKOPF He’ll discuss National Insecurity: American Leadership in an Age of Fear. Town Hall, 7:30 p.m. $5 Mon., Nov. 3. Arts & Lectures presents the • COLM TÓIBÍN Seattle Nora Webster. Town Hall, leceminent Irish author of tures.org. $5-$50. 7:30 p.m. Mon., Nov. 3. BAUMAN Learn how to rebut the deniers • YORUM in The Cartoon Introduction to Climate Change. University Book Store, 7 p.m. Tue., Nov. 4. HILLARY BROWN She’ll discuss Next Generation Infrastructure. Town Hall, $5. 6 p.m. Tue., Nov. 4. DAVE O’LEARY The local musician reads from his new novel, The Music Book. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 3 p.m. Tue., Nov. 4. DAN PASHMAN & MOLLY WIZENBERG They’re the authors of Eat More Better and Delancey: A Man, A Woman, A Restaurant, A Marriage, respectively. Elliott Bay, 7 p.m. Tue., Nov. 4. • BRYAN STEVENSON Just Mercy is the new book from the NYU law professor, MacArthur “genius” award winner, and crusader for the wrongfully incarcerated. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. 7 p.m. Tue., Nov. 4. BY B R IA N M I LLE R
Send events to books@seattleweekly.com See seattleweekly.com for full listings = Recommended
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» Film
Opening ThisWeek Art and Craft OPENS FRI., OCT. 31 AT VARSITY. NOT RATED. 89 MINUTES.
OPENS FRI., OCT. 31 AT SIFF CINEMA UPTOWN. NOT RATED. 114 MINUTES.
Edward Snowden sits on his hotel-room bed, about to keystroke a password into his laptop. Without looking particularly sheepish about it, he drapes a blanket over his head and upper body, so he can comfortably input the information without being observed. This gesture evokes many things: a kid reading a book under the covers at night;
-peter travers, rollinG stone
“Grand, spectacular,
s t a r - p o w e r e d c i n e m a.” -robbie collin, the teleGraph
‘‘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.’’ -jessica KianG, indiewire.com
PSundance Shorts OPENS FRI., OCT. 31 AT SUNDANCE CINEMAS. NOT RATED. 94 AND 90 MINUTES.
Oliver, the forlorn hero of Julia Pott’s Belly.
Quick, can you name the short-film Oscar winners from this past March? Me neither. Instead of belatedly parading the nominees around the country, Sundance is featuring eight live-action entries from its own January festival—some possibly to figure in the coming fall awards season. (The separate animation package is a sampler from several recent years.) Impressively atmospheric and murky, suggesting both folklore and fairy tale, Frances Bodomo’s Afronauts imagines a fanciful 1969 effort to compete with the American space program. Tin
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SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
PCitizenfour
“darinG, devastatinG, howlinGly funny.’’
SUNDANCE
Somewhat contrary to expectation, this is not a documentary about a master art forger. Exposed as a fraud in 2011 by Financial Times and The New York Times, meek, mentally ill Mississippian Mark Landis didn’t try to sell fake works by big names to prestigious galleries or gullible collectors. That sort of criminal enterprise would make for a Hollywood thriller or documentary exposé. Instead, filmmakers Sam Cullman and Jennifer Grausman simply gain access and trust with their shy, eccentric subject—now clearly pleased to be a demi-celeb—and follow his recent activities. They watch as he gathers art supplies at Hobby Lobby, sometimes photocopies his source images at Kinko’s (later to paint over them), dresses as a Catholic priest, and drives his dead mother’s red Cadillac to regional Southern colleges and museums to make donations. There, the cash-strapped curators and officials are only too happy to receive a gift horse and not look it in the mouth. (Whether they have the sophistication to look, Cullman and Grausman are too polite to say.) Eventually, as was well reported at the time, Ohio museum official Matthew Leininger wised up to Landis and his 30-year pattern of ersatz philanthropy. Art and Craft tries to set up a kind of detective-and-quarry dynamic between the two, but this is a case of the bland pursuing the blind. Leininger can’t get real lawmen very interested (where’s the real crime, the real harm?), and Landis is a deluded old recluse, a frail mamma’s boy living in his late mother’s apartment. The museum curators interviewed here are all embarrassed about being duped, but they don’t want to see the sad, Gollumlike Landis go to jail. (Leininger is the one who ultimately suffers for his zeal, not his prey.) Meanwhile, at the University of Cincinnati, curator Aaron Cowan decides to put together a show on Landis and his fakery. He does the best job here of questioning the serial copyist, whose young imagination was formed by TV, movies, art history books, and museum visits with his globetrotting military family. As opposed to famous outsider artists like Henry Darger (profiled in 2004’s In the Realms of the Unreal), he’s a savant whose gift is entirely imitative. (At the concluding museum show, there’s precisely one artist-signed drawing—based on a photograph of his beloved mother, Landis admits.) Like its subject, who never claims to be an original talent, Art and Craft is modest yet engrossing affair. Here is a guy on a harmless ego trip who craves a little public recognition. Getting busted for his small deceptions is the best thing that ever happened to him. BRIAN MILLER
the Elephant Man disguising his grotesqueness; a conspiracy theorist muttering warnings about cosmic rays coming through his skull. None of these associations is unjustified, and all underscore the absorbing character study that Citizenfour presents in you-are-there fashion. There’s a layer of irony to this moment, too: Snowden has invited documentary filmmaker Laura Poitras (The Oath) and The Guardian journalist Glenn Greenwald into his Hong Kong hotel room precisely so he can be observed. Much of what we see takes place during a week in June 2013, when Snowden first spilled information he took from his job at the National Security Agency. The biggest bombshell (to date) was evidence that the U.S. government was doing much more spying on ordinary citizens than it admitted. In this context, clicking the SEND button carries as much weight as Bob Woodward meeting Deep Throat in All the President’s Men. This straightforward documentary may be smaller-scaled than a political thriller, but it has similar suspense: Everybody in the room realizes the stakes—and the dangers—of exposing a whistleblower to public scrutiny. One man’s whistleblower is another man’s traitor, a debate that Poitras doesn’t pause to consider, so confident is she of Snowden’s cause. The question is worth another documentary, if only to lay out Snowden’s rationale to people who might be on the fence about all this. Having this access to Snowden in the exact hours he went from being a nonentity with top-secret clearance to a hero/pariah is a rare chance to see a now-historical character in the moment of truth. He emerges as hyperarticulate, careful, nerdy, paranoid, and concerned with the amount of mousse he puts in his hair. His vocal delivery is oddly reminiscent of Seth Rogen’s. He might be just a little hollow at the core, or he might be so principled he actually doesn’t care how his actions will make his life uncomfortable. And at the end of the film, we get a scene that suggests that Snowden is not alone in his whistleblowing status—a tantalizing hint (scribbled by Greenwald on pieces of paper, that secure system of passing secrets) of another story to come. Maybe it’s best to think of Citizenfour as the first of many films on this affair. ROBERT HORTON
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arts&culture» Film » FROM PAGE 27
cans and scrap are improvised into a rocket with more symbolic import, or possibly totemic power, than any chance of reaching the moon. The astronaut is to be a teenage albino girl, which further pushes Afronauts into the realm of wishful magic and myth. (Bodomo is from Ghana and trained at NYU.) I also liked I’m a Mitzvah again (having seen it during SIFF), the humorous tale of a poor schlemiel trying to retrieve his friend’s body (and dignity) from Mexico. Drunk on tequila, pondering his pal’s strange adventures, he has to look up the Hebrew prayers on the Internet to sit shiva with the deceased. Part of the comic charm here is that, as our hero lugs the coffin with him wherever “
he goes, his flight home delayed, the locals are utterly accepting of their gringo guests—the living and the dead are treated with equal courtesy. From Germany, another standout has an awkward title, even in English: MeTube: August Sings Carmen “Habanera.” That famous aria gradually expands like a Transformer, visually and musically, undergoing an electronica remix launched from the breakfast table of what seems to be a sad, lonely lip-syncher (with a portrait of Maria Callas nailed to the wall behind him, like an icon). It’s a giddy, silly five-minute paean to Bizet, Carmen, and the transformative power of music. Seattle Opera should play it on a monitor in the lobby of McCaw Hall during intermissions.
DAMNED GOOD.
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Among the eight animated efforts, the ratio of keepers to clunkers is also fairly high. The English Belly has a storybook aspect suggesting Maurice Sendak, with an elephant-headed young hero exploring mortality, a journey that takes him to the bottom of the ocean. There’s a petite surrealism at work as human and animal identities blur. Limbs are lopped off and entrails spill, yet a friendly talking whale provides reassuring words to young Oscar. Speaking of violence, the early stick-figure animations of Don Hertzfeldt were known for bloody, sadistic humor. Yet his 23-minute It’s Such a Beautiful Day reaches for a kind of peace and acceptance of suffering. Poor afflicted Bill has had a stroke, so his past and present fuse into a transcendent synesthesia, Hertzfeldt’s primitive pencil work combining with swirling CG effects, like looking through one of those old ViewMasters to childhood and beyond. Finally, by apt coincidence, the paranoid Cold War collage animation of Voice on the Line warns of a new surveillance state. It was made back in 2009, before Edward Snowden and his NSA revelations. Yet prophetically, with Citizenfour also opening today, the narrator grimly declares, “It was the beginning of times to come.” BRIAN MILLER
PWhiplash
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“There are no two words in the English language more harmful than ‘Good job.’ ” The scornful speaker is Terence Fletcher, a music teacher and jazz-band leader who knows a thing or two about harm. And the pupil listening to him, a driven young drummer named Andrew Neiman, certainly knows what it is to be harmed. Their conversation comes late in this intense, brutal, and often comical tale of mentorship gone amok. By that time we’ve seen how the bullying relationship between master and student, both intent on excellence, carries a severe personal cost. Fletcher ( J.K. Simmons) is an unbridled asshole for art’s sake, a petty Stalin figure inside the Juilliard-like music academy that greets the innocent Andrew (Miles Teller of The Spectacular Now, in his finest work to date). Andrew has fled Long Island and his kindly, weak mensch of a father (Paul Reiser) to be the best drummer in the best studio band at the best school in the country. That means pleasing the imperious Fletcher, a man who seems endlessly displeased with the world’s lax standards. His sadist-perfectionist putdowns of Andrew and other musicians have the savage fluency of a drill sergeant’s; they’re too funny to quote at length, but his icy “Not my tempo” is like a mortician’s calm, formaldehyde drip—any drummer who hears it knows he’s dead. How Andrew responds to such abuse—quite calculated, as we shall learn—is the heart of this thrillingly propulsive drama by Damien Chazelle, based on his prior short and rooted in his own high-school drumming agonies. (Made as a Harvard undergrad, his jazzy retro musical Guy and Madeline on a Park Bench played Northwest Film Forum three years ago.) Just as I could say Raging Bull isn’t about boxing, but male ego, the convulsive Whiplash is less about jazz than the codependent conflict between Andrew and Fletcher. Chazelle, a genuine new talent, has compared his Sundance prizewinner to a war movie or a gangster picture; yet it’s a battle where the two antagonists share the same musical goals. (The
title tune, “Whiplash,” is full of fiendish shifts of meter and key, though the movie’s centerpiece number turns out to be the old Duke Ellington standard “Caravan.”) The Oscar-worthy Simmons, who originated this role in Chazelle’s short, doesn’t oversell the villainy or froth at the mouth. Like any dictator, his Fletcher thinks he’s being quite reasonable about obtaining his objectives. Simmons, a veteran character actor recognizable from Law & Order to Juno to Spider-Man, understands that a true tyrant never has to shout (well, rarely . . . and sometimes cymbals must be thrown). At some moments in Whiplash, including its long onstage finale, Chazelle pushes past realism into the fugue state of practice and performance. Apotheosis or psychosis—what’s the difference? (Black Swan comes to mind.) By the end we realize that losing an arm in a chainsaw accident would be a favor for poor Andrew, yet we cheer him on. He’s a young man finding a home within the white padded walls of his obsession. BRIAN MILLER
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The old postapocalyptic shuffle is alive in Young Ones, but this catastrophe is more credible than most such speculations. The problem here is water, which has evaporated, at least in this corner of the world. Patriarch Ernest Holm (Michael Shannon, apocalypse vet from Take Shelter) trades trinkets in exchange for supplies, and just manages to keep hold of his “farm”—a patch of brown desert—in hope that the soil needs only the rain to come back. But the film’s real attention is on the next generation, played by a trio of child stars aging into young adulthood. Holm’s patient son Jerome (Kodi Smit-McPhee, the kid from The Road) and resentful daughter Mary (Elle Fanning) must negotiate their future with the ambitious Flem Lever (Nicholas Hoult of Warm Bodies, soon to appear in the Mad Max reboot). Ernest isn’t crazy about Flem hanging around with Mary, for reasons that turn out to be pretty well-founded. Young Ones nods toward science fiction with its Mad Max fashion sense, its filling stations—for water, not gasoline—and its four-legged robot/ beast of burden. Beyond that, writer/director Jake Paltrow is content to rely on the traditions of the Western and a visual approach that seems to be aiming somewhere between the worlds of Terrence Malick and Paul Thomas Anderson. The tone is grim and the look is arty; the storylines stick out in random directions. Overall, it’s a mess, with its biggest fault the failure to color in the sole female character of significance—an especially unforgivable failing with Fanning coming off the remarkable Ginger & Rosa and Maleficent. If it’s a misfire, though, Young Ones at least conjures some haunting stuff along the way. The bleak dystopian landscape (shot in South Africa) helps, as does an intriguing and sometimes stirring score by Nathan Johnson. Hoult’s streak of smiling untrustworthiness—currently flowering in Jaguar commercials—is put to good use here, and Paltrow photographs Smit-McPhee as though he were the young Abraham Lincoln, all gangly limbs and soulful eyes. Left unexplored is the brother/ sister relationship that the film only belatedly comes around to. (Speaking of that, yes, Jake Paltrow is the brother of Gwyneth.) It’s not quite odd enough to be a future cult film, but at least this movie lingers in the mind. ROBERT HORTON E film@seattleweekly.com
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fest concludes with the excellent Swedish vampire movie Let the Right One In (through Thurs.), the Jack Nicholson-starring 1960 Little Shop of Horrors (7 p.m. Fri.), and the international horror anthology ABCs of Death 2 (11 p.m. Fri.-Sat.). See website for full schedule of terror! (NR) Grand Illusion, 1403 N.E. 50th St., 5233935, grand illusioncinema.org. $5–$8. Ends Oct. 31. BONEBAT’S CINEMA BLOODBATH! This traveling film festival promises an array of gore and/or Halloween humor. (NR) Central Cinema, 1411 21st Ave., 6866684, central-cinema.com. $6-$8. 9:30 p.m. Fri.-Tues. THE CROW Brandon Lee’s short-lived film career ended with this 1994 comic-book adaptation, a Gothic revenge fantasy stylishly directed by Alex Proyas. (R) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6-$12. 8 p.m. Wed.-Fri. GHOSTBUSTERS Who you gonna call? I think we all know the answer: the top-grossing film of 1984! Bill Murray, Dan Aykroyd, Harold Ramis, and Sigourney Weaver star in the paranormal smash comedy. The movie’s a total star turn for Murray (currently in St. Vincent), playing the loosest and least professional academic on campus. Using Aykroyd as his uptight foil, he’s like Cary Grant on mescaline, utterly assured in everything he says, even when nothing he says makes the slightest bit of sense. (PG) BRIAN MILLER SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $7-$12. Fri.-Sun.
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• INTO THE BLACK: GREAT OUTER SPACE FILMS
See siff.net for the schedule to this palette cleanser for the forthcoming Interstellar. The series includes top-drawer sci-fi flicks including Alien, Aliens, Close Encounters of the Third Kind, and Andrei Tarkovsky’s Solaris. Extra bonus: Not one but two titles with Sam Rockwell: Moon and Galaxy Quest. (NR) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996. $7-$12. Fri.-Tues. LAST CALL This recent doc by Enrico Cerasuolo and Massimo Arvat examines climate change. Discussion follows. (NR) Keystone Church, 5019 Keystone Pl. N., 632-6021, meaningfulmovies.org. 7 p.m. Fri. LIVE BY NIGHT One of Quentin Tarantino’s B-movie icons, Lawrence Tierney plays a goon (what else?) in 1950’s Shakedown, about an ambitious newspaper photographer (Howard Duff) who runs afoul of gangsters. (NR) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series. $8 individual. 7:30 p.m. Thursdays through Dec. 18. MIDNIGHT ADRENALINE Screening on Friday is The Rocky Horror Picture Show, enough said. Following on Saturday is Lucio Fulci’s ultra-gory 1979 Zombie. (R) SIFF Cinema Egyptian, 801 E. Pine St., 324-9996, siff. net. $7–$12. 11:55 p.m. Fri. & Sat. THE MONSTER SQUAD Brave young teens battle a cadre of ghouls (Dracula and Frankenstein among them) in this matinee favorite from 1987. (PG-13) Central Cinema, $6-$8. 7 p.m. Fri.-Wed. (plus 1 p.m. matinee on Sat.) MOOD INDIGO Michel Gondry, the French director of Eternal Sunshine of the Spotless Mind and Be Kind Rewind is on some kind of perpetual adolescent overdrive, his brain inventing new bits of business as though nobody’d ever asked him to be normal. We meet a young man named Colin (Romain Duris) whose wealth allows him to fritter away the days with his multifaceted advisor/manservant Nicolas (Omar Sy, from The Intouchables) and a talking mouse. Colin invents things, such as a piano that mixes cocktails based on the melody being played. Colin falls for Chloé (Audrey Tautou, not so far from her old Amélie stomping grounds), but their bliss cannot last, and Chloé soon contracts an illness that involves a water lily growing inside her lung. Gondry is a kind of wizard. Nobody does a four-minute music video with as much magical inventiveness, but there’s a vast miscalculation here about how this amount of whimsy wears over time. A fun opening half-hour is followed by an increasingly tiresome hour of hyperactivity. (NR) ROBERT HORTON SIFF Film Center (Seattle Center), 324-9996, siff.net. $7-$12. 7 p.m. Mon. THELMA SCHOONMAKER The legendary editor, winner of three Oscars for her collaborations with Martin Scorsese, visits town to introduce two films. Tuesday is 1947’s Black Narcissus, in which sexual desire divides a convent, co-directed by her late husband Michael Powell. Wednesday is Raging Bull, no introduction needed. Also note that the ever-gracious Schoonmaker will appear at Scarecrow Video (2 p.m. Weds.), an excellent opportunity to ask her to sign one of your purchases from Seattle’s best video store, now operating as a nonprofit. (NR) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $10$18. 7:30 p.m. Tues. & Weds.
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SEATTLE SOUTH ASIAN FILM FESTIVAL This year’s
fest begins with a gala party, short films, and live music. Titles range from India to Nepal to Pakistan, with subjects including a champion deaf wrestler, bungling filmmakers, crime melodrama, romantic comedy, and caste-based discrimination. Two dozen features will be screened, along with panel discussions and related events, most of them concentrated south of Seattle. See tasveer.org for tickets, schedule, and information. (NR) Renton Pavilion Event Center (233 Burnett Ave. S.) and other venues. 8 p.m. Fri., Oct. 31. Ends Sun., Nov. 9.
Ongoing
• BIRDMAN A movie star in a career skid since he
stopped playing a masked superhero named Birdman back in the ’90s, Riggan Thomson (Michael Keaton) is preparing his big comeback in a Broadway adaptation of Raymond Carver stories, funded and directed by himself. Obstacles abound: Riggan’s co-star (Andrea Riseborough) announces she’s pregnant with his child; his grown daughter (Emma Stone) is his assistant, and not his biggest fan; a critic plans to destroy the play. And, in the movie’s funniest headache, Riggan must endure a popular but insufferable stage actor (Edward Norton, doing a wonderful self-parody) who’s involved with the play’s other actress (Naomi Watts). This is all going on while Riggan maintains a tenuous hold on his own sanity—he hears Birdman’s voice in his head, for one thing. To create Riggan’s world, director Alejandro González Iñárritu and Gravity cinematographer Emmanuel Lubezki present the film as a continuous unbroken shot (disguised with artful digital seams). Birdman serves so many heady moments it qualifies as a bona fide happening. It has a few stumbles, but the result is truly fun to watch. And Keaton—the former Batman, of course—is a splendidly weathered, human presence. Ironically or not, he keeps the film grounded. (R) R.H. Guild 45th, Pacific Place, Lincoln Square, Thornton Place, Southcenter, others THE BLUE ROOM 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. We meet Julien (director Mathieu Amalric) during one of his regular hotel-room trysts with Esther (co-writer Stéphanie Cléau), also married, a fierce biter in bed. 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. The Blue Room shares 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. (NR) B.R.M. Meridian, Varsity DEAR WHITE PEOPLE Justin Simien’s smart new college satire forthrightly addresses race, and it feels like a follow-up—though not a rebuttal—to Spike Lee’s School Daze, made a generation ago. Like Lee, though with a lighter comic touch, Simien is interested in the stereotypes that black and mixed-race kids apply to themselves. 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. In her orbit are a seemingly perfect high achiever, a savvy, sexy social-media queen, and the nappy-haired freshman nerd Lionel (Tyler James Williams, from Everybody Hates Chris) who’s trying to navigate his way among cliques and not-so-coded expectations of What It Means to Be Black. Nobody is who they seem to be here; none of the labels fit. 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. Dear White People reminds you how lazy most American comedies are. (R) B.R.M. Sundance, Ark Lodge, Meridian, Lincoln Square, Thornton Place, others 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
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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. (PG-13) R.H. Seven Gables, Meridian, Lincoln Square, Kirkland, Majestic Bay, Cinebarre, Bainbridge, 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) whom she treats with gentle contempt. There’s also a sex scandal lurking in the past, but the snark bogs down in melodrama, and no amount of ’80s pop montages can really change the film’s predictable trajectory. (R) B.R.M. Harvard Exit, Majestic Bay, Sundance, Kirkland, Vashon THE TALE OF THE PRINCESS KAGUYA A staple of Japanese folklore for 10 centuries, Princess Kaguya is now an anime eight years in the making from Isao Takahata, the 78-year-old 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. A poor bamboo cutter and his wife raise Kaguya, 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. From bobble-headed infant to woodland sprite, Kaguya and her village 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. The court rituals of the city—made possible by the bamboo cutter’s continued magical bounty—are treated more for comedy. Yet if Kaguya has a hearty village swain 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. (NR) B.R.M. Harvard Exit BY B R IA N M I LLE R
Send events to film@seattleweekly.com See seattleweekly.com for full listings = Recommended
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INTO THE BLACK
Films from Outer Space and Beyond Oct 31–Nov 3
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HALLOWEEN ADRENALINE Fri Oct 31
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THE PRINCESS KAGUYA A FILM BY ISAO TAKAHATA
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Seattle Weekly 10/29 2 col (4.83”) x 7”
SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
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 is my home.” German troops say the same thing during the endless finale—not that it saves them; Nazis die by the score. (R) B.R.M. Sundance, Pacific Place, Cinebarre, Bainbridge, Thornton Place, Lincoln Square, Kirkland, 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. 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, Lincoln Square, Sundance, Big Picture, Bainbridge, Ark Lodge, Kirkland, Cinebarre, Majestic Bay, others 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? 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, leaving behind a surprise puppy to console her husband. After the hothead son of a Russian gangster steals Wick’s car and kills the dog, merciless revenge is guaranteed. Wick is 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. 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. 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. (R) R.H. Cinebarre, Meridian, Thornton Place, Lincoln Square, others LAGGIES Lynn Shelton is still the city’s leading film director, a local talent we can proudly call our own. Shooting a very thin first-time script by Andrea Seigel, she infuses it with traces of Northwest color that may not register elsewhere. Her post-grad-school, marriage-averse slacker heroine (Keira Knightley, serviceable as ever) has belatedly woken up to the banality of her suburban upbringing and vapid friends (translation: Bellevue). Rebellion equals Seattle, where dissatisfied Megan flees fiancé and family to hang with her new teenage BFF (Chloë Grace Moretz) and her singleparent dad (Sam Rockwell, always game). The set-up here isn’t the worst, and Shelton shows her usual affection toward a likeable cast (including Jeff Garlin as Megan’s dad and Kaitlyn Dever, from Men, Women & Children, as another new teen acquaintance). The problem to Laggies is Megan’s own problem: an unwillingness to commit fully to rebellion, to reject the comfortable old suburban shackles. Barely meriting an R-rating, this is a blandly cautious movie where, playing one of Megan’s old pals, Ellie Kemper reminds you how Bridesmaids was such a game-changer for distaff comedies. Laggies lags far behind the curve in that regard. Truth be told, Shelton’s scripts for Humpday and Your Sister’s Sister weren’t masterpieces. And she’s lately directed for Mad Men and other television shows much better written than Laggies. Some poor scribbler in TV-land will soon slip her a superior screenplay to this. (R) B.R.M. Pacific Place PRIDE In essence a Clifford Odets play with a Culture Club soundtrack, Pride is based on a true story in ’80s England: how a nascent gay-rights movement made common cause with an also-beleaguered group that might otherwise seem adversarial—men known for, in the words of one memorable Monty Python sketch, “their tough, rugged life hewing the black gold from the uncompromising hell of one mile under.” Of course
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arts&culture» Music
Role Play
With Halloween approaching, a writer frequently mistaken for a famous guitarist considers the question of identity. BY STIRLING MYLES
O
Even after I protested I wasn’t Auerbach, the man still insisted on a picture with me. The growing pains intensified as Auerbach and Carney found they didn’t belong to one community anymore. In 2010 they officially relocated to Nashville from Akron and established a recording studio there. It was a challenge for Carney to put his new home in perspective, and it offered an opportunity to reflect on his roots. “Being out in Nashville really brought out who I really missed back at home,” Carney says. “There are a lot of people pursuing their dreams [there].” He strongly identifies with “the underdog,” he says. “I’ll always feel lucky, privileged, and undeserving. It’s hard to be in a place where there’s so much talent, but so little spaces to fit.”
It’s likely that identity—a dogged motivation inspired by humble beginnings—is what propelled the group to the heights it’s achieved. Yet Carney hasn’t forgotten the early days. He recalls a particularly colorful story from their first visit to Seattle. “The first time we were in Seattle was 2002, around July 25th. I remember showing up in town and playing at Chop Suey,” he says. “There were only 90 people there, but it felt like there were 500. I remember being paid $539 in a white envelope, and I was so protective since we had only saved up $400 that summer.” He slept in the van outside the venue that night. “When I woke up around 2:30 in the morning, I took a piss next to the van and saw 15 guys in Santa suits. The bar right next door was . . . having a Christmas in July party.” Such an anecdote is in marked contrast to the sold-out stadiums and concert halls the duo is now booking. Yet when Carney talks about playing an arena like Madison Square Garden, it’s that self-effacing style that appears to get him through. “You’re not doing something legendary,” he says. “You’re just doing something and hopefully people like it.” I had to ask: Who would he be if he had one day to be someone else? He paused for a while, then said, “Mark Mothersbaugh in the 1970s, late ’77.” Maybe it’s the glasses, but you can kind of see that, can’t you? E
music@seattleweekly.com
THE BLACK KEYS KeyArena, 305 Harrison St., 684-7200, keyarena.com. $31–$71. 8 p.m. Sat., Nov. 1.
SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
Black Keys will perform in my hometown of Portland on Halloween, the one night you can become any person you choose (I’m going to the show, in costume of course). But it got me thinking about the concept of identity and music, and how the Black Keys have explored the notion. Since forming in 2001, the duo has continually expanded its sound, from the raw, unapologetic, bare-boned rock of Rubber Factory to the string-based, ambient synth textures of their most recent release, Turning Blue. The group has weathered interpersonal rifts and uprooted to a different city, growing together while at the same time changing. With my doppelganger unavailable for interviews, I spoke with Auerbach’s other half, Patrick Carney, for his thoughts on what identity means to him within the context of his group. “Living in Akron affected our music in a certain way. It affected the way we thought about our music,” he says. “We identify heavily as a DIY band; my
brother has always done our artwork; [and] aside from one album with Dangermouse [2011’s Brothers], we always produce our own music. I’ll always take myself as an Akronite, but you know, I had to get the fuck out of there when I left.” As the band expanded from a local group into the national spotlight, its identity and place in that community shifted. “I felt a huge sense of guilt living [in Akron],” Carney says. “Being able to do what I wanted to do for a living. I had a sense of responsibility to some friends who I felt were more talented than myself, more deserving. A lot of people would rub that in my fucking face.”
Dan Auerbach, right, with bandmate Patrick Carney.
DANNY CLINCH
Recently things got more interesting. The
Stirling Myles
DANIEL G. COLE
n the second day of Pickathon, a rustic music festival in Happy Valley, Ore., founder Zale Schoenborn approached a musician drinking a beer backstage. He extended his hand and said, “Pleasure to meet you, Dan.” Common music-festival scenario, right? Yes, save for one thing: Schoenborn thought he was meeting Dan Auerbach—half of the duo the Black Keys—but he was actually meeting me, a writer and musician from Portland. It was the fifth time that day I’d been mistaken for him. In multiple cities over the years, I’ve been stopped on the street, shouted at from moving cars, and asked for autographs at Whole Foods. Passing praise like “Hey, Dan! Love the new album!” and “Black Keys rule!” has been flung at me as the Black Keys ascend higher into the stratosphere of rock stardom. This isn’t exactly a terrible burden to bear. I am, however, left with the unwanted responsibility of letting people down, and being a touring musician myself, it has led to some especially confusing experiences. For instance, on tour with my band in Denver, I was stopped on the street by someone expressing excitement “to see your show tonight.” “Oh, thank you so much,” I responded, flattered, and followed up with a question about the small venue we were slated to play. When “my fan” seemed puzzled, I realized the Black Keys were also in town playing that night. Even after I protested I wasn’t Auerbach, the man still insisted on a picture with me.
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11/06/14
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11/15/14 11/29/14 12/06/14
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SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
TICKETS AVAIL ABLE AT W W W.QNIGHTCLUB.COM 1426 Broadway - Seattle, WA
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11/05/14 11/12/14
arts&culture» Music
TheWeekAhead Wednesday, Oct. 29
This year, Halloween festivities kick off a little early with a PRE-HALLOWEEN HIP-HOP SHOWCASE. Goozebumps, Zak Swift, ESSENO, Young Native, Sam Shoemaker Keyz, Damanshen, EzQuizite, Saykred, Junior, Junior Manch Malevolent, and DP Whitebear will all take the stage to get the holiday started right. Studio Seven, 110 S. Horton St., 286-1312, studioseven. us. 7:30 p.m. $10 adv./$12 DOS. All ages. One of the most beloved holiday films, The Nightmare Before Christmas, is the inspiration for CAN CAN’S THIS IS HALLOWEEN. Live music from Balkaninspired brass-and-drum band Orkestar Zirkonium, cabaret, burlesque, and video-projected sets will bring the Tim Burton–produced story of Jack Skellington and crew to life. Triple Door, 216 Union St., 838-4333, thetripledoor. net. 7 p.m. Oct. 29–30, 7:30 & 10:30 p.m. Oct. 31–Nov. 1. $25 and up. All ages. 10:30 p.m. shows are 21 and over. KEXP’S SPOOKY ROADHOUSE BENEFIT HOSTED BY GREG VANDY Your chance to catch Americana
crooner Bobby Bare Jr. and a live broadcast of Vandy’s program The Roadhouse while benefiting KEXP’s campaign to build a new home at Seattle Center. This will also be one of your last chances to visit Underwood Stables, scheduled to close at the end of the month. Underwood Stables, 4306 Fremont Ave. N., brownpaper tickets.com/event/902812. 6 p.m. $100. 21 and over.
Thursday, Oct. 30
Friday, Oct. 31
JAKE CLIFFORD
The Country Lips One scary night, two scary-good bands. First up is DUKE EVERS, the blues-rock duo of Josh Starkel and Kyle Veazey. Then classic country nine-piece COUNTRY LIPS will end the night on a raucous note with tunes from its latest full-length, Nothing to My Name. Blue Moon, 712 N.E. 45th St., 675-9116, bluemoonseattle. wordpress.com. 10 p.m. $8. 21 and over. One venue isn’t enough to contain all of ADULT FUNPLEX: HAUNTED EDITION. Neumos is hosting THEESatisifaction, Deejay 100 Proof, The Dip, and DJ Beeba; Barboza will feature performances by DJ Swervewon and Jeff Hawk; while Jack the Sipper and Bloody Mary are scheduled for Moe Bar. Adult Funplex is also a costume party. Neumos, 925 E. Pike St., 7099442, neumos.com. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. Moe Bar, 1425 10th Ave., 709-9951, moebarseattle.com. 8 p.m. Free. 21 and over. The monthly mashup dance party Bootie Seattle gets into the holiday spirit with HALLOWEEN BOOOOTIE:
Saturday, Nov. 1
Halloween gets hardcore at METALWEEN 2014. Hosted by Nadamucho.com’s Metal Mike, aka Mike Spine (At the Spine, the Beautiful Sunsets), Metalween will include songs by Black Sabbath, Helmet, Iron Maiden, Judas Priest, Mötorhead, and others played by the likes of Maiden Seattle, Metameric, The Valley, and the Chasers. With At the Spine, Trentalange, the Spider Ferns, Patrick Galactic. Skylark Cafe. 7 p.m. $8 in metal costume/$10 without costume. 21 and over. KEXP’s Greg Vandy puts a spooky twist on his show with HAUNTED ROADHOUSE: DAY OF THE DEAD 2014. Sandwiched between DJ sets from Vandy, locals like Baby Gramps, Prom Queen, and Evening Bell will perform haunting Americana, folk, country, and blues tunes, all in honor of All Hallow’s Eve. With Bill Patton, Inly, Corespondents, Eleanor Murray, Ethan Lawton, Mike Dumovich, Dean Johnson. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $8. 21 and over. BY A Z AR IA C . P O D P LE S K Y
Send events to music@seattleweekly.com. See seattleweekly.com for more listings.
dinner & show
mainstage WED/OCTOBER 29 - 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 TUE/NOVEMBER 4 • 7:30PM - EARSHOT JAZZ FESTIVAL PRESENTS
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
adrian belew power trio 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 • 10/29 paul benoit trio • 10/30 something in the trees • 10/31 ranger and the re-arrangers / the moonspinners • 11/1 money jungle • 11/2 hwy 99 blues presents: robin moxey • 11/3 crossrhythm sessions • 11/4 singer-songwriter showcase featuring: mozo, strong sun moon and joy mills • 11/5 the chaz lipp group 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
SE ATTLE WEEKLY • O CTOBER 29 — NOVE MBER 4, 2014
This month, BUSHWICK BOOK CLUB SEATTLE is taking inspiration from a current pop-culture obsession: Robert Kirkman’s The Walking Dead. Join Nate Bogopolsky and the Bushwick Choir, Ryan Barber, Katrina Kope, Spekulation, Tekla Waterfield, and comedian Emmett Montgomery as they create works inspired by those blood-hungry walkers and the people trying to escape them. With Mark Blasco, Nick Foster, Mike Votava, Brenda Xu. Fremont Abbey, 4272 Fremont Ave. N., 4148325, fremontabbey.com. 8 p.m. $10–$16. All ages. The Jesus Rehab’s brand of melodic garage rock, most recently heard on The Zoo at Night, is the perfect choice to headline this HALLOWEEN BASH. Brothers Jared and Dominic Cortese create such energetic tunes that listening to them is like experiencing a sugar high without the stomachache. With Cryptobebelem, Another Perfect Crime. Lo-Fi Performance Gallery, 429 Eastlake Ave. E., 254-2824, thelofi.net. 9 p.m. $6. 21 and over. For what’ll almost certainly be the year’s grooviest celebration, the STEAM FUNK HALLOWEEN BALL has booked Chicago Afrobeat Project. The eight-piece’s latest, Nyash Up!, is a fun blend of funk, jazz, rock, hip-hop, and orchestra-like arrangements, especially “B.Y.O.B.” and “Inner City Blues Makes Ya Wanna Holler.” With Cascadia ’10, Braxmatics. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $8 adv./$12 DOS. 21 and over.
A MONSTER MASHUP SPOOKTACULAR. Event creator A Plus D and resident DJs Freddy, King of Pants and Destrukt will mix and mash Halloween tunes with hits from the past and present. Get there early; the first 100 people inside receive a Halloween Booootie mashup CD. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey. com. 9 p.m. $10 before 10 p.m./$15 after. 21 and over. In the words of Bill Hader’s beloved Saturday Night Live city correspondent Stefon, “This HALLOWEEN BASH has everything!” A costume contest, drink specials, door prizes, and DJ Sharadawn. Human suitcase not included. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $5–$25. 21 and over. Every performance is like a Halloween show for hair-metal quintet PLATINUM SPANDEX. The “best-looking band in the entire Northwest” plays tunes by Winger, Ozzy Osbourne, Bon Jovi, Night Ranger, and Iron Maiden while decked out in leather, long hair, and, yes, Spandex. ’80s attire is encouraged for the audience, too. Hard Rock Cafe, 116 Pike St., 204-2233, hardrock. com. 9 p.m. $20 adv./$25 DOS. 21 and over. If you can’t spend Halloween with Prince, spend it at this HALLOWEEN SHOW with the next best thing: Purple Mane. Led by Robbie Luna (Panama Gold), this Prince cover band has mastered all his hits, including “When Doves Cry,” “Darling Nikki,” and of course “Purple Rain.” With Future Shock. Lo-Fi Performance Gallery. 9 p.m. $12. 21 and over. Wayne Horvitz has one busy night planned for the ROYAL ROOM HALLOWEEN PARTY, beginning with his Royal Room Collective Music Ensemble providing a soundtrack to the silent film The Cabinet of Dr. Caligari before it celebrates the release of their new album, At the Reception. A performance from its Electric Circus, which reworks soul and rock jams, closes the night. The Royal Room, 5000 Rainier Ave. S., 906-9920, the royalroomseattle.com. 6 p.m. $5 and up. All ages. Like zombies and raising money for a good cause? Then Seattle Teen Music and the Seattle School of Rock have your Halloween plans covered. ZOMBIE PROM is your chance to show that the undead have a compassionate side, with proceeds benefiting the School of Rock Scholarship Fund. The night includes live music, a raffle, and prizes for best costume. Salmon Bay Eagles ClubUpstairs Hall, 5216 20th Ave. N.W., 783-7791, salmonbay eagles.com. 7 p.m. $5 under 21/$10 adults. All ages. THE 8TH ANNUAL COME AS YOU AREN’T finds some of the best local musicians performing as, well, they aren’t. This year’s event features Snaketopus as Puscifer, Furniture Girls as Faith No More, the Hoot Hoots as Queen, Star Anna as Joan Jett, and Hobosexual as AC/DC, among many more. Judges include KEXP’s Sharlese Metcalf and Minus the Bear’s Matt Bayles. Skylark Cafe, 3803 Delridge Way S.W., 935-2111, skylarkcafe.com. 8 p.m. $5. 21 and over. FREAKNIGHT 2014 How better to celebrate Halloween than with some of EDM’s top performers? Chicago DJ Kaskade will headline Friday night, while Netherlandsborn Tiesto will keep the party going Saturday. With Alesso, Dillon Francis, Etc!Etc!, Lets Be Friends, Monty Luke, Nervo, Planet of the Drums, Zeds Dead, and others. WaMu Theater, 800 Occidental Ave. S., 381-7555, wamu theaterseattle.com. 6 p.m.–2 a.m Fri., 4 p.m.–midnight Sat. $180 and up. Through Nov. 1. 18 and older. Expect a mix of covers and originals at the NWHC HALLOWEEN BALL. Milwaukee’s Cross Me and Dallasbased Vulgar Display are stopping by as part of a West Coast tour, and, according to the event page, sets of Drake and E-Town Concrete covers will open the show. With Paradise. Vera Project, 305 Warren Ave. N., 9568372, theveraproject.org. 6 p.m. $10. All ages.
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arts&culture» Music
Good Things Sleater-Kinney returns—and how.
BRIGITTE SIRE
BY MICHAEL F. BERRY
W
hen Sub Pop announced that it was releasing remastered versions of all seven SleaterKinney albums in a collection called Start Together (out now; see subpop.com), at first it seemed an appropriate way to celebrate the 20th anniversary of the formation of Olympia’s groundbreaking riot-grrl trio. Turns out it’s less a retrospective than a teaser: The limitededition colored-vinyl set also includes a white 7-inch single labeled 1/20/15—the street date for the trio’s first album in nearly 10 years. The single, “Bury Our Friends,” is a sneak peek at the
Limber Timbres Noise yoga bends limbs and minds.
36
ADAM SVENSON
SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
BY GWENDOLYN ELLIOTT
T
hink of a typical yoga class, and surely the last thing that will spring to mind is the sputtering chaos of sound you’re likely to hear at a noise show. Yoga is all about calming, peaceful tunes, right? Noise Yoga co-founder Gabe Schubiner, a computer-science graduate student at the UW and a DJ at Hollow Earth Radio, says the two disciplines have more in common than you’d think. “One of the reasons I love noise music and many types of experimental music is that I find that it puts me into this state where it almost feels meditative,” Schubiner says. “The
forthcoming release, titled No Cities to Love. “Bury Our Friends” represents a more melodic approach to songwriting, a far cry from the noisiness of “Modern Girl” or “Let’s Call It Love.” Yet over its career, Greil Marcus notes, while other punk bands “substitute technique for bravado,” Sleater-Kinney “has grown not out of ferocity, but into it.” It’s a process that endows the group with the enduring credibility it has now. In the vanguard of the ’90s feminist punk movement, Sleater-Kinney had to fight an uphill battle against a male-dominated music scene, and noise was its weapon of choice. At the time, the band’s empowering messages fell so far outside the mainstream that only the most visceral music would do. In the remastering process for Start Together, engineer Greg Calbi helped to uncover noise that had been latent in the originals. That prowess has not waned since the group went on “indefinite hiatus” in 2006. Portlandia introduced a new wave of fans to Carrie Brownstein, who was simultaneously juggling a new role in Wild Flag, the rock project she shared with SK drummer Janet Weiss (who was also touring with her lo-fi duo, Quasi). Corin Tucker took time off to raise her children and release what she called “middle-aged mom music” with her eponymous band. But none of these projects achieved the popular or critical acclaim of the original trio, which was greater than the sum of its parts. The list of (quickly selling-out) 2015 tour dates on sleaterkinney.com offers fans a chance to experience their legendary live energy either once again or, for rock enthusiasts late to the party, for the first time. E
music@seattleweekly.com
level of noise and unpredictably of the sound blocks out my internal thoughts; it’s overwhelming in that way.” With Carly Dunn and Corporal Tofulung, also DJs at the online radio station, the three conceived of Noise Yoga, an hour-long class guided by an instructor and accompanied by a live noise artist or band. The first event, held on October 15, attracted approximately 30 participants, Schubiner says. “One of the reasons the event turnout was so exciting for us was [that it brought together] some people from the yoga community and some people from the noise community,” he says. “That’s definitely what we were hoping for . . . but being on the music side, going to a lot of noise and experimental shows, there’s not a lot of body awareness; it’s a cerebral, psychological experience.” He relates the idea of joining the two to “traditional meditation practices. [It] forces you to interact with your body, [while trying to] simultaneously maintain an internal inner peace.” Three more sessions are planned through November before organizers will decide if the idea has generated enough interest to become a full-fledged monthly event. In the meantime, Schubiner says, remaining classes will appeal to yoga and noise-music lovers alike. “It’s a pretty simple hour-long yoga session, neither too intense or rigorous. Participants [should] feel free to explore whatever moves them.” E
gelliott@seattleweekly.com
NOISE YOGA With Hanford, Wed., Oct. 29; Karnak Temples, Wed., Nov. 12; Baniszewski & LeBlanc, Wed., Nov. 26. Washington Hall, 153 14th Ave., 622-6952, hollowearthradio.org. Suggested donation $10–$15. 7:30 p.m.
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FRIDAY, OCTOBER 31, 2014
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MIKE THRASHER PRESENTS: FLYLEAF with Lullwater, Ryan White, Plus Guests Doors at 7:00PM / Show at 8:00, ALL AGES/BAR W/ID. $15 ADV / $20 DOS THE FLYLEAF AFTER SHOW PARTY 21+ LOUNGE SHOW featuring live music from Insuburban Avenue FREE Music begins at the conclusion of the Flyleaf show in the main room.
FRIDAY, OCTOBER 31ST JUST BIRD BOOKING & JUSTICE ROCK PROMOTIONS PRESENT “BACK FROM THE DEAD” FEATURING
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REAL FRIENDS
with Neck Deep, Cruel Hand, Have Mercy Doors at 6:00PM / Show at 7:00 ALL AGES/BAR W/ID. $14 ADV / $16 DOS
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36 CRAZYFISTS
with Skinlab, All Hail The Yeti, Incite, The Saints Of Damnation, Shot On Site Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $13 ADV / $15 DOS
MONDAY, NOVEMBER 3RD
THE ICARUS ACCOUNT
with Chase Coy, Hank & Cupcakes, Isaiah Dominguez, Psydcar LOUNGE SHOW. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS
TUESDAY, NOVEMBER 4TH MIKE THRASHER PRESENTS:
MAYDAY PARADE
with Tonight Alive, Major League, PVRIS Doors at 5:30PM / Show at 6:30 ALL AGES/BAR W/ID. $20 ADV / $23 DOS
JUST ANNOUNCED 11/7 LOUNGE - ROCKARAOKE 11/14 - DYLAN JAKOBSEN 11/20 LOUNGE - THE DECOYS 12/14 LOUNGE - WHERE MY BONES REST EASY 12/16 LOUNGE BUTTONS 1/16 - SCHOOL OF ROCK PRESENTS: BLACK SABBATH UP & COMING 11/5 LOUNGE - HERMOSA 11/6 LOUNGE - INSVRGENCE 11/8 - PANCAKES & BOOZE ART SHOW 11/9 LOUNGE - ROSEDALE 11/10 - JEFF TIMMONS OF 98 DEGREES 11/11 - MARIACHI EL BRONX 11/11 LOUNGE - DRAGON FLY 11/12 - LAGWAGON 11/13 LOUNGE - ALEXZ JOHNSON 11/14 LOUNGE - MELANIE MARTINEZ 11/15 - SYMMETRY 11/16 LOUNGE - SELF DEFENSE FUND 11/17 LOUNGE - THE BOTS 11/19 - THE GHOST INSIDE / EVERY TIME I DIE 11/21 - EMERY 11/21 LOUNGE - FOXING 11/22 - ISSUES 11/23 LOUNGE - THE PETEBOX 11/25 LOUNGE - LORD DYING 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 29 — NOVE MBER 4, 2014
KISW (99.9 FM) METAL SHOP & EL CORAZON PRESENT: EYEHATEGOD with Powertrip, Iron Reagan, Wounded Giant, Old Iron PLUS Homewrecker & Pharaohs in the Lounge. Doors at 7:00PM / Show at 8:00, 21+. $20 ADV / $25 DOS THE EYEHATEGOD AFTER SHOW PARTY 21+ LOUNGE SHOW featuring live music from Witchburn FREE Music begins at the conclusion of the Eyehategod show in the main room.
37
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PUBLISHER/AD MANAGER Sound Publishing is seeking a dynamic Publisher to lead and build a group of newspapers and digital news sites based in Aberdeen, WA. The Daily World (Aberdeen) publishes in print three times a week while The Vidette (Montesano), The South Beach Bulletin (Westport) and The North Coast News (Ocean Shores) are community weekly newspapers. We want a proven leader with the entrepreneurial skills to build on the solid growth of these publications. Ideally, the publisher will have a good understanding of all facets of newspaper operations with emphasis on sales, marketing, financial management, and an appreciation for quality journalism. The ideal candidate will be well versed in leading and developing sales teams and culture on all media platforms. The publisher should have excellent communication skills and be innovative and agile in responding to changing business and audience needs. Minimum qualifications include at least five years in a related industry, with at least three of those years in management; This position receives a base salary plus bonus; and a benefits package including health insurance, paid time off, and 401k. Qualified applicants should email a cover letter and resume to Tim Bullock, Director of Human Resources, at tbullock@soundpublishing.com Sound Publishing is the largest provider of community news in the Northwest, with over 40 daily, weekly and monthly publications reaching more than 1.5 million print and digital readers every week. We are located throughout the Puget Sound, North Olympic Peninsula and Grays Harbor regions. Visit our website to learn more about us! www.soundpublishing.com Sound Publishing is an Equal Opportunity Employer
Employment General Activists HIRING CAMPAIGN WORKERS IMMEDIATELY! Earn Up to $528-$655/week! • No Fundraising • Drivers Earn Bonuses PLUS Gas Reimbursement! • Full-Time and Part-Time • Make a difference! Seattle: (206) 257-3289 East Side: (425) 822-3326 Bellingham: (360) 637-4637 Tacoma: (253) 292-5173
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Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298
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Software Engineer (Member of Technical Staff): Design & develop large scale distributed data storage systems for commercial software product that runs on Linux operating system. Req Bach or foreign equiv in Comp Sci, Comp Eng, Info Sys, or rtld + 5 yrs wrk exp designing, implementing & testing s/w using C and C++ prgm lngs & data structures & algorithms. Exp must incl 3 yrs wk exp in: developing large-scale distributed & scale-out file sys for a comm prdct, applying distributed sys theory & dtabse theory, optimizing s/w sys, perf msmt of s/w sys, using error-correction tech incl Reed-Solomon encdng, & UNIX sys admin. Alt rqmts: In lieu of Bach or foreign equiv deg in Comp Sci Comp Eng, Info Sys, or rltd & 5 yrs exp, emp will accept 7 yrs exp in skills stated above. Exp. may be gained concurrently. Any suitable comb of edu, trng, or exp is acceptable. Position at Qumulo Inc. in Seattle, WA. To apply, please e-mail resume & cover letter to: engineer.staffing@qumulo.com
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U-DISTRICT $450-$550 All Utilities Included! Call Peir for more info (206) 458-0169
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3.98 AC IN PARADISE Well, septic & garage on site. Perfect site for establishing a 3 BR, 2 BA residence $200000 Harriet 360-317-5745 Real Estate for Sale Wanted or Trade
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NOTICE Washington State law requires wood sellers to provide an invoice (receipt) that shows the seller’s and buyer’s name and address and the date delivered. The invoice should also state the price, the quantity delivered and the quantity upon which the price is based. There should be a statement on the type and quality of the wood. When you buy firewood write the seller’s phone number and the license plate number of the delivery vehicle. The legal measure for firewood in Washington is the cord or a fraction of a cord. Estimate a cord by visualizing a four-foot by eight-foot space filled with wood to a height of four feet. Most long bed pickup trucks have beds that are close to the four-foot by 8-foot dimension. To make a firewood complaint, call 360-9021857. agr.wa.gov/inspection/ WeightsMeasures/Fire woodinformation.aspx agr.wa.gov/inspection/WeightsMeasures/Firewoodinformation.aspx
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November 1st & 2nd Noon to 6pm 1714 18th Ave. Seattle Delicious Polish Food, Polish Imports, Arts & Craft. FREE PARKING The Polish Choir Vivat Muscia will sing @ 2:20pm www.polishhome.org
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@ 206-623-6231, to place an ad #1 INTERNET OPPORTUNITY Adult Ent. Website. (Recession proof business) Join the Billion $$ Industry. Everyone approved. E-commerce incl. Make over $100K + this year. CALL NOW: 888-682-2305
We can take your employment ads via email classifieds@seattleweekly.com
Receptionists
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Bookkeepers
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Administrative Assistants
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Executive Assistants
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Office Support Specialists
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Legal Assistants
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Office Managers
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Accounting Assistants
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Data Entry Personnel
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Marketing Assistants
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Paid research opportunity. Call the APT Study at
206-543-0584.
NEVER A FEE TO YOU! Apply Online: www.tyiseattle.com Or call today — we’re here for you!
206.386.5400
Temporarily Yours Staffing
SEATTLE WEEKLY • OCTOBER 29 — NOVEM BER 4, 2014
720 3rd Ave. Ste. 1420 - Seattle, WA 98104
40
MEDICINE MAN I N I NG WELLNESS DCENTER
“The friendliest and preferred agency”
W E E K LY
MUSIC
EVENTS
W W W. S E AT T L E W E E K LY. C O M / S I G N U P
Walk-ins Welcome
On-Line Verification Available Providing Authorizations in Accordance with RCW 69.51A
$99 includes Authorization and Card Doctors available Tuesday 2 - 6 • Thursday 11 - 3, Friday 11 - 6
Also Open Sunday 12 - 4
FILM
4021 Aurora Ave N. Seattle, WA 98103 • 206-632-4021 www.medicinemanwellness.com Now accepting all major credit/debit cards!
HAPPY HOUR
ARTS AND EN
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