Seattle Weekly, November 19, 2014

NOVEMBER 19-25, 2014 I VOLUME 39 I NUMBER 47

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inside» November 19-25, 2014 VOLUME 39 | NUMBER 47

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»15 5

NO MAN’S LAND

BY NINA SHAPIRO | Why, amid

Conflicting plans to clean up the Duwamish.

food&drink 15 BEYOND TURKEY

BY NICOLE SPRINKLE | From local

chefs, new spins on a traditional menu.

15 | FOOD NEWS/THE WEEKLY DISH 17 | THE BAR CODE

arts&culture 19 THE VOTING DEAD

BY MARK RAHNER | How zombie shows predicted the midterms.

19 | THE PICK LIST 23 | OPENING NIGHTS | Mary Poppins

and sketch comedy.

24 | PERFORMANCE/EAR SUPPLY 25 | BOOKS & VISUAL ARTS

27 FILM

28 | FILM CALENDAR

30 MUSIC

BY CORBIN REIFF | A country-music

“outlaw” moves forward by embracing the past. Plus: A former Dinosaur quiets down.

33 | THE WEEK AHEAD

odds&ends 35 | CLASSIFIEDS

»cover credits PHOTO BY PAUL JOSEPH BROWN/ ECOSYSTEMPHOTO.COM CORRECTION: In our November 5 article “Atten-

tion, Apple Connoisseurs!”, Andy Knowlton, cofounder of ’Tude Juice, was misidentified as Andy Milton. Also, our November 12 article, “Seattle’s Seed-Savers,” was wrongly attributed to Nicole Sprinkle. The author is Patrick Hutchison.

Music Editor Gwendolyn Elliott Editorial Operations Manager Gavin Borchert Staff Writers Ellis E. Conklin, Matt Driscoll, Kelton Sears Editorial Interns Jeanny Rhee, Abby Searight

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OPENING THIS WEEK | A marriage under pressure, a ’90s band reconvenes, and jazz cats in ‘70s L.A.

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news&comment Boomtown’s Margins

Despite hyper-development in much of Seattle—and the intentions of city leaders— land is still begging for a buyer on the South End.

Three City Budget Items Worth a Closer Look

BY NINA SHAPIRO

BY SW STAFF

ne bright day last week, people making their way to the Columbia City light-rail station might have noticed a “For Sale” sign on a vacant, litterstrewn parcel of land that climbs up Beacon Hill from Martin Luther King Way South. Or they might not have. The sign had been knocked to the ground, with the placard bearing the real-estate agent’s name unhinged from the post.

Passersby might have overlooked the sign for another reason too: It’s been there before, and to no avail. That piece of property has been vacant at least since 2009, when light rail started running in Seattle’s South End. What’s more, this is not the only such parcel around there. The station is surrounded by seemingly unwanted land, much of it fenced off, waiting to be developed.

For much of the city, this would be an odd sight. In neighborhoods like Ballard and Capitol Hill, developers are maximizing construction on every inch of land they can find. So fast and fierce is the development that some residents say they scarcely recognize their neighborhoods anymore.

The contrast with the unused land around the Columbia City station is even more striking because it’s precisely this corridor that was supposed to see an economic boom when light rail came in. In fact, that’s why city leaders decided to start light-rail development in the South End first.

“The hope was that if you got light rail in, everything would follow,” says longtime Columbia City booster and former Deputy Mayor Darryl Smith.

“That’s not always the case.” Sometimes, he adds, it takes a pioneering project to get things going.

That may be happening now—finally—but the vacant properties serve as a glaring reminder that underdevelopment still exists in many parts of the Rainier Valley, the most economically and racially diverse area of town.

Listing agent Scott Goodrich of Remax explains that the litter-strewn property that’s long gone begging for a buyer has some unique problems. Part of the 18,000-square-foot parcel is wetlands, and the city requires that part of it be kept as a buffer to those wetlands. The rest of it lies on a steep slope. Between that and the city restrictions, Goodrich bemoans, “it’s virtually unbuildable.”

He says the city has indicated it would be willing to consider a variance on its restrictions to allow for development. But the four or five potential buyers who initially expressed interest decided such a variance wasn’t worth the time, effort, and application fee. You have to wonder, though, whether a developer wouldn’t have decided differently were the property in, say, red-hot Ballard,

ast week the City Council’s Budget Committee passed a $4 billion budget for Seattle by a 9-0 vote, all but ensuring a formal approval set for a Nov. 24 vote. In doing so the Council kept intact much of the budget outline put forth by Mayor Ed Murray on Sept. 22 while adding or enhancing funding for some projects and issues.

There is a lot to take in here, but three items in particular caught our collective eye.

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NINA SHAPIRO

That goal was reviewed a year ago by the Sound Transit board, chaired by King County Executive Dow Constantine. Belman says the board felt “very strongly that property purchased with transit dollars” should be used to generate revenue that can be plowed back into transit.

“Fair market value, I think, is not the way to go,” counters newly re-elected state Speaker of the House Frank Chopp. Hammered on the issue of affordable housing by challenger Jess Spear, he told the Weekly during the campaign that he had been “pushing” Sound Transit “very hard” to sell its land cheaply or even donate it to the cause.

Belman and Lovell say they haven’t heard of this proposal, and Chopp clarifies that talks are just beginning. But he says he’s already helped achieve one such deal on Capitol Hill, where Sound Transit recently issued an request for proposal that would create affordable housing around its soon-to-be completed station there.

That deal is actually quite complicated, and involves recouping lost value on that discounted parcel with revenue gained from adjacent Sound Transit properties, Lovell and Belman explain. It’s also in an already hyper-developed neighborhood, not the Rainier Valley.

Still, they stress that things are happening on the South End. In Mount Baker, Sound Transit knocked $600,000 off the price of land adjacent to its station there, partly to account for poor soil and slope conditions and partly to encourage an affordable live/work complex that was built by

» CONTINUED ON PAGE 6

republican royalty » All Hail the Queen GARRET ALLEN

Last week we profiled Melanie Stambaugh, the 24-year-old former Daffodil Queen who beat out five-term Democrat Dawn Morrell in the 25th District for a spot in the State House. Our red-state readers responded: “This young lady has started her own business and has an MBA from UW. Sounds like she is more qualified than just a ‘Daffodil’ queen” —TheTruth “Please don’t reduce this win to ‘Daffodils.’ Dawn did not represent the 25th, she represented a political ideology that has destroyed this country.” —Joanie Marie “She is more than just a pretty face and the Dems can’t handle it.” —TheGiftedDone

•

•

Jean Godden, lately all riled up about gender inequality, pushed through $250,000 to start a paidparental-leave plan for city employees. This makes Seattle one of very few cities in the country to offer such a benefit, according to Godden. “I’m excited,” she told Seattle Weekly. What remains to be seen is exactly what the plan will be. Details will be worked out in the coming months. Among them: How long will the paid leave last? “I don’t think it will be months. We’ll probably start out with weeks,” said Godden, for whom this is a legacy issue. She acknowledged this “starter” plan, due to launch sometime in 2015, “may not be that robust, but it will be scaleable.” $15 for city workers The Council’s Budget Committee also unanimously approved an amendment by Councilmember Kshama Sawant, co-sponsored by Councilmember Mike O’Brien, to set aside $1.6 million over the next two years to ensure that all city workers receive a minimum of $15 per hour beginning April 1, 2015. The Sawant amendment made good on a promise made in January by the then-newly elected mayor to bring all city workers to $15 per hour by executive order, but the Mayor’s proposed budget had not included funding to raise the wages. “Today we were able to finally deliver on Mayor Murray’s unfulfilled January promise,” said Sawant.

2

Wage enforcement Also approved was $1 million in funding to improve enforcement of minimum-wage, sick-leave, wage-theft, and other labor standards. The money will be used for community-based outreach to workers and for two additional full-time investigators in the Division of Labor Standards. The vote came just days after Paseo’s abrupt closure put a spotlight on the extent of wage theft—estimated to cost U.S. workers $50 billion a year—and just weeks after a report by the Seattle City Auditor found that despite numerous complaints, not a single employer had been fined for violating the city’s paid-sick-days law. “This is about meeting workers where they are at and doing everything we can as a city to make sure workers know their rights on the job and know how to stand up for those rights when they are being violated,” said O’Brien. E

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news@seattleweekly.com

SE ATTLE WEEKLY • N OVEMBER 19 — 25, 2014

especially given that its price is just $149,000.

The nearby fenced-in area is even more puzzling. That’s because all 39,000 square feet of it— including a little sliver across a side street on the west side of the station and a much larger section on the east side—belongs to Sound Transit, an agency committed to fostering economic development along the tracks it has laid down.

Those parcels, Smith recounts, “have been a bone of contention for a long time.” Vacant land makes a neighborhood seem unwanted and unwatched, and local residents worry that the property might be a magnet for crime. “In my time in the mayor’s office, myself and a colleague at DPD [the city Department of Planning and Development] began the process of reaching out to Sound Transit,” Smith says. “Our feeling was that they should start either marketing the properties or doing something with it.” Instead, he says, the agency was “sitting around waiting.”

What was it waiting for? The recession to end, for one thing. “I think you’re familiar with the real-estate market in the valley,” says Sound Transit spokesperson Bruce Gray. “It’s just now starting to come around.”

Sound Transit is dedicated to using its property for public benefit. So say Gray, Transit-Oriented Development manager Sarah Lovell, and Brooke Belman, who oversees the disposition of the agency’s surplus property, all of them speaking on a conference call with Seattle Weekly. But the agency is also determined to achieve “fair market value” for its properties.

MAN AND BOY BY WAYNE TYLER SALL, MONEY BY LUIS PRADO FROM THENOUNPROJECT.COM

No man’s land in Columbia City.

Parental leave Councilmember

5

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the nonprofit Artspace. The four-story, 57-unit complex opened in October and pitches itself as “jump-starting an urban village.”

Meanwhile, nonprofit Mercy Housing Northwest is slated to build an affordable-housing complex around the Othello station, which will also house the organization’s headquarters.

As for the land around the Columbia City station, Lovell says Sound Transit is engaged in “predevelopment work,” which includes figuring out “what the neighborhood wants as well as what the neighborhood can support.” That process takes about 18 months, she says, and will result in the land going on the market probably sometime next year.

Sound Transit is not a pioneer in this area.

Already an incubator of charming small businesses, Columbia City has become a magnet for bigger development over the past couple of years.

A stylish apartment complex called Green House opened in late 2012 just off the business district’s main drag. A few blocks north, on the site of a once-derelict little strip mall that Smith says used to draw laughs when he and others proposed it as a site for development, Security Properties is building a 193-apartment complex.

Even on the western edge of Columbia City, which includes the light-rail station but an otherwise neglected stretch of Martin Luther King Way, a massive new development is on the way.

The Arizona-based Wolff Company has just broken ground on six acres it bought from Zion Preparatory Academy. A six-building, 244-unit apartment complex will go in there.

Wolff tends to build in Seattle’s hottest neighborhoods, including South Lake Union and Capitol Hill, and its pick of Columbia City was wellconsidered, according to Rossman. “We’ve been keeping a close eye on the neighborhood,” he says.

He calls the area “evolving,” adding that he expects Wolff ’s own project to serve as a “catalyst.”

Rob Mohn, a smaller-scale Columbia City developer who runs an extended-stay hotel, says he thinks so too. In fact, despite trying to drum up more development in the area for years, he worries about it. “There’s a fine line between trying to get something happening and too much happening,” he says.

The valley has always been conflicted about development. On the one hand, residents want more amenities and are resentful about being overlooked by the city, developers, and many Seattleites in general. “Look,” Smith says, “a lot of people in Seattle have never been south of Jackson Street . . .

I think there’s still a little racism out there.”

On the other hand, Smith, Mohn and others worry about gentrification and the effect of rising rents on beloved small businesses. “My hope is that there will be a homegrown type of redevelopment,” Smith says.

That conversation has gone on even while “For Sale” signs have hung for years on the same properties. Is this time different? One indication will be whether Goodrich’s listing ever gets sold.

In the meantime, the Weekly’s inquiries last week about whether the city’s restrictions on the lot might be too stringent, as Goodrich suggested, prompted DPD to reach out to the agent, according to department spokesperson Bryan Stevens. He says the city offered help in “activating the space with different uses or activities” until a buyer comes along. No word yet on what those might be. E

nshapiro@seattleweekly.com

PARTS & SERVICE

Joe Bernstein responds to letters from the housed.

I

n last week’s Seattle Weekly, Joe Bernstein, a homeless man who sleeps in the doorways of Seattle businesses, eloquently recounted the many thefts he has experienced since becoming homeless more than two years ago and the measures Q&A: BAEZ! GWAR! K!»PAGE 32 BELLA GOES TO GITMO »PAGE PAGE 27 APPLEJOAN JUICE, DECONSTRUCTED » PAGE 14 SAM GOES POP! » 21 he has taken to protect his property.

Some readers wanted to know a little more.

Bernstein graciously answered their questions.

(Letters and responses have been edited for length and clarity.)

NOVEMBER 12-18, 2014 I VOLUME 39 I NUMBER 46

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But in the end, Joe, are you happy? I’m not asking as a condemnation of your lifestyle, but as a legitimate inquiry. Years ago I approached a homeless guy that routinely slept in the doorway of the building that housed my office. [ . . . ] I handed him $20 one day and said something to the effect that I felt sorry for him and for being homeless. He looked at me, smiled, and said thanks for the 20 bucks but what makes you think that I am unhappy? —Steve Hunter Without going into voluminous confession, a summary: I’m used to thinking I need a fairly normal life to be happy, and I’m further than ever from that. Despite the insecurity, unemployed homelessness the way I do it, pretty much living in libraries, is quite low-stress, so my depression has been in hiding. Pretty soon I’ll have to go back to employed homelessness, though, which is much higher-stress.

And though I love to research and write, I’ve never found unemployment productive for that, and don’t now; this article is a rare example of my finishing something these days. So I’m now not happy, not depressed, and not productive; I hope soon to be not happy, mildly depressed, and productive. Does that answer your question? —Joe Bernstein

news@seattleweekly.com

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Great piece—a night in the life of . . . Although I don’t know why you don’t go to a shelter or try to get into transitional housing where you would have a lockable room and a warm bed, but that’s your choice, I suppose. Another alternative is to get a spot in one of the tent cities. You’d have a safe, and presumably dry, tent to relax and sleep in, and to keep your stuff safe in even when you’re away. —Gadfly The homelessness literature includes tons of anecdotal references to theft in shelters, going back to the “old homeless” and the jackrollers.

I cited Emily Spence-Almaguer because her study is one of the few to address this statistically—and she basically confirmed the anecdotes, right up to the fact that in shelters, it’s clothing that gets stolen most.

Transitional housing, as far as I’ve ever learnt about it, is for people with incomes. I’ll consider it when I have one; it would certainly reduce the burden of employment. But I lived once in an apartment whose rooms were individually let, and it was a pretty miserable way to live. (Then again, we only got locks after a theft.) —Joe Bernstein E

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news&comment» Casanova Nick’s Last Con

R

SEATTLE WEEKLY • NOVEM BER 19 — 25, 2014

SEATTLELAND

8

COURTESY MULTNOMAH COUNTY SHERIFF’S OFFICE

ight off, I should say something about my minor role in helping send old Nick to prison. As Oregon deputy district attorney Stacey Borgman told me last week, “Your article has come in very handy for me over the last year!

I attached it to the back of several court documents! Thank you.”

She had just successfully prosecuted 74-yearold Nick Kasemehas, likely America’s most incurable con man, whom I wrote about four years back (“The Wrath of Con,” May 4, 2010).

“That guy in the movie Catch Me If You Can,” one of Kasemehas’ relatives told me, “he’s a piker compared to Nick.”

BY RICK ANDERSON San Francisco Police Inspector Greg Ovanessian, who chased Kasemehas for more than two decades, told me he wasn’t ready to rank Nick alongside legendary impostor Frank Abagnale Jr. But “Nick is good, very good,” he said. And while Abagnale was a one-decade flash-inthe-pan, Kasemehas has been an artful dodger for more than half a century. He once slid five stories down an elevator shaft while fleeing the cops. Another time he successfully leapt from a jet plane taxiing for takeoff. (A U.S. Marshal pursuing him also jumped, and broke his leg.)

Kasemehas even worked the con from prison, which he’s been revolving through since the 1960s, aggregating 20 years behind bars. He once bunked with a wealthy pornographer who bragged he secretly donated to Jimmy Carter’s election campaign in hopes of getting out of prison. Kasemehas, working a deal, ratted out the pornographer, leading to a 1970s White House payoff scandal.

So what I’d like to say about Kasemehas going back to prison with my small help is that it was sad to see a picture of him in The Oregonian, head in handcuffed hand, after a judge sentenced him to 15 years. Due to his age and heart condition, that’s a death sentence, said his attorney.

But, just as the dozens of women Kasemehas courted and then fleeced loved him, he loved the con and it took him for everything, too.

If he dies in prison, some will cheer. As one victim put it, “If the police catch him, they can keep the money. I just want to go down there and kick him in the balls.”

From Seattle to Los Angeles and points east, police detectives called Kasemehas “the Casanova Con,” since he typically wooed and swindled single ladies. Investors were his second favorite target. A Seattle hotel concierge gave him $48,000 and an Idaho farmer forked over $2 million, only to have Kasemehas disappear.

This “charming, grandfatherly” poseur, said prosecutor Borgman last week in Clackamas County Circuit Court, “will not change; he knows no other way of life.” When he left prison last time, in 2012 at age 72, Kasemehas went back to the con, as before. In less than a year, he used loan and gold-coin schemes to hook four investors, then disappeared with $181,000 of their money.

He was older but no less bold. When arrested in Chicago this year, Nick was pass-

ing himself off again as tycoon Alex Spanos, a fellow Greek and owner of the San Diego Chargers. “He’s charismatic and consistent,” Ovanessian had said. “He develops a line and sticks with it.”

No one was certain why Kasemehas wasn’t held for Seattle authorities after his latest prison release, although there was little chance he could pay back the $48,000 conned in 2007 from the hotel concierge. Likewise, Kasemehas has not paid back the wealthy Idaho produce farmer. With interest, that tab has soared past $5 million.

“Nick is a career criminal, as you well know,” assistant DA Borgman wrote in an e-mail last week. “And he knows no other life, but I don’t think this is simply a case of an old dog using old tricks. He has been at this for far too long.

There is really something missing in him. It is really quite astonishing how he is able to feign such compassion, friendship, and generosity for his marks while he is working a con, but at the same time lack any sort of empathy.”

Likely least surprised by Kasemehas’ recidivism is Ovanessian, who predicted that when Kasemehas got out of stir the previous time, he’d quickly resume his act. Why, “his ‘old man’ routine will be even better!” the detective exclaimed.

The “charming,” grandfatherly con man.

Borgman agrees. “I have seen Nick act like a decrepit old man in court in front of the judge and then 10 minutes later pace back and forth in a holding cell for 25 minutes like a 25-yearold,” she stated last week. “He has been faking heart attacks for years in order to escape or get released from jail for medical reasons. So it would not surprise me to see him walking down the street one day as a 90-year-old man, unfortunately.”

Maybe he will finally have a valid defense: “But your honor, I am an old man!” E

randerson@seattleweekly.com

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

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

SE ATTLE WEEKLY • N OVEMBER 19 — 25, 2014

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SEATTLE WEEKLY • NOVEM BER 19 — 25, 2014

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PHOTO BY PAUL JOSEPH BROWN/ECOSYSTEMPHOTO.COM

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fter a decade of studies that cost millions of dollars, the time had come for the people living around Seattle’s biggest toxic mess to tell the government what a cleanup should look like.

On a spring night in 2013, Spanish-speaking residents of south Seattle approached a microphone that sat beneath the basketball hoop at the South Park Community Center. One by one, they envisioned a new future for the Duwamish River and the neighborhoods it passes through. Today those neighborhoods of South Park and Georgetown are home to some of King County’s highest rates of hospitalization for childhood asthma.

Locals regularly fish the river, despite government prohibitions due to high levels of toxic chemicals in seafood caught there.

Clean up as much as you can, the people said, overwhelmingly.

The U.S. Environmental Protection Agency, which oversees the Duwamish River as a federal Superfund site, was listening.

Then a man made his way to the microphone and introduced himself, in Spanish, as “John Ryan, one of the engineers who worked on the cleanup study.”

Ryan then told the South Park assembly why he opposed a more expansive cleanup.

Ryan said that removing large amounts of the river’s pollution would actually be worse than digging out less. All the trucks required to cart the tainted muck dredged from the river bottom, he said, would rumble through their neighbor-

hoods, spewing air pollution. It would double the air pollution and triple the truck traffic, in fact, compared to a more modest plan already endorsed by the EPA. Not only that, Ryan said, but digging out larger amounts of the toxic river-bottom mud would also cost twice as much as the EPA’s plan. He said that would be “a bad use of the public budget.”

Ryan isn’t the only one opposed to the idea of carting away most of the polluted river bottom.

All the big players involved in the cleanup, aside from the grassroots Duwamish River Cleanup Coalition, agree that more removal would be less helpful. Industry opposition should be expected.

But also lining up on the dig-less side are three local governments often lauded as green: King County, Seattle, and the Port of Seattle. All say that dredging up and carting away more toxic crud wouldn’t do any better to protect health. The Cleanup Coalition disagrees, strongly.

One thing Ryan did not say was that he was working for the governments and the Boeing Co., all of whom as polluters and owners of polluted land are on the hook for an undetermined share of the cleanup costs, which are expected to run into hundreds of millions of dollars.

John Ryan’s words to those citizens that night

were just a small part of a years-long lobbying campaign by Seattle, King County, the Port of Seattle, and Boeing to limit the amount of dredging done in the Duwamish. The campaign stretched from South Park to the U.S. Capitol,

according to records obtained by InvestigateWest under the Washington Public Records Act. The Lower Duwamish Waterway Group, as the foursome of Boeing and the local govenments is called, says it already has spent more than $40 million for studies and early cleanups of “hot spots” on the mega-polluted river. The Duwamish is loaded with carcinogenic PCBs and lots of other pollutants—some dumped directly by industry and some arriving via rainwater runoff from the 32-square-mile portion of the Duwamish Valley between Beacon Hill and West Seattle. Those cleanups have hauled away about half of the river bottom’s most-polluted material. Now Boeing and the three local governments want to limit how much more expensive dredging the EPA will require.

The EPA is expected to announce its final decision by year’s end. And if Boeing and the governments prevail—as expected—residents will likely be warned against eating much seafood from the Duwamish due to an increased risk of cancer and other diseases. Probably forever.

As is usual at a Superfund site, the debate turns on money. Reasonable people can disagree about how to split the cost between the businesses that helped pollute the Duwamish, such as Boeing, and the rest of us, through our tax bills.

But how big the final bill will be rests on the answers to three key questions: First, is it technically feasible for the cleanup to achieve pollution levels that would make it safe to eat Duwamish seafood? The

basic objection to dredging coming from Boeing and the local governments is their contention that more dredging would not appreciably reduce health risks. The Duwamish River Cleanup Coalition contends that removing the contaminated river bottom is safest because all that poisonous mud will be gone, holding out hope that the health of the river’s bounty could someday improve to the point that fishing restrictions could be lifted.

Second, how much Duwamish seafood do people actually eat, and is it possible to keep them from doing so? The river was declared offlimits to most fishing more than a decade ago, but authorities still are unable to keep people from fishing the Duwamish.

And third, what about the dirt, sand, and mud that constantly flow into the Superfund site from upriver? Those too are contaminated, carrying anything and everything rainwater runoff sweeps up in its path: motor oil, dog crap, pesticides, spilled industrial chemicals, and more. If that could be cleaned up as well, it’s possible that people could again fish the Duwamish without worry, the Cleanup Coalition says.

The EPA’s preliminary plan would clean up the Duwamish through a combination of dredging, covering less-polluted areas with perhaps six inches of sand and rocks, and allowing other even less-polluted sections to “recover naturally,” their containments being buried by sediment swept downstream by the current, at little or no cost.

The dredge-more scenario pushed by the

“We have a long history in this country of dumping on low-income communities, both literally and figuratively.”

Taken together, the records obtained by Investi-

gateWest paint a picture of Boeing and its government partners maximizing the downside of a heavy-dredging plan by using distorted figures that they should have known were wrong.

John Ryan’s comments at the South Park meeting raised hackles among those who advocate for a total cleanup of the Duwamish sediment.

“Until now I believed our disagreements to be a more-or-less honest debate on the merits of the cleanup options and how to spend public dollars,” wrote BJ Cummings of the Cleanup Coalition in an e-mail the day after Ryan’s talk.

“But I have now heard public agency representatives make public statements that they know to be untrue. This has not happened in the past 12 years of planning for the Duwamish cleanup.”

» CONTINUED ON PAGE 13

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To make sure their message was heard, Boeing and the local governments aimed high: Washington, D.C. They went to Congress and requested that pressure be put on the EPA to talk with them outside the official Superfund comment process, which is open to the public. Late last year, about six months after that community meeting in South Park, Boeing and the local governments went into high gear, records show.

U.S. Sen. Patty Murray “expressed surprise” and “consternation” when King County Executive Dow Constantine told her EPA headquarters was blowing him off and that the head of EPA’s Seattle-based Region 10, Dennis McLerran, wouldn’t talk with them either, according to a Feb. 6 email to county officials

by Jeff Bjornstad of the government-affairs firm Washington2Washington.

The campaign eventually landed the group meetings with the EPA’s second-in-command, assistant administrator for government relations Bob Perciasepe—“a real score” according to one King County official’s e-mail—and with McLerran.

The lobbying built through February of this year, when King County’s then-head lobbyist, Genesee Adkins, wrote to partners: “[I]t sounds like Boeing is pushing partners to make another much more pointed push to the delegation asking them to call EPA.” The same day, a King County executive, Christie True, head of the Department of Natural Resources and Parks, wrote to colleagues that it was time to get the “big fish” in their organizations to lobby Washington’s congressional delegation to lean on the EPA. Boeing and the governments looked for leverage. They considered hiring two former heads of EPA’s Region 10, Chuck Clarke and John Iani, records show. Then, as records show, Boeing and the governments decided to aim highest of all by recruiting one of the most powerful political heavyweights in modern Northwest history: former U.S. Rep. Norm Dicks, the longtime chair of the House Appropriations Committee.

But two months after the intense lobbying campaign ensued, that idea got scotched. Martin Baker, a policy advisor at Seattle Public Utilities, told DNRP head True that the “City of Seattle will not participate as it is too high risk and inappropriate,” according to an internal e-mail.

Baker told InvestigateWest that Dicks’ hiring never came to pass because “it was a strategic decision about how to represent our message. We have good relationships with the stakeholders and EPA, and we felt it would work out.”

And it does look like things are about to work out for Boeing and the three local governments.

The EPA is hoping that Boeing and the local governments will be satisfied enough with the cost of the mid-level cleanup plan that they will agree to pay for the work instead

of fighting the EPA in court—which so often happens under the Superfund law, whose legal provisions can siphon off lots of money for epic court fights.

More than four-fifths of the 2,327 public comments on the EPA’s plan urged the agency to do more dredging. The agency is not obligated to follow that direction, though, and must only consider the comments seriously.

“We work really hard at sites across the country and in particular at the Duwamish to make sure we are reaching everyone who is interested,” said Lori Cohen, deputy chief of the Superfund unit for EPA Region 10.

For its part, the grassroots Cleanup Coalition reached out to its own friends in high places, too. In June, well-known Seattle pop musician Macklemore was the centerpiece of a campaign in favor of a larger dredging operation. The Cleanup Coalition has at least one other friend: Mike O’Brien, the former Sierra Club volunteer who now sits on the Seattle City Council.

Echoing Macklemore, O’Brien says, “We have a long history in this country of dumping on low-income communities, both literally and figuratively.”

It’s already been established by InvestigateWest and others that people living in the Duwamish Valley live sicker and die younger, and face many environmental health threats.

Many residents also have trouble getting fresh food because of a lack of grocery stores in the neighborhoods surrounding the Superfund site, which makes fishing the dirty Duwamish all the more appealing.

O’Brien says he wonders about the Superfund program’s laserlike focus on removing pollution from the river.

“As a policymaker, I would like to be thinking more holistically about how we allocate our scarce resources,” said O’Brien, who, according to government records, interceded with city staff on the Cleanup Coalition’s behalf.

O’Brien said he doesn’t know if the Cleanup Coalition or the city and county staffers are right about how much polluted muck should be dug up. It’s a technical question. Easy for a politician to duck. But this he does allow: “The city’s powerful. The county’s powerful.

The port’s powerful and Boeing’s powerful.

The one place where I do take a side is I want to make sure the community has as close to as much power as possible going forward with these discussions.”

ALL

Cleanup Coalition—the one Ryan was arguing against—would cost substantially more, perhaps $600 million over 17 years. The dredginglight plan pushed by Boeing and the local governments, in contrast, would cost about half as much and take just five years.

In a preliminary decision announced last year, the EPA endorsed a compromise: a seven-year, $400 million plan that, significantly, relies on restricting people from fishing the Duwamish.

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How Clean? » FROM PAGE 11 The Cleanup Coalition has argued that Ryan’s scary numbers were based on the assumption that the trucks used would be burning a kind of fuel that is so dirty it has been illegal for truck use since 2006 and for off-road vehicles since 2010—years before Ryan offered his comment at the South Park Community Center on that spring night.

Those allegations were backed up by two reports commissioned by King County and its partners following pressure from the Cleanup Coalition. Those reports—one written by Ryan and his colleagues at the consulting firm AECOM, another written by by Heffron Transportation, Inc.—examined how different cleanup plans would affect air quality and the number of truck trips. Sure enough, the AECOM report said the new and cleaner fuel would be used.

The Cleanup Coalition also argued that Ryan’s figures assumed that 100 percent of the muck would be transported by truck. It’s true that an earlier study—the so-called Feasibility Study comparing the cleanup alternatives, written by AECOM—did make that assumption. But it was widely known that a majority of the muck was likely to be carted away on barges that pollute a lot less than trucks, the Cleanup Coalition argued.

The Heffron report acknowledged that much of the muck could be hauled away by barges, reducing the pollution. But even assuming 100 percent truck transport, the Heffron study said, the Duwamish River cleanup would have only a “negligible” effect on south Seattle air pollution.

So did Ryan lie?

A careful examination of these two reports reveals how Ryan and his colleagues could justify their conclusions. It’s all in the technical detail— which of course didn’t get discussed that night under the basketball hoop.

The study by Ryan and his AECOM colleagues said that during the EPA’s seven-year project, trucks would spew 11 tons of soot, while over the 17-year life of another alternative much like the Cleanup Coalition’s proposal, 21 tons would be released—roughly double.

But how much pollution would be in the air at any given time? The amount of soot released on an annual basis would actually decrease under the more-dredging scenario, from 1.55 to 1.26 metric tons per year, AECOM reported.

The Heffron report similarly concludes that “while the differences in dredge volumes are not expected to significantly affect the number of truck trips generated on a single day, they would affect the number of years over which truck trips would be generated.”

In response to these reports, King County appeared to back away from Ryan’s 2013 claims. “Ensuring the use of [ultra-low sulfur fuel] will significantly reduce emissions,” King County sediment management specialist Jeff Stern wrote after the reports’ release. “The project will increase emission and particulate pollution in the valley, but only slightly.”

Nevertheless, in correspondence with InvestigateWest, the King County Department of Natural Resources has consistently stuck by the original claim. Last Friday, DNRP spokesman Logan Harris wrote: “The actual

transport methods for the cleanup won’t be determined until after the project is designed and implemented. What stays the same regardless of transport method is that more dredging means more transport. Mr. Ryan’s statements about proportionate impacts between different cleanup alternatives still hold true.”

DNRP refused InvestigateWest’s request to interview DNRP director True. Calls to John Ryan requesting comment were not returned.

We also were unable to speak with King County executive Dow Constantine, although a county spokesman provided an interview.

The two reports helped prompt at least one formal change: King County agreed to adjust a “fact sheet” it had long distributed through the Internet and elsewhere, records show. Where it once toted up the transportation impact using little truck icons, it now shows little bucket icons.

Even if the Cleanup Coalition were to somehow

win this battle, the Duwamish and its surrounding neighborhoods might well remain at risk.

Before he even got to the trucks, Ryan told the South Park crowd that 100,000 metric tons of sediment—the runoff from streets in Auburn and Renton after every rain, as well as farms and highways and everything else pretty much up to Mount Rainier—gets washed every year into the lower Duwamish.

“Imagine a line of trucks carrying sediment that starts here and ends in Olympia,” he said.

That’s how much dirt, sand, and mud the 103-mile-long watershed dumps into the section of the Duwamish designated as a Superfund site, the last five miles before the river empties into Elliott Bay at the West Seattle Bridge.

Environmentalists have long pushed to clean up all that land so that the Duwamish can be fished regularly. Cleaning up 93 miles of river to help the Superfund site long seemed like a bit of a pipe dream. The federal Superfund law doesn’t require it, after all.

And then in September, Constantine rolled out what sounds like an ambitious strategy for rehabilitating the river’s 500-squaremile watershed. He announced his “GreenDuwamish Watershed Strategy” in conjunction with Seattle Mayor Ed Murray, aiming to clean up the pollution flowing downstream.

Words are cheap. And Constantine spokesman Chad Lewis allows that all the county executive is really trying to do is to coordinate what many agencies have been working on for a long time. There is no new source of money accompanying the initiative.

But it’s significant, Lewis argues. It sends a message to the EPA, he said: “We’ll see your five miles and raise you 93.”

“That’s not a swipe at EPA,” Lewis cautions.

“That’s what [Constantine’s] whole vision is around the Duwamish: You don’t just clean up this five-mile stretch. We have to go upstream and stop pollution coming down.”

And if that doesn’t work?

“It’s going to get polluted again.” E

“I have now heard public agency representatives make public statements that they know to be untrue.”

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food&drink Inventive twists from Maria Hines, Ericka Burke, and others.

BY NICOLE SPRINKLE

W

e know you have your triedand-true family favorites that you make every Thanksgiving—and by all means, keep on givin’ your people what they want. But if you’re also up for a little experimenting this year, we have recipes from several local chefs that are sure to fit in at any turkey-day celebration—including an entirely novel take on the bird itself, via Rhein Haus’ chef. Enjoy!

FoodNews

BY JASON PRICE

COURTESY OF CHERA AMLAG

Inspired Thanksgiving Day Recipes From Local Chefs

Check out Seattle Cooks’ 10th annual Fall Wine Release at the Northwest Wine Academy at South Seattle College, Nov. 20–22. Each free event will feature tastings, food pairings, and the opportunity to meet Northwest winemakers.

Chera Amlag, co-founder of the oft-talked-about Food and Sh*t pop-up, has combined pastry and technology to launch Hood Famous Bakeshop (hoodfamousbakeshop.com), offering Filipino specialty pastries and desserts online. Her ube cheesecake—made from a purple Filipino sweet yam—is currently featured at all three Uwajimaya locations.

Maria Hines, Golden Beetle: Sweet Potato, Red Onion, and Goat Cheese Tart

Servings: 2 large or 4 medium-sized tarts Ingredients for the dough:

Ingredients for the tart filling:

Directions for the tart:

In a large skillet, heat the olive oil. Add the onion and garlic and season with salt and pepper. Sweat the onion and garlic over medium heat until tender and fragrant. Stir in sweet potatoes and cream and cook until cream is reduced by half and the potatoes are just tender.

Pick ½ bunch of cilantro and chop. Season with salt, pepper, chopped cilantro, and smoked paprika to taste. Let cool.

Preheat oven to 375°. Divide tart dough, depending on number of tarts you are making, and roll out to approximately ⅛ inch thick in a circle. Place dough on a baking sheet lined with parchment. Spoon the filling onto the tart dough,

Pete Fjosne, Rhein Haus: Turkey Schnitzel With Pretzel Stuffing and Black-Pepper Cranberry Sauce Servings: 6

Ingredients for the schnitzel:

4 6 oz. pounded turkey breast cutlets (about ¼-inch thick) 2 large eggs 1 c. flour 6 c. hard pretzels ½ c. canola oil 1 lemon (cut into wedges)

Directions for the schnitzel:

Whisk two eggs together and place into a shallow bowl or pie pan.In a food processor, turn the hard pretzels into a fine powder, then put that into another pie pan. Do the same with the flour. Dredge each turkey cutlet on both sides in the flour, then in the egg mixture, then in the pretzel powder. Set aside in the refrigerator.

Ingredients for the pretzel stuffing:

5 large soft pretzels

1 c. diced yellow onion 1 c. diced celery ½ c. fresh sausage (crumbled) ½ c. golden raisins 1 tsp. minced sage 1 tbsp. minced Italian parsley 1½ c. chicken stock 2 large eggs ½ tsp. salt

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TheWeeklyDish

Single Shot’s Marinated Beets & Chicken-Liver Mousse

BY NICOLE SPRINKLE

Directions for the pretzel stuffing:

Cube the soft pretzels into 1⁄2-inch cubes and leave out for about 24 hours, uncovered, to dry. When ready to make the stuffing, preheat the oven to 350°. In a large bowl, combine the cubed pretzels, onion, celery, sausage, raisins, sage, and parsley. In a separate bowl, whisk the chicken stock, eggs, and salt together. Pour the egg mixture over the dry stuffing and gently mix. Place the stuffing in the refrigerator for 1 hour, mixing every 15 minutes, so the egg mixture absorbs evenly. Put the stuffing in a 4-quart baking pan and bake for 35 minutes in the preheated oven. Use a thermometer to make sure the stuffing is heated to 165°—if not, return to oven until the temperature is reached.

Ingredients for the cranberry sauce:

6 c. fresh cranberries 2 c. sugar 1 c. water 1 tsp. fresh ground black pepper 1 cinnamon stick 1 tsp. orange zest

» CONTINUED ON PAGE 16

Capitol Hill’s latest place to be seen is Single Shot, with food by chef James Sherrill (Re:public, Zoe) and drinks by Adam Fream (Bathtub Gin, Zig Zag). As at most gastropubs, small, rather pricey plates predominate, but here, at least, they’re generously portioned. Their marinated beets & chicken-liver mousse for $15 is a hit—the rich, delicious mousse slathered on the crostini with abandon, the perfectly cooked chopped golden and ruby-red beets cutting through the heft like a bright sun in fog. (I appreciated the small bites of beets over the usual larger orbs.) Dainty clusters of pistachio seeds provide a touch of texture, while berbere spice adds a pop of flavor that brings it all home. E

nsprinkle@seattleweekly.com

SE ATTLE WEEKLY • N OVEMBER 19 — 25, 2014

2 tbsp. olive oil 1 small red onion, thinly sliced 2 garlic cloves, chopped 3 medium sweet potatoes, scrubbed and sliced ¼ inch ½ c. heavy cream 1 bunch cilantro ½ lb. goat cheese Salt and pepper to taste Smoked paprika to taste 1 egg 1 tbsp. water for egg wash

leaving a 1-inch border of dough. Begin folding over small sections of the excess dough until the tart is completely enclosed by the dough.

Sprinkle goat cheese on top. Make an egg wash with the egg and water and brush it around the outside of the tart. Bake 20–25 minutes, depending on size, until tart is golden brown. Let cool and garnish with remaining cilantro sprigs.

Do you live in the “other” Seattle—that westward peninsula that many city-dwellers know so little about? If you do, you’ll be excited to learn that the long-awaited sports bar, The Westy, is finally scheduled to open on Wed., Nov. 26. The Westy will bring you 16 screens, 13 taps, shuffleboard, and a full menu from chef Christopher Hatfield, including upscale pub fare and both vegetarian and gluten-free options. E

NICOLE SPRINKLE

In a food processor, combine the flour, sugar and salt. With the processor running, start adding diced butter. Mix together egg and milk.

Pulse in processor until a dough forms. Wrap in plastic and chill in refrigerator for at least 1 hour.

A sweet-potato tart gets a Middle Eastern take.

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1½ c. all-purpose flour 1 tbsp. sugar Pinch of salt ¾ c. butter, cold, diced 1 egg 1 tbsp. milk

Directions for the dough:

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Thanksgiving Recipes

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Ingredients for the roasted pumpkins:

6 sugar pie pumpkins ¼ c. oil

Directions for roasting pumpkins:

Cut top off pumpkins and scoop out insides.

Reserve the tops. Brush oil onto a baking sheet.

Place the pumpkins, cut side down, and tops on oiled baking sheet. Roast in a 375-degree oven for approximately 10 minutes until tender. (Test for doneness by inserting a small knife into the flesh of the pumpkin.) Remove from oven and cool.

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Place the cranberries, sugar, water, black pepper, cinnamon stick, and orange zest in a deep saucepan. Over medium-high heat, bring the sauce to a boil, then reduce heat to low and simmer for 15 minutes. Remove the cinnamon stick.

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Heat the canola oil in a large frying pan over medium-high heat. Prepare a plate with paper towels to drain the cutlets. When the oil is hot, fry the breaded turkey cutlets on each side for about three minutes until golden-brown. Place them on the paper towels to drain any excess oil, and let rest for one minute. On a large platter, place the schnitzel and garnish with lemon wedges. Serve family-style with the stuffing and cranberry sauce.

Janine Doran, Cafe Flora: Smashed Rutabaga & Potatoes Servings: 8–10 Ingredients:

1 lb. rutabaga peeled and cut into medium pieces 4 lb. heirloom or Yukon gold potatoes— peeled or with skin, your choice 1 stick butter ¾–1 c. heavy cream Salt & pepper

Directions:

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Boil rutabaga and potatoes in separate pots until tender. Place in bowl, and smash rutabaga and potatoes to work out lumps. Heat cream and butter in a small saucepan until the butter is melted. Place rutabaga and potatoes in the mixer; slowly add the cream and butter and whip until thoroughly combined. Season with salt and pepper to taste.

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A decadent Pot o’ Gold with chanterelles.

Ingredients for the creamy polenta:

4 c. chicken broth 3 c. heavy cream 1½ c. polenta 1 c. Fontina cheese, shredded ¼ c. Parmesan cheese

Directions for the creamy polenta:

Bring chicken broth and cream to a simmer. Slowly whisk in the polenta. Whisk well to incorporate. Lower heat to medium-low and cover pot. Stir occasionally. After 15 minutes, add cheeses. Whisk well and continue to cook until smooth and creamy. Hold on a very low heat until time to assemble.

Ingredients for the mushroom sauce:

2 tbsp. canola oil 1 tbsp. garlic, minced 1½ c. chanterelle mushrooms, cleaned and hand-torn into 1- or 2-inch pieces ¼ c. dry white wine ¼ c. chicken broth ½ c. heavy cream 2 tsp. rosemary, minced Salt and pepper to taste

Directions for the mushroom sauce:

Heat oil in sauté pan over medium-high heat.

Add garlic and lightly sauté until blonde.

Add mushrooms, tossing well with minced garlic. Deglaze with white wine and chicken broth. Reduce liquid by half. Add cream and minced rosemary and simmer for 1 minute.

Season to taste with salt and pepper.

Assembly for entire Pot of Gold:

Warm roasted pumpkins and tops in a 350-degree oven for approximately 6 minutes.

Meanwhile, prepare mushroom sauce. Remove pumpkins from oven. Place each pumpkin in the center of a dinner plate. Fill each with warm polenta, then ladle each dish with mushroom sauce. Prop the pumpkin top on plate. Serve warm.

Jason Stoneburner, Bastille Café & Bar and Stoneburner: Hominy Stuffing Servings: 4-6 Ingredients:

Directions:

Heat the oven to 350°. Wash the clams under cold water and set aside. Tear the bread into dimesize pieces and place on a sheet tray in a single layer.

Bake until light golden and mostly dried. Place the clams and wine into a pot over high heat and cover with a lid. Cook until the clams have opened, about 4 to 8 minutes. Pour the cooked clams and the liquid into a large bowl to let cool. Once the clams have cooled, gently remove them from their shells.

Strain the liquid through a chinois and reserve.

Chop the clams. Chop the parsley and lovage.

To make the stuffing, slowly render the bacon in a large sauté pan. Once the bacon is brown and crispy, add the butter, leeks, garlic, hominy bread, chopped clams, and clam liquid. Transfer to a buttered baking dish and bake at 350° for 15 to 20 minutes, or until golden-brown on top. E

nsprinkle@seattleweekly.com

B

uying booze in Seattle has always been a bit of a hassle. For years you had to deal with state-run stores that kept limited hours and an even more limited selection. Even in our new privatized liquor world, it’s rarely as much fun as you’d like.

Plus, bottles are heavy. But a new app, Drizly, has just launched in the city, and it hopes to revolutionize the way you buy alcohol.

The app is as simple as it gets: You place your product order—beer, wine, spirits,

BY ZACH GEBALLE or “extras” like bitters, mixers, and even citrus—and the local partner, Seattle’s Downtown Spirits, delivers within an hour. Costs are similar to what you’d pay in a liquor store, though there is a flat $5 delivery fee added. It’s not quite Amazon’s hightech fantasy of drones flying in your window, but the promised delivery speed, 30–60 minutes, is a big step up from other grocery-delivery services.

Yet the point isn’t just to get booze to people quickly. “Most people assume that this is an app for a late-night party, when you run out of beer,” said Drizly CEO Nick Rellas.

“Yet that’s not what we’re finding. People are shopping and browsing during the day, and then getting deliveries in the evening.”

The real question, at least in my eyes, is whether Drizly can bring more to the table (or doorstep) than just convenience. After all, while there are times when getting that bottle of vodka in 30 minutes feels like a must, it seems that for the app to succeed, it’ll need to offer more than just impulse buys. At the moment, it’s mostly just an online listing of a store’s inventory, and while you can sort and filter that inventory several ways, it doesn’t offer the guidance or insight we’ve come to expect from the predictive algorithms behind Amazon or Netflix.

Rellas recognizes this. “The future for Drizly is a better shopping experience,” he told me. “Our focus so far has been reliable, convenient delivery, but with personalization and recommendations, we can rise above the traditional retail experience.

There’s a renaissance in alcohol right now, where what you drink is part of your social profile.”

Understandably, Rellas was a bit tight-lipped about how exactly the app is going to provide that personalization, and whether it will be technology-driven or more intentionally curated.

My fear is that with the rush to turn over more and more of our purchasing choices to predictive algorithms, we’ll forget that a recommendation comes from more than analyzing the buying patterns of similar consumers. It comes from years of experience and an understanding of a host of variables that no computer can account for, at least not yet. After all, drinking is a social and shared experience for most of us, and while getting that much-needed bottle of wine in 30 minutes might be great, if it turns out that it’s not what goes with your braised short ribs and sautéed kale, how much better off are you? E

THEBARCODE

thebarcode@seattleweekly.com

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SE ATTLE WEEKLY • N OVEMBER 19 — 25, 2014

1 loaf hominy bread, preferably from Tall Grass Bakery 2 lb. Hama Hama clams in the shell 4 cloves of garlic, sliced ½ c. butter 3 leeks, white part only, diced 1 c. white wine ⅓ c. lovage ¾ c. parsley 10 oz. bacon (preferably from Sea Breeze Farm), diced

A SeattleBased Booze App Promises Fast Delivery— But Is That Enough?

17

SEATTLE WEEKLY • NOVEM BER 19 — 25, 2014

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arts&culture

The Voting Dead

How our new vogue for zombie shows predicted the midterms.

BY MARK RAHNER

T

WEDNESDAY, NOV. 19

Domingo Martinez

NICOLE RULE

Martinez is adapting his first memoir for HBO.

AMC

The Walking Dead’s handsome cast.

SyFy’s made a cottage industry of preposterously cheap, poorly-acted-but-fun trash, epitomized by Sharknado. But Z Nation is painful, not fun: A ridiculous zombie baby in the first episode; a couple’s argument as they offhandedly whack zombies on a fuel-station catwalk.

Even the generally competent Harold Perrineau (Lost) seems embarrassed to be involved; his line readings are so stiff they deserve their own cremations and funerals.

But back to my midterm-night epiphany: The Republicans were clearly winning, even though they’d done nothing but obstruct on an historic level for the prior six years. No solutions.

Nothing to help working people. And they intended to make things worse for the middle class and poor if they gained the Senate: getting rid of Obamacare, tax cuts for hedge-fund managers, and oil pipelines in your backyard.

The doctrine of trickle-down economics would create even more of an oligarchy ruling a nation of overworked, debt-ridden serfs.

As a comic-book writer with a zombie title (Rotten) on my CV, I’ve been asked again and again why zombies are so popular. And I’ve always had a handful of explanations. First, viewers are more sophisticated, and the old-time monsters are too schlocky to buy into. Modern zombies are more relatable. Second, zombies tap into some of our most primal fears, including cannibalism. Third, there’s the terror of getting absorbed into a group that changes you into something subhuman and mindless—or seeing it happen to a loved one. Like losing a family member to the Tea Party. And lastly, zombie

horror is cheap to make. Throw makeup on some friends and tell ’em to stagger around like Johnny Depp at the Hollywood Film Awards.

What’s this got to do with the midterms?

My explanations were wrong. I hadn’t taken the GOP’s ruthlessly idiotic Galt’s Gulch fantasies to their logical extension. About 45,000 people had been dying each year without health care, and Obamacare is taking a bite out of that with some nine million new enrollees. Eliminate the ACA, and the dead start multiplying again. The GOP— exemplified by Paul Ryan—doesn’t believe in the safety net, and wants to ream Medicaid, Medicare, and Social Security. Then there’s the jihad against regulations, also known as those oppressive rules that keep business from destroying the environment and hurting humans. Without which the country will more and more resemble Z Nation Spokane. Or Kansas, where governor Sam Brownback slashed taxes and turned his state from petri dish to toilet bowl. And he got re-elected.

No government for help. Every man for himself, armed to the teeth. That’s not a zombie show so much as the official Republican party platform, if you listen to conservative talk radio. Before the election I’d noted the weird convergence of generally intelligent zombie fans with the teabagger/ Glenn Beck lunatics: a shared fixation on survivalist fantasies. Funny coincidence, I thought.

Then it hit me on Election Day: All the zombie-apocalypse prepper folks were really skilled political trend-watchers. They weren’t nerds who took it too far. They were perceptive. Better than the talk-show pundits. These zombie shows aren’t just entertainment. They’re practice. E

markrahner.com

Those who read our recent cover excerpt from the local writer’s My Heart Is a Broken Compass (Lyons Press, $26.95) might be forgiven for thinking his memoir is all about karate. The selection was a somewhat misleading choice on our part, since we didn’t want to give away any spoilers about his follow-up to The Boy Kings of Texas, which naturally had a more Lone Star focus. The first third of Martinez’s new book is actually Texas-set, relating the woes of his younger brother—a medical crisis the author, with much guilt, mostly avoided from his safe remove in Seattle. But then, because karma’s a bitch, another medical crisis hits Martinez here in Seattle; and that, essentially a love story interrupted, forms the bulk of his affecting and very self-lacerating narrative.

Part of what I like about both these memoirs by Martinez, a former colleague, is his refusal to wallow in self-pity during hardship. His first response to suffering tends to be humor—both in describing his family’s resilience and his own shortcomings. How do they bear up to calamity? How does Martinez turn himself into a best-selling writer (his second career, entirely self-taught) even while his first great romance is going down the tubes?

Regarding his little brother’s downfall, he defines the notion of “vergüenza, the Mexican Catholic depiction of pride and shame that forced oneself to have a sense of dignity enough to do better for oneself, for those who loved you, for your family.”

Vergüenza is what Martinez brought with him from Brownsville, almost 20 years ago, and it’s what saved him here in Seattle. Elliott Bay Book

Co., 1521 10th Ave., 624-6600, elliottbaybook. com. Free. 7 p.m. BRIAN MILLER THURSDAY, NOV. 20

Tere O’Connor

O’Connor is one of the most thoughtful choreographers working today, combining emotionally evocative movement with rigorous structural exploration—and through all that, making dances that touch the people who watch them. He’s in Seattle for an intense residency, with his dancers performing the group work BLEED (tonight and Friday), the short pieces poem and Secret Mary (8 p.m. Saturday), and Sister (5:30 p.m. Sunday,

SE ATTLE WEEKLY • N OVEMBER 19 — 25, 2014

he answer to the whole zombie conundrum came to me on the night of the midterms two weeks ago, like an arrow through the brain. There’s never been a genre more strip-mined, yet zombies are more popular than ever. Why? Now in its fifth season, AMC’s The Walking Dead is cable’s top-rated show, even beating football. Meanwhile, SyFy’s low-rent Z Nation has gotten renewed for a second season. And you may have noticed that roughly half of Netflix’s titles are shitty zombie flicks from World War Z on down. Even AMC’s largely worthless recap show, Talking Dead—worthless unless you value celebrity guests conjecturing about events on Walking Dead—was the seventh-highest-rated cable show last week.

Zombies stopped being scary long ago. For all the advanced gore effects, the Walking Dead zombies aren’t a fraction as menacing as the shamblers in lousy blue makeup from George A. Romero’s 1978 Dawn of the Dead. Anyone can just stroll up to a Walking Dead zombie and stab it in the head. Boink! If G. Gordon Liddy’s claim that he could kill someone with a pencil always seemed farfetched, he could take out a whole horde of Walking Dead pussy zombies with a single fucking #2 Ticonderoga. One character even recently blasted a bunch of them apart with a fire hose. They’re water-soluble.

There’s nothing innovative about TWD, apart from putting hardcore gore into the non-geek mainstream—and on a prestige platform alongside Mad Men and Breaking Bad. Sometimes it seems like the show everyone complains about but compulsively watches anyway. (Also an enjoinder to you Facebook narcissists: Shaddap with the night-of-broadcast spoiler reactions.

Some of us still use TiVo.) Based on Robert Kirkman’s juggernaut Image comics series that’s run since 2003, TWD’s yet another saga of survivors in a contemporary zombie apocalypse—a copy of a copy of a survivalist fantasy that ought to be earning Romero massive weekly royalty checks. But it’s well-made and has a cast solid enough to sell the show’s countless pages of tin-eared bickering dialogue. And despite ups and downs in story quality—it’s on its third show-runner—the fifth-season premiere scored more than 17 goddamn million viewers.

Z Nation is way down the food chain. SyFy’s show is shot in Spokane—which you’ll notice, if you’ve been there recently, doesn’t need much of a makeover to stand in for an apocalyptic zombie wasteland. The show also features plenty of familiar faces from Seattle’s film scene, including TV news guy Lowell Deo. Z Nation is also proof that zombiephiles will consume anything.

It’s wretched. Yet with only 1.3 million viewers on average, it’s surviving. Unoriginal even by genre standards, it follows—say it with me— survivors in a contemporary zombie apocalypse, here trying to transport a bite-resistant survivor whose blood could create a vaccine.

ThisWeek’s PickList

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(11/11) WA Access Fund: John Hockenberry (11/13) King County Mental Health and Substance Abuse Legislative Forum

arts&culture»

MIKE ARZT

Crystal Mountain’s Tyler Ceccanti in Greece.

» FROM PAGE 19

SATURDAY, NOV. 22

Live On: Mr.’s Japanese Neo-Pop

Peggy Piacenza

Piacenza always seems ready to go out on a limb, conceptual or physical. As a dancer in other people’s work, she’s the one who dives in, whatever the challenge. In her own choreography, she’s usually got multiple ideas running simultaneously, and her newest work, Touch Me Here, is no exception. Working live with cellist Scott Bell, she’s exploring Indian mystics, American pole dancers, and Federico Fellini, looking for the love that connects them all. (Through Sat.) Washington Hall, 153 14th Ave., strangertickets.com. $15–$20. 8 p.m. SANDRA KURTZ

FRIDAY, NOV. 21

Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum. org. $5–$7. 10 a.m.–5 p.m. BRIAN MILLER SUNDAY, NOV. 23

NOCCO

One of the most exciting developments in live classical music in recent decades is the move into nontraditional venues like bars and coffeehouses—ideal for the intimacy that enhances solo and chamber performances. One of the most irritating ones is the tone of breathless incredulity

MUSIC

John Oliver

**STANDBY ONLY** (11/13) John Richards Death and Music (11/14) America Scores Seattle: Turn it Up! 12th Annual Poetry Slam (11/14) David Ignatius with Robert Merry Examining American Foreign Policy (11/15) Saturday Family Concerts Play Date (11/15) EMG presents Constantinople ‘Metamorfosi Musicali’ (11/16) Short Stories Live ‘Radio Benjamin’

OMO T ION S E VE N(11/17) TS MattPR Parker

WWW.SEATTLEWEEKLY.COM/SIGNUP Math to Make You Laugh

(11/17) Howard Schultz and Rajiv Chandrasekaran Bridging the Gap Between Veterans, Civilians

FILM

H APPY HOUR

AR T S(11/18) AN D ESTG N T Epresents R TAIN ME N T

An Evening with Amanda Palmer ARTS & ENTERTAINMENT NEWSLETTER ‘The Art of Asking’

Upcoming performances, exhibitions & special events.

(11/18) Don Stuart: ‘Why Farmers and Environmentalists Need Each Other’

TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(11/19) Environmental Perspectives The Nature-Health Connection Oliver brings his polite scorn to Seattle.

By odd coincidence, Rosewater—the film Jon Stewart made on hiatus from The Daily Show last year, giving Oliver his big break—is in theaters right now. Stewart is back in his accustomed chair, and Oliver has moved on to HBO, where his Last Week Tonight is racking up still more acclaim. In truth, though, he’s not really a stand-up-comedy sort of entertainer. Now an American citizen, he’s more of the Oxbridge revue tradition: putting on a show, making an argument, pointing out the follies of a society that it always wants to ignore. If Stewart tends toward lacerating irony, Oliver no less intelligently deploys his ire. He runs a little hotter in his satire (which the English accent helps to soften . . . to American ears, at least). But it’s not all politics for the guy. You can expect a local shout-out to his recent discovery of the salmon cannon employed in this state to get those fish past our dams. Naturally he built his own cannon for his show and fired fish at various celebrities (Stewart included). Let’s hope he brings the device with him tonight; if so, you might want to keep your rain jacket on. The Paramount, 911 Pine St., 877-784-4849, stgpresents. org. $41. 7 & 9:30 p.m. BRIAN MILLER E

(11/20) Shane Harris Cyber War, The Military’s Future (11/20) Seattle Arts & Lectures: An Evening with Ruth Ozeki (11/21) GambiaHELP presents West Africa Live (11/22) Seattle Public Library: Clay Jenkinson and the Saint Michael Trio An Afternoon of Chamber Music (11/22) Puget Sound Symphony Orchestra presents The Fall Concert (11/23) Thalia Symphony Orchestra: ‘Pines of Rome’ (11/24) Carine McCandless ‘Into the Wild,’ The Hidden Truth (11/24) Early Music Guild presents Ebola Relief Concert A Musical Response TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

SE ATTLE WEEKLY • N OVEMBER 19 — 25, 2014

321 Mercer St. (Seattle Center), warrenmiller. com. $21. 8 p.m. (Repeats Sat.) BRIAN MILLER

GALERIE PERROTIN © 2010 MR. /KAIKAI KIKI CO.

No Turning Back

WEEK LY

GAVIN BORCHERT

ERIC LIEBOWITZ/HBO

Mr. is his name, which makes the post-Takashi Murakami art of its creator sound more formal than it is. A candy-colored, anime-saturated explosion of shallow surfaces and Hello Kitty kawaii, the work on view here will mostly be paintings, some quite large. Video games and cartoon characters are obvious points of departure for Mr., yet they’re objects of nostalgia—not tokens of an optimistic, technologyaugmented future. Mr. was born in 1969 and came of age during Japan’s 1980s economic boom. (Remember those American fears of the period, repeated in books and movies, that Japan would supplant our might?) Then Japan basically collapsed into its ongoing economic slump, giving rise to the no-hope generation known as otaku: depressed, geeky shut-ins with no prospects for real jobs, who live at home— even into their unmarried, asexual 30s—and find succor in comic books, cell phones, computer games, and the Internet. Live On isn’t necessarily a celebration of such malaise; it’s an expression of yearning for bygone times and childish pleasures. The movement is sometimes called moe (literally “budding,” or coming of age), and Mr. also creates assemblages from the talismans and scraps of his youth. His art is equal parts sugar and sadness. (Ends April 5.)

the Boards, 100 W. Roy St., 217-9888, ontheboards.org. $23–$25. 8 p.m. SANDRA KURTZ

Warren Miller has long retired from the skimovie company that bears his name, but the globe-trotting, episodic formula remains essentially unchanged. No Turning Back draws on the grainy old film library for interstitial montages (those ’80s ski-parka colors!), while the emphasis is on the season ahead. More than resorts or products, enthusiasm is being sold here, as we travel from Alaska to Chamonix to Mt. Olympus in Greece. For this skier, at least, the more remote the location, the higher it goes on the if-I-won-the-lottery wish list. Taking a small boat to a Norwegian fishing village north of the Arctic Circle, for instance, yields a bevy of short, steep lines straight down to the fjords. There are no lifts or helicopters here, so the turns are strictly earned in Lofoten, where the sport’s history supposedly dates back 3,000 years. (Archaeologists may differ with narrator Jonny Moseley in that regard.)

Then there’s a snowboarding visit to the gentle gladed slopes of Hokkaido, Japan, where the powder is generated prodigiously by virtue of its position in the North Pacific. It’s all tree skiing here, augmented by local beer and excellent transportation links.

Though in that regard, Northwest skiers will find the most to envy in the film’s final stop in the Swiss Alps. From the plane to the train to the tram to snow: no winter driving involved. Think about that the next time you’re stuck on Highway 2 behind a guy who forgot to pack his chains. McCaw Hall,

5000 Rainier Ave. S., nocco.org. $15–$25. 7:30 p.m.

D I NI NG

Velocity Dance Center, $12). So you can dip in for a quick look, or sign on for the full experience. On

that still marks media coverage of this phenomenon—20 years after I heard the Degenerate Art Ensemble play at the OK Hotel—which only perpetuates the stereotypes the musicians in question are trying to counteract. (“OMG, you can listen to Bach and drink beer! But you thought classical music was stuffy! IS YOUR BRAIN EXPLODING YET?!?”)

There is some genuine novelty, though, in the launch of the North Corner Chamber Orchestra—a larger-than-usual group for The Royal Room, their planned home base—which will bring the deep focus of chamber music to some exciting repertory like Shostakovich’s boisterous Piano Concerto no. 1 (with soloists Mark Salman and Brian Chin). Also on the debut concert for NOCCO, made up of some of the area’s best freelancers: Handel, Britten, and a commissioned premiere by Roupen Shakarian. (Also 7:30 p.m. Mon., Nov. 24 at University Christian Church, 4731 15th Ave. N.E.) The Royal Room,

(12/1) Marc Solomon WWW.TOWNHALLSEATTLE.ORG ‘Winning Marriage’ Equality 21 (12/2) Andrew Durkin & Guests Music and Your Mind

Stir the Passion in Your Soul SEATTLE WEEKLY • NOVEM BER 19 — 25, 2014

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arts&culture» Stage

Opening Nights

VILLAGE THEATRE, 303 FRONT ST. N. (ISSAQUAH), 425-392-2202, VILLAGETHEATRE. ORG. $40–$72. RUNS TUES.–SUN. THROUGH JAN. 4. (MOVES TO EVERETT PAC JAN. 9–FEB. 8.)

The Habit 14

Ilika as Mary, with Greg McCormick Allen as Bert.

SEATTLE PUBLIC THEATER AT THE BATHHOUSE, 7312 W. GREEN LAKE AVE. N., 800-838-3006, THEHABITCOMEDY.COM. $19. RUNS FRI.–SUN. THROUGH NOV. 30.

directed by BILL BUCKHURST designed by JONATHAN FENSOM composed by ALEX SILVERMAN

MARK KITAOKA

DANIELLE BARNUM

I savor a side of saccharine with my supernatural. As a child, my DVD enchantment with the 1964 Disney version of Mary Poppins inspired me to read the entire series by author P.L. Travers. So naturally I was predisposed to like this local production of the Disney/Cameron Mackintosh Broadway musical.

As parents will know, after little Jane and Michael Banks turn and burn a string of governesses, an Edwardian version of Super Nanny appears to transform the naughty kids and their unhappy elders with alchemy and adventure. Yet this 2004 adaptation makes the children inordinately impish and their parents surprisingly melancholic. As my theater companion said to me, “It is darker than I remembered.” And perhaps truer to Travers’ intention.

Likewise, the script by Downton Abbey creator Julian Fellowes deepens the movie material with characters and scenes from her original books. Still, it’s a musical, meaning cheerful favorites like “Supercalifragilisticexpialidocious” by the Sherman brothers, plus new tunes (e.g., “Practically Perfect” and “Anything Can Happen”) by George Stiles and Anthony Drew.

This ambitious musical commands a considerable cast, sizable sets, and genuine magical feats. Under the decent direction of Steve Tomkins and Kathryn Van Meter, a cast of 30 delivers undeniably determined performances. In the title role, Cayman Ilika finds a Julie Andrews-esque balance of cool and compassion. Among the ensemble, Laura Kenny’s Mrs. Brill steals scenes with her comic relief.

This production is practically perfect—yet even the best-behaved child is bound to have some shortcomings. While Van Meter’s challenging choreography—notably during “Step in Time”— earns its applause, some bush-league blocking had me wondering about the show’s rehearsal time.

Instead of using the expansive space for compelling compositions, performers often stand in a slightly staggered line or upstage one another. The scene changes seem clunky, and Scott Fyfe’s set transitions awkwardly from indoors to outdoors.

(Why decorate the proscenium with components of the Banks’ house? It’s distracting.)

Not that I would’ve noticed these things as a child, and your kids won’t either. They’ll love the scene in which a kitchen gets trashed— complete with collapsing furniture and sliding objects. Regardless of the medium, Mary Poppins relays the appealing, family-friendly message that everyday life is laced with magic.

And that’s why it’s worth the drive to Issaquah instead of hibernating at home with the movie: The onstage illusions trump any experience found on Netflix. ALYSSA DYKSTERHOUSE E stage@seattleweekly.com

NOVEMBER 25 & 26 at THE MOORE THEATRE

“This is how Shakespeare was meant to be done.”

–Ben Brantley, The New York Times

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

STGPRESENTS.ORG

EST. 1907 2ND AVE & VIRGINIA ST

SE ATTLE WEEKLY • N OVEMBER 19 — 25, 2014

Performers Ryan Dobosh, John Osebold, Mark Siano, David Swidler, and Luke Thayer write their more-or-less annual show with director Jeff Schell.

(Fans will detect a few old gags in the mix.) In a brisk 70 minutes, with actors jumping in and out of their jumpsuits, some bits work better than others. Among the former, when two old friends meet on a subway, each gasps with incredulity at the other’s recent doings. Their convulsive “No way!” exclamations are like an asthmatic duet with each new revelation. (How’s prison? “It’s awesome”—no rent to pay!) A sect called the Duwamish Amish is limited to pre-1995 technology, naturally including the fanny pack and flip phone, and this yields the rare opportunity to use “Mike Lowry” as a laugh line. (Or wasn’t he ever such?) Two screenwriters consider a werewolf script; then we see how such lupine transformation has made that horror genre impossible to revive today. When a detective sketch about a kidnapped vowel springs into “Who’s on First?”-style wordplay, it’s silly yet refreshingly nontopical, divorced from the headlines.

Most of The Habit’s references are rooted in a rec room past of VHS memories (Top Gun, meet Top Nun), but the final song, with new lyrics set to “Total Eclipse of the Heart,” proved a welcome exception for the opening-night crowd. In a city of rising rents and Amazon wealth, the spectre of Tangletown condos binds us all—audience and performers—in fear. Would you, as The Habit imagines, pay $2,000 a month to live in a cupboard? We laugh because it’s true. BRIAN MILLER

by WILLIAM SHAKESPEARE starring JOSEPH MARCELL

This comedy troupe and its loyal fans have essentially struck a bargain: Fill every seat in the tiny theater, and the five performers will channel-surf through our collective, scrambled memory of childhood TV shows and movie clichés. The trick, as in their past 13 collections of sketch comedy, is for The Habit to circle back again—and again— to a joke. It’s as if the remote control keeps returning to the same cop show, only now the episode is running in reverse, or all the characters are woodland animals, or they’re speaking Esperanto.

Everything repeats, and each comic motif bleeds into the next sketch. Once you start laughing, you stop caring if the segues do or don’t make any sense.

Top nuns Dobosh (left) and Siano.

KING LEAR

PMary Poppins

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arts&culture» Performance Stage OPENINGS & EVENTS

ALL THE WAY Robert Schenkkan’s Tony-winning chronicle

of LBJ’s tumultuous first year in office. Seattle Repertory Theatre, Seattle Center, 443-2222. $17–$150. Opens Nov. 19. 7:30 p.m. Tues.–Sun., plus Wed. and weekend matinees; see seattlerep.org for exact schedule. Ends Jan. 4.

APPALACHIAN CHRISTMAS HOMECOMING Tales of three generations, with lots of live roots music, for the holidays. Taproot Theatre, 204 N. 85th St., 781-9707. $20–$40. Previews Nov. 21–22 & 26, opens Nov. 28. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat., plus some weekday matinees; see taproottheatre.org for exact schedule. Ends Dec. 27.

A CHRISTMAS STORY This year instead of catching it on TBS’ 24-hour broadcast, see the musical version onstage!

5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue. org. $29 and up. Previews Nov. 25–Dec. 3, opens Thurs., Dec. 4. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m.

Sat., 1:30 & 7 p.m. Sun. Ends Dec. 31.

CAKE! As in birthday. The Atomic Bombshells are celebrating 10 years, and drag star BenDeLaCreme is hosting the party. The Triple Door, 216 Union St., 838-4333, thetriple door.net. $30–$45. 7 & 10 p.m. Fri., Nov. 21–Sat., Nov. 22.

FAMILY AFFAIR Jennifer Jasper’s “hilarious, twisted, and ultimately relatable” cabaret on the theme of family.

JewelBox Theater at the Rendezvous, 2322 Second Ave., jenniferjasperperforms.com. $10. 7:30 p.m. Wed., Nov. 19.

KING LEAR Shakespeare’s tragedy, broadcast from the Globe Theatre. The Moore, 1932 Second Ave., 877-STG4TIX, stgpresents.org. $37.50–$57.50. 7:30 p.m. Tues., Nov. 25, 2 & 7:30 p.m. Wed., Nov. 26.

NO MAN’S LAND A reading of Ryan Fields’ new play, “set in a place of violent civil unrest where a small group of people orphaned by war meet in a bar to fight for love, hope, [and] truth.” West of Lenin, 203 N. 36th St., parleyproductions.com. Free. 7 p.m. Mon., Nov. 24.

JOHN OLIVER SEE THE PICK LIST, PAGE 21.

PRIDE AND PREJUDICE Book-It adapts Jane Austen’s novel about not making snap judgments. Center House Theatre, Seattle Center, 216-0833. $25–$60. Preview Nov. 25–26, opens Nov. 28. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends Dec. 28.

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SONNY SIXKILLER BUYS THE WASHINGTON REDSKINS Best title of the month goes to this satire

about the sports-team-name controversy, developed by youth from the Northwest Indian College and Lummi Youth Academy. The Moore, 1932 Second Ave., 877-STG-4TIX, stgpresents.org. $15–$20. 8 p.m. Sat., Nov. 22.

THE TWILIGHT ZONE: LIVE! Three episodes from the cult TV series adapted for the stage. Theater Schmeater, 2125 Third Ave., 324-5801, schmeater.org. Preview Nov. 20, opens Nov. 21. 8 p.m. Thurs.–Sat. $18–$25. Ends Dec. 20.

CURRENT RUNS

ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Judith Viorst herself wrote the

SEATTLE WEEKLY • NOVEM BER 19 — 25, 2014

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classic is paired with Blood Ensemble’s reimagining of Beckett’s themes. Ballard Underground, 2220 N.W. Market St., ghostlighttheatricals.org. $18–$20. 7:30 p.m.

Thurs.–Sat. Ends Nov. 22.

FAIL BETTER A new Beckett-inspired work from acclaimed physical-theater troupe UMO. ACT Theatre, 700 Union St., umo.org. $15–$25. 8 p.m. Thurs.—Sat., plus 2 p.m. Sun. Ends Nov. 23.

FANGS The premiere of Jim Moran’s dark comedy about an anti-abortion senator. Eclectic Theater, 1214 10th Ave., eclectictheatercompany.org. $20–$25. 8 p.m.

Thurs.–Sat., 2 p.m. Sun. Ends Dec. 6.

FAST COMPANY “Meet the Kwans: a Chinese-American family of expert con artists” in Carla Ching’s comedy.

Theatre Off Jackson, 409 Seventh Ave. S., 800-838-3006, porkfilled.com. $12–$18. 8 p.m. Thurs.–Sat. Ends Nov. 22.

FIDDLER ON THE ROOF The musical tale of Tevye, Golde, Tzeitel, Hodel, Chava, Bielke, Shprintze, Yenta, the tailor Motel Kamzoil, and many others. Seattle Musical Theatre at Magnuson Park, 7120 62nd Ave. N.E., Building 47, 800838-3006, seattlemusicaltheatre.org. $20–$35. 7:30 p.m.

Fri.–Sat., 2 p.m. Sun. Ends Nov. 23.

THE FIERCE URGENCY OF NOW Arouet premieres Doug DeVita’s play about the advertising world. Stone Soup Downstage Theatre, 4029 Stone Way N., 800-838-3006, arouet.us. $12–$40. 7:30 p.m. Thurs.–Sat. Ends Nov. 22.

THE HABIT 14 SEE REVIEW, PAGE 23.

I NEVER BETRAYED THE REVOLUTION Christopher Danowski’s “pan-Slavic” story of two women, Daleka (Laurie Jerger) and Henryka (Susanna Burney), who, hungry and angry, journey to their unnamed nation’s capital to wrangle promised funds from a craven functionary named General Chuchelow (side-splitting physical comedian K. Brian Neel, in full glory). Excellent performers do their darnedest to bring the hazy parable to life, but the underlying material is thinner than the peasants’ taped-together scraps of shoe leather. MARGARET FRIEDMAN West of Lenin, 203 N. 36th St., 352-1777, westoflenin.com. $15–$20.

8 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Nov. 23.

MARY POPPINS SEE REVIEW, PAGE 23.

SATURDAY MORNING CARTOONS Fond recollections of our pajamas-and-cereal youth inspired these new plays. Pocket Theater, 8312 Greenwood Ave. N., the1448projects.org. $5–$14. 10:30 a.m. Sat. Ends Nov. 22.

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SEATTLE INTERNATIONAL COMEDY COMPETITION

34 aspiring stand-ups go into a comedy club; one comes out. Various area venues through Nov. 30; see seattle comedycompetition.org for full info.

SWEET CHARITY A taxi dancer finds and loses love in this 1966 musical. Meany Studio Theater, UW campus, 5434880, drama.washington.edu. $10–$25. 7:30 p.m. Wed.– Sat., 2 p.m. Sun. Ends Nov. 23.

TEATRO ZINZANNI: HACIENDA HOLIDAY TZZ’s new show keeps its dinner-cabaret formula fresh with acts that mash up entertainment skills in pairs, all 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, leading to a romantic finale as spicy as the Southwest-inspired menu.

GAVIN BORCHERT Teatro ZinZanni, 222 Mercer St., 8020015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends Jan. 31.

TICK, TICK . . . BOOM! Jonathan Larson’s semimemoirish precursor to Rent tells of a young composer of musicals. SecondStory Repertory, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $27. 8 p.m.

Thurs.–Sat. Ends Nov. 22.

WONDERLAND The Can Can’s fantastical winter cabaret.

The Can Can, 94 Pike St. $40–$100. Runs Wed.–Sun.; see thecancan.com for exact schedule. Ends Dec. 28.

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Dance

ERE O’CONNOR SEE THE PICK LIST, PAGE 19.

• TTOUCH ME HERE SEE THE PICK LIST, PAGE 21.

• DAVID ROUSSÈVE/REALITY The music of Nat King

Cole and d. Sabela Grimes, plus projected tweets and texts, form the backdrop for this work about “an AfricanAmerican gay urban teen’s anxious dreams and challenges.” Meany Hall, UW campus, 543-4880, uwworld series.org. $10–$46. 8 p.m. Thurs., Nov. 20–Sat., Nov. 22.

CORNISH DANCE THEATER This “student” ensemble performs material that would challenge the most seasoned professional. This time out they’ll dance works by Iyun Harrison, Jose Limon, Vivian Little, and Amy O’Neal.

Cornish Playhouse at Seattle Center, cornish.edu. $5–$12.

8 p.m. Fri., Nov. 21, 2 & 8 p.m. Sat., Nov. 22.

ENROOT Work by the dance artists in this new cooperative.

Velocity Founders Theater, 1621 12th Ave., brownpaper tickets.com. $12–$18. 8 p.m. Fri., Nov. 21–Sat., Nov. 22.

SHIFT SESSIONS, VOL. 1 New dance works performed to music form the album Seventy Four by Dark Hip Falls.

Westlake Dance Center, 10703 Eighth Ave. N.E., #101, darkhipfalls.com/shift-1. $12. 7 p.m. Sat., Nov. 22.

Classical, Etc. UW JAZZ INNOVATIONS Standards and originals from

student ensembles. Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5.

7:30 p.m. Wed., Nov. 19–Thurs. Nov. 20.

UW CAMPUS PHILHARMONIA Tigran Arakelyan and Riley Youngren conduct Beethoven’s Second for the debut of this ensemble for non-music majors. The Hub, UW campus. Free. 7:30 p.m. Thurs., Nov. 20.

SEATTLE SYMPHONY Beethoven’s Fifth, plus Rossini and Respighi. (Friday is a one-hour “Untuxed” concert; no Respighi.) Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. $20–$120. 7:30 p.m. Thurs., Nov. 20; 7 p.m. Fri., Nov. 21; 8 p.m. Sat., Nov. 22.

AUBURN SYMPHONY CHAMBER SERIES Popular quartets by Dvorak, Haydn, and Mozart at First Christian Church of Kent, 11717 S.E. 240th St., Kent, 7 p.m. Fri., Nov. 21; and Schoenberg’s Verklärte Nacht at St. Matthew Episcopal Church, 123 L St. N.E., Auburn, 4 p.m. Sun., Nov. 23. $10–$17 each. 253-887-7777, auburnsymphony.org.

THE MET: LIVE IN HD Opera from NYC at a moviehouse near you. This week, Rossini’s The Barber of Seville, with Seattle Opera favorite Lawrence Brownlee. See fathom events.com for participating theaters. 10 a.m. Sat., Nov. 22; encored 6:30 p.m. Wed., Nov. 26.

OCTAVA CHAMBER ORCHESTRA Mendelssohn, Shostakovich (the Piano Concerto no. 1) and a symphony for winds by Adam Gorb. Maple Lark Church, 17620 60th Ave. W., Lynnwood, octavachamberorchestra.com. $15–$20. 7:30 p.m. Sat., Nov. 22.

PUGET SOUND SYMPHONY Symphonies by Prokofiev and Sibelius. Town Hall, 1119 Eighth Ave., psso.org. $5–$11. 7:30 p.m. Sat., Nov. 22.

THALIA SYMPHONY Arias by Gounod, Lehar, and others.

Town Hall, 1119 Eighth Ave., thaliasymphony.org. $15–$20.

2 p.m. Sun., Nov. 23.

PHILHARMONIA NORTHWEST Dance-evocative

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The Enchanter Though you’d think a nickname so catchy could have taken root, as far as I know Carl Maria von Weber (1786–1826) has never been called “the father of the Romantics.” But he deserves it; likely no composer has innovated more and gotten less credit for

BY GAVIN BORCHERT it. Everything he touched, he made new. His atmospheric operas made folk and fairy tales viable subjects (without Weber, no Wagner), enrapturing audiences with a boundlessly imaginative ear for harmony and orchestral color. One of the great pianists of his day, he introduced a new sort of virtuoso dash into instrumental writing; his Konzertstück, half concerto, half tone-poem, used to be a foundation stone of pianists’ repertories. He explored the possibilities of the clarinet, which had just tiptoed into the orchestra around 1750, and made it indispensable. He was a pioneering conductor; he was the first to spruce up that brand-new (and hedonistically naughty) dance craze, the waltz, for the recital hall in his Invitation to the Dance; and as the earliest musician to leave behind a significant body of journalism, he’s the patron saint of composer/critics.

So where’d he go? Well, not much of his work fits well into the pigeonholes of our concert life.

Those fanciful operas are nearly impossible to stage convincingly (though at least their overtures live as sure-fire concert openers). His two symphonies are startling, even weird, but can’t compete with Beethoven’s; similarly, the effort required to learn one of Weber’s fiercely difficult piano sonatas could be better spent, you may feel, on one of Beethoven’s or Schubert’s. He

music by Weber, Mozart, and Beethoven. St. Stephen’s Episcopal Church, 4805 N.E 45th St., 675-9727, philharmonianw.org. $18–$20. 2:30 p.m. Sun., Nov. 23.

SEATTLE YOUTH SYMPHONY Scheherazade, RimskyKorsakov’s colorful musical evocation of the tales of A Thousand and One Nights, plus a new work by SYSO cellist Peter Lawson. Benaroya Hall, Third Ave. & Union St., 362-2300, syso.org. $15–$48. 3 p.m. Sun., Nov. 23.

STARRY NIGHT STRING QUARTET Program TBA (music by Van Gogh, maybe?) Kent Lutheran Church, 336 Second Ave. S., Kent. $5–$12.50. 3 p.m. Sun., Nov. 23.

SEATTLE BACH CHOIR Brahms, Byrd, Fine, Schütz, and much more. Trinity Episcopal Church, 609 Eighth Ave., seattlebachchoir.org. $15–$18. 3 p.m. Sun., Nov. 23.

TANGLETOWN TRIO “Night of the Living Composers” features vocal chamber music by Samuel Jones, Carol Sams, Christophe Chagnard, and lots of other locals.

Columbia City Theater, 4916 Rainier Ave. S., tangletown trio.com. $15–$20. 5:30 p.m. Sun., Nov. 23.

CORNISH PIANO TRIO Works old and new from pianist Cristina Valdes, cellist David Requiro, and violinist Michael Jinsoo Lim. PONCHO Concert Hall, Cornish College, 710 E. Roy St., cornish.edu. $10–$22. 7 p.m.

Sun., Nov. 23.

BYRON SCHENKMAN AND FRIENDS SEE EAR SUPPLY, BELOW. NORTH CORNER CHAMBER ORCHESTRA SEE THE PICK LIST, PAGE 21.

EBOLA RELIEF CONCERT To benefit Doctors Without Borders, music from West Africa and medieval Europe.

Town Hall, 1119 Eighth Ave., 325-7066, earlymusicguild. org. Donation. 7:30 p.m. Mon., Nov. 24.

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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

Schenkman (rear center) and colleagues.

EARSUPPLY

ASUKA USUI

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. 1 & 3 p.m. Sat.– Sun. Ends Nov. 23.

BLOOD COUNTESS 16th-century Hungarian countess Elizabeth Bathory allegedly took to drinking virgins’ blood.

In Kelleen Conway Blanchard’s stage version of Bathory’s life, the countess first starts killing as a means to sexual arousal, then later to stay young and beautiful, like a Dorian Gray vampire. As the countess, Terri Weagant’s unconventional looks and excellent expressive range are riveting—until you realize that she’s just not that scary. Director Bret Fetzer has her focus more on the black comedy than on freezing your blood. MARGARET FRIEDMAN Annex Theatre, 1110 Pike St., 728-0933, annex theatre.org. $5–$20. 8 p.m. Thurs.–Sat. Ends Nov. 22.

DICK WHITTINGTON AND HIS CAT An orphan finds himself in the big city of London, where he meets a remarkable cat. Seattle Children’s Theatre, Seattle Center, 441-3322. $20 and up. Runs Thurs.–Sat., see sct.org for exact schedule. Ends Dec. 21.

DOGFIGHT The title of this musical—based on the affecting 1991 movie—refers to a hideous sort of competition among a group of Vietnam-bound Marines the night before they ship out of San Francisco in 1963: Whoever brings the ugliest woman to a party wins. But Eddie (Kody Bringman) ends up falling for Rose (Devon Busswood), the shy aspiring singer/songwriter he’d intended to humiliate, and they spend an increasingly tender night together.

The show sounds promising enough, but it’s doomed by the misogynist party scene, which is played for laughs, broad ones at the women’s expense, and it got them. I’ve never seen a more staggeringly misguided, profoundly offensive misreading of artistic intent. GAVIN BORCHERT 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.

ENDGAME/NDGM Beckett’s theater-of-the-absurd

wrote a ton of charming but shallow music for amateur use. And he wrote very little chamber music—none of it in common formats like the string quartet or piano trio. Which is why it’ll be a rare thrill to hear some of it played Sunday by pianist Byron Schenkman on his recital series: an early piano quartet and a delicious trio for flute, cello, and piano, by turns moody, jaunty, goofy, and operatically yearning. Schenkman’s expertise in baroque keyboard music sets him up perfectly to appreciate the composer’s novelty: “I loved it right away,” he says. “Coming at it from an 18th-century perspective, it seems really fresh.” He’ll combine the quartet and trio with a piano trio and fantasy by Mozart (there’s a family connection; Wolfgang married Carl’s cousin Constanze). Make it a Weberfest, if you like (his birthday’s November 19); elsewhere on Sunday, at 2:30 p.m., Philharmonia Northwest is playing Invitation to the Dance. Benaroya Recital Hall, Third Ave. & Union St., 215-4747, byronschenkman.com. $10–$42. 7 p.m. Sun., Nov. 23.

» Visual & Literary Arts Openings & Events

Author Events

• IDLENESS At last, a celebration of sloth! Man Ray

RAJESH RAO In Kane Hall, Room 120, he’ll expound

inspired by a chance encounter with a truck canopy in Spokane. Bent takes that structural form and adopts it into a “monolithic chamber of secrets.” Jack Straw New Media Gallery, 4261 Roosevelt Way N.E., 6340919, jackstraw.org. 9 a.m.-5 p.m. Mon.-Fri. Ends Feb. 6.

JULIE BLACKMON She stages and photographs small children in ominous suburban scenes, full of innocent energy and implied menace. 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.

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, 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. BRIAN MILLER Bellevue Arts Museum, 510 Bellevue Way N.E., 425519-0770, bellevuearts.org. $5-$10. 11 a.m.-6 p.m.

Tues.-Sun. Ends March 29.

BORDERLANDS Julie Alpert, Susanna Bluhm, Cynthia Camlin, Elise Richman, and Katy Stone unite for a group show exploring the concept of borders and boundaries, both conceptually and formally. SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart. org. Noon-5 p.m. Thu.-Sun. Ends Nov. 29.

CITY DWELLERS A dozen contemporary Indian artists are represented in this show originating entirely from the private local collection of Sanjay Parthasarathy and wife Malini Balakrishnan. Scenes and icons from Mumbai to New Delhi are represented via photography and sculpture, from an all-native perspective. India is ridiculously photogenic, from its colorful idols and deities to the slums and beggars.

It all depends on what you want to see. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $12–$19. Weds.-Sun. Ends Feb. 15.

upon Brain-Computer Interfacing: An Introduction. UW Campus, 634-3400, bookstore.washington.edu. $20.

7 p.m. Wed., Nov. 19.

MESLISSA WADSWORTH Her self-help guide is Collective Manifestation. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com. 7 p.m. Wed., Nov. 19.

F. PAUL WILSON Fear City concludes his Repairman Jack trilogy of crime thrillers. Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery. com. Noon, Wed., Nov. 19.

EBEN ALEXANDER He considers life and death in his metaphysical book The Map of Heaven. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m. Thurs., Nov. 20.

GARY FERGUSON He’ll read from The Carry Home: Lessons from the American Wilderness. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook. com. 7 p.m. Thurs., Nov. 20.

SHANE HARRIS He talks about @War: The Rise of the Military-Internet Complex. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m.

Thurs., Nov. 20.

A.R. KAHLER Martyr: The Hunted Book One is her new fantasy tome. University Book Store (Mill Creek), 15311 Main St., bookstore.washington.edu. 7 p.m.

Thurs., Nov. 20.

JENNIFER LONGO Six Feet Over It is her new YA novel. Eagle Harbor Books, 157 Winslow Way E. (Bainbridge Island), 842-5332, eagleharborbooks. com. 7:30 p.m. Thurs., Nov. 20.

RUTH OZEKI Seattle Arts & Lectures presents the author of A Tale for the Time Being. Town Hall. Sold out. 7:30 p.m. Thurs., Nov. 20.

DANIEL JAMES BROWN About his surprise bestseller The Boys in the Boat, new in paperback and optioned in Hollywood, our Daniel Person wrote last year: “During the ’30s, the UW and Berkeley became staunch rivals of Ivy League oarsmen. Joe Rantz’s eight-man team celebrates its victories in Hogwarts fashion. Then the rowers set their eyes upon that most evil of opponents: Voldemort . . . er, Hitler. Chosen to represent the U.S. at the 1936 Olympics, our homegrown boys would give Adolf one more thing to scowl at.” It’s a true story with a happy ending. University Book Store (Mill Creek), 7 p.m. Fri., Nov. 21.

MICK FLEETWOOD Advance tickets will go fast for the musician and author of the new memoir Play on: Now, Then and Fleetwood Mac. University Book Store, Noon, Fri., Nov. 21.

TED RALL The lefty journalist and graphic novelist talks about his After We Kill You, We Will Welcome You Back as Honored Guests: Unembedded in Afghanistan.

Elliott Bay, 7 p.m. Fri., Nov. 21.

BRIAN KREBS The journalist discusses the most annoying thing in the (cyber-) world in Spam Nation. Third Place, 6:30 p.m. Sat., Nov. 22.

LAYTH MATTHEWS He’ll discuss The Four Noble Truths of Wealth: a Buddhist View of Economic Life.

University Book Store, 6 p.m. Sat., Nov. 22.

KEVIN THOMAS The local comic-book artist reviews works by Hilton Als, Jonathan Franzen, Renata Adler, George Saunders, and Cheryl Strayed in his HORN! The Collected Reviews. Elliott Bay, 7 p.m. Sat., Nov. 22.

MARY DISPENZA Her memoir of abuse is Split: A Child, A Priest, and the Catholic Church. University Book Store (Bellevue), 4:30 p.m. Sun., Nov. 23.

KISSCON SEATTLE: AN AVON AFFAIR Romance authors appearing will include Ilona Andrews, Elizabeth Boyle, and Julie Brannagh. University Book Store, 3 p.m. Sun., Nov. 23.

FRANCIS MCCUE The local poet reads from verses inspired by the titular local photographer, collected in Mary Randlett Portraits. (Also: UW Odegaard Library, 5 p.m. Thurs., Nov. 20.) Eagle Harbor, 3 p.m. Sun., Nov. 23.

CARINE MCCANDLESS Twenty years after Jon Krakauer’s bestselling account Into the Wild, about her brother’s death-by-starvation in Alaska, the author presents her family’s side of the story in The Wild Truth. Town Hall, $5. 7:30 p.m. Mon., Nov. 24.

ANNE HELEN PETERSEN In the Communications Building, Room 120, she’ll discuss Scandals of Classic Hollywood: Sex, Deviance, and Drama from the Golden Age of American Cinema .

UW Campus, 4 p.m. Mon., Nov. 24.

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

BY B R IA N M I LLE R

and Duchamp are among the inspirations for this group show, also featuring work by Gretchen Bennett, Matt Browning, Tacita Dean, Claire Fontaine, Ripple Fang, Anne Fenton, Tom Marioni, Bertrand Russell, Edwin Shoemaker, Nicholas Bower Simpson, Mladen Stilinovic, and Andy Warhol (no slacker he). Opening reception 5-8 p.m. Mon, Nov. 24. Jacob Lawrence Gallery (UW Campus), art.washington.edu. 10 a.m.-5 p.m Tues.-Fri. Noon-4 p.m. Sat. Ends Jan. 17.

MALICK SIDIBÉ & J. D. ’OKHAI OJEIKERE The two important African photographers are represented in a show called Back to Front. The great portrait photographer Sidibé has been featured in the gallery before. He apprenticed in a photo studio in Bamako, the capital of Mali, just as colonial rule was coming to an end. Once he could afford a camera, he went freelance, soon becoming Bamako’s top party and studio photographer of the ’60s and ’70s. It was a giddy, heady time—the French were leaving, rock and roll was being discovered on LPs and transistor radios, men and women were allowed to mingle at dances, where the girls wore miniskirts and the guys sharp suits and ties. Sure, there’s poverty and drought outside the frame of Sidibé’s bright-flash images, but these are celebratory shots of people who want to celebrate (or dance or show off their new motorcycles).

Ojeikere, who died in Febrary, was one of Nigeria’s most acclaimed photographers, who often focused on the hypnotic braids and abstract whorls of elaborately styled hair. BRIAN MILLER M.I.A. Gallery, 1203 Second Ave., 467-4927, m-i-a-gallery.com. 11 a.m.-5 p.m. Tues.-Sat. Opens Thurs., Nov. 20. Ends Jan. 3.

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Opening ThisWeek

1988 club show, before moving to London. Now the plan is to recreate that show on a massive scale at the 13,500-capacity Motorpoint Arena, says Cocker. In footage of that concert, dispersed throughout, they appear to succeed. Cocker, once a reluctant performer, has turned into one of pop music’s most memorable front men. Even nearing 50, he is unafraid to hump a monitor or two while the band plays “This Is Hardcore.”The crowd eats it up and sings along, knowing every last word. MARK BAUMGARTEN

PForce Majeure

Through a Lens Darkly RUNS FRI., NOV. 21–WED., NOV. 26 AT NORTHWEST FILM FORUM. NOT RATED. 92 MINUTES.

While Joe’s away: Close and Fanning.

Low Down OPENS FRI., NOV. 21 AT VARSITY. RATED R. 114 MINUTES.

& Supermarkets

RUNS WED., NOV. 19–WED., NOV. 26 AT GRAND ILLUSION. NOT RATED. 90 MINUTES.

When Pulp hit it big with Different Class in 1995, reaching #1 on the UK charts and winning the Mercury Prize, the band was at the leading edge of the Britpop movement. Seven years and two albums later, it would all be over. But Pulp didn’t get to say a proper farewell, says lead singer Jarvis Cocker in Florian Habicht’s new documentary. This film is that proper farewell.

Set in Pulp’s hometown of Sheffield, the film finds the band at the tail end of its 2011–12 reunion tour. Instead of covering earlier, bigger tour stops, Habicht has a tight focus, training his camera on the group, the people of Sheffield, and the relationship between the two.

Cocker (leaping) and band perform.

The result is a charming portrait of a band and its hometown, and the hometown often steals the show. Pulp fans, it seems, come in all shapes and sizes. Among others, we are introduced to a bald, grinning newspaper salesman who likes the way Cocker dances; a young musician who found inspiration in a Pulp album; an older woman with crutches who is curious about what motivates the band; and a young girl named Liberty, whose childish excitement over appearing in a movie is belied by her wisdom in matters of art and parenting. It’s a testament to the depth of the group’s music that it inspires such thoughtful appreciation.

It’s a unique view Habicht gives us—not the fan worship of most music docs. Cocker is a hero to these folks, yes, and definitely famous, but you get the sense that these people know him and his bandmates. This is a product of the location—some of the interviewees likely watched Cocker sling fish at the local supermarket as a teen—but also there’s something in Pulp’s music that creates this connection. After all, the band’s biggest hit is “Common People,” and these are the common people.

So this is a fond farewell, but also something of a redemption. As the band recounts, Pulp said farewell to Sheffield once before, with a disastrous

There are a lot of commendable ideals in Thomas Allen Harris’ essay film, which parallels the history of photography with the AfricanAmerican experience. That a few free blacks ran photography studios before the Civil War was certainly news to me, though subsequent images of circus freaks, lynchings, and racist advertising are numbingly familiar. At a certain point, postemancipation, blacks had to take charge of their own depiction, and Harris was lucky enough to be born into a family that carefully constructed its photo album. Eventually he became an artist and photographer himself (and also a protégé of Tongues Untied director Marlon Riggs), which provides a bridge from the dignified poses of the Civil Rights era to our postmodern age. Through a Lens shows the work of some contemporary artists, including Carrie Mae Weems and Glenn Ligon, but it’s never quite enough. Likewise, the proud portraiture of Frederick Douglass and Sojourner Truth (who sold her photos to help support her abolitionist work) launches a tradition of image-conscious leadership that really merits its own separate study.

Harris acknowledges his film’s basis in the 2000 book Reflections in Black by Deborah Willis, one of many scholars he interviews here. Yet his dull, didactic film is burdened by the seeming intent to correct all 150 years of misrepresentation—from slavery to the present moment. No one man, no one documentary, can do that. Harris has simply bitten off more than he can chew in this historical survey, and the project isn’t helped by his overripe voiceover musings on identity (both his and his people’s).

Settling on a single era or artist, like the street photographer Roy DeCarava—whose The Sweet Flypaper of Life was such a revelation in the ’50s—might’ve given more focus to Harris’ good intentions. BRIAN MILLER E

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Set in mid-’70s L.A., here’s a new movie made with the texture and technology of that era: grainy 16 mm film stock and vintage anamorphic lenses that gently flatten and widen the frame.

First-time director Jeff Preiss is a veteran cinematographer with a knack for retro style (he shot Bruce Weber’s Let’s Get Lost and Broken Noses), and his pianist hero is a creature from another time. The cool glamour of West Coast bebop has faded by the ’70s for Joe Albany ( John Hawkes); and if there was ever any money to his trade, that’s gone, too. He’s living in a seedy residential hotel with his teen daughter Amy-Jo (Elle Fanning, never treacly or plaintive), whose spiteful alcoholic mother (Lena Headey, from Game of Thrones) has long ago fled. When things turn bad for the pair—i.e., when Joe gets busted for heroin or breaking parole—his mother (a fine, flinty, dry-eyed Glenn Close) is there as a backstop for Amy-Jo. You get the sense that Gram, as she’s called, has seen worse.

The hardships and misadventures here feel ’70s-authentic and familiar, maybe too much so.

Amy-Jo inevitably has her eyes opened to the world: There’s a hooker (Taryn Manning) living down the hall at the hotel with her young son; and a shy aesthete (Peter Dinklage) living in the basement shows Amy-Jo some kindness. This is a girl with an old soul, who’ll sit for hours listening to her father’s jazz records and jam sessions. (Here’s Flea, of the Red Hot Chili Peppers, as a trumpeter falling a little faster than Joe.) Her father is bound to disappoint her in this kind of movie, but the modest, poignant Low Down is based on the memoir by Amy-Jo Albany, who loved her father regardless. And Joe Albany was a genuine jazz cat of some small renown, who played with Charlie Parker and Lester Young. (He died in 1988.)

This gives Low Down an additional haunting verisimilitude, however episodic the writing. Also, Hawkes certainly looks the part—a pompadoured and oddly positive relic from the postwar Los Angeles of Bukowski and John Fante. He’s a gentle guy doomed not by smack but by the popular indifference to his art. Though, trying to be a good example, he refuses to be bitter about it.

He tells Amy-Jo, “See, our luck is changing,” but absolutely no one here believes it. BRIAN MILLER

PPulp: A Film About Life, Death

FIRST RUN FEATURES

that nearly bookend the film: Both are put on for show—one before the damage, the second to repair it. This picture-perfect family is anything but. Maybe that’s another way of saying they’re typical. BRIAN MILLER

Renee Cox’s Yo Mama’s Pieta.

NAT URAZMETOVA/OSCILLOSCOPE LABS

On vacation in the French Alps, Tomas, Ebba, and their two young kids are a sleek, modern family seemingly stepped out of an iPhone 6 ad. They’ve booked a week at a trendy ski resort to escape the pressures back home in Sweden.

(Tomas has difficulty ignoring work calls on his iPhone.) Things are going well until a fateful lunch on a sunny balcony overlooking the slopes. Suddenly, triggered by one of the regular avalanche-control blasts that punctuate the film, a cloud of snow overwhelms the shrieking, terrified diners. But this isn’t your usual natural-disaster flick: The frame goes white as we hear sounds of chaos and confusion; then everyone realizes that only a light dusting of snow has fallen on their fettuccine alfredo. After those few seconds of panic, there’s laughter all around. Thank God we’ve survived; now let’s not talk about it.

Ruben Östlund’s sly, unsettling study of marital dissolution is what happens when people talk about it. Ebba (Lisa Loven Kongsli) can’t let go of the fact that Tomas ( Johannes Kuhnke) grabbed his phone and abandoned the family in the face of possible doom. At first he denies her accusations (enabled by friends and red wine), but the greater damage is caused by his slow acquiescence. “I’m the victim, too,” he later sobs, “the victim of my own instincts!” Copping to his cowardice only makes him seem more pathetic to Ebba, who begins re-evaluating the whole basis of their marriage. If not for the sake of their kids (played by actual siblings), what’s the point in staying together? And if you can’t trust your partner with your kids’ survival, what’s the point of even having them? The couple has a bearded friend (Game of Thrones’ Kristofer Hivju) who uncomfortably witnesses Ebba’s dinner-party denunciations. He diplomatically tries to rationalize Tomas’ lapse in sociobiological fight-orflight terms, which only causes a fight with his much younger girlfriend (Fanni Metelius). Men reveal themselves to be posturing fools here, while women sensibly wonder if they’re the only ones keeping our species alive.

This isn’t a fraught drama of the old Bergmanesque variety; it’s more a dark comedy of shame that Östlund interrupts with some very odd, droll flourishes. The family has a drone that crashes into sensitive conversations. The routine of electric tooth-brushing merges with the inane vacation machinery of ski lifts, snow grooming, and funiculars: man’s futile quest to control nature.

Tomas and Ebba keep locking themselves out of their room for late-night conferences, while an impassive janitor watches with disdain. We really have no idea where this movie is headed—if it’ll tip into tragedy or farce. Such uncertainty is rare during the safe pieties of Oscar season (this is Sweden’s submission in the awards derby), yet it underlines the movie’s central question: Should this marriage be saved? (And more: Is marriage itself worth preserving?)

I think any couple with children will find something to recognize in Tomas and Ebba’s teetering at the brink. Their handsome, happy union is revealed to be a construct in two scenes

OSCILLOSCOPE LABORATORIES

OPENS FRI., NOV. 21 AT SEVEN GABLES AND SIFF CINEMA UPTOWN. RATED R. 118 MINUTES.

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arts&culture» Film Local & Repertory • LIVE BY NIGHT The Big Combo, Joseph Lewis’ 1955

tale of mob scandal, stars Jean Wallace as a former femme fatale seeking redemption. With Cornel Wilde and Richard Conte. (NR) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series. $8 individual. 7:30 p.m. Thursdays through Dec. 18.

NIGHT OF THE COMET Two Valley Girls are put to the zombie test in this unlikely apocalypse movie from 1984, starring Catherine Mary Stewart and Kelli Maroney. Why hasn’t there been a remake? (PG-13) Central Cinema, 1411 21st Ave., 686-6684, centralcinema.com. $6-$8. 9:30 p.m. Fri.-Weds.

PLANES, TRAINS & AUTOMOBILES The late John Candy memorably co-starred with Steve Martin in this fondly remembered holiday comedy from 1987, written and directed by that master of suburban sarcasm (and sentiment), John Hughes. (R) Central Cinema, $6-$8. 7 p.m. Fri.-Weds. & 3 p.m. Sat. SEATTLE TURKISH FILM FESTIVAL A dozen films are screened in this weekend mini-fest, beginning with the sister rivalry rock musical Whisper, if I Forget. (NR) SIFF Film Center, SIFF Cinema Uptown, and Pacific Place. See stff.org for info. Thurs.-Sun.

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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 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. (R) ROBERT HORTON Guild 45th, Pacific Place, Lincoln Square, Kirkland, Lynwood (Bainbridge), Cinebarre, Thornton Place, others CITIZENFOUR Fugitive leaker Edward Snowden has invited documentary filmmaker Laura Poitras (The Oath) and The Guardian journalist Glenn Greenwald into his Hong Kong hotel room. In this absorbing character study, they debate how and when to spill the information he took from his job at the National Security Agency. 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. 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. (NR) R.H. SIFF Cinema Uptown 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) 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. 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) BRIAN MILLER Sundance, Meridian, others

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

adaptation of her 2012 novel, directed with acid fidelity

by David Fincher, is that Gone Girl doesn’t like most of its characters. Nick Dunne (Ben Affleck) soon falls under suspicion of murdering his missing wife Amy (Rosamund Pike). The small-town Missouri police investigation (led by Kim Dickens) goes entirely against Nick for the first hour. He behaves like an oaf and does most everything to make himself the prime suspect, despite wise counsel from his sister (Carrie Coon) and lawyer (a surprisingly effective, enjoyable Tyler Perry). Second hour, still no body, but flashbacks turn us against the absent Amy. As we slowly investigate the Dunnes’ very flawed marriage, funny little kernels of bile begin to explode underfoot. How the hell did these two end up together? Flynn’s foundational joke answers that question with a satire of marriage. The movie poster and tabloid-TV plot suggest a standard I-didn’t-kill-my-wife tale, but matrimony is what’s being murdered here. Amid the media circus, Nick becomes the scorned sap because of his untruths; but what really damns him in the movie’s intricate plot is his credulity—he believed in Amy too much. Gone Girl is cynical, mean-spirited fun. (R) B.R.M. Sundance, Meridian, Thornton Place, Lincoln Square, others INTERSTELLAR Reaching about 90 years forward from its start in a near-future dystopia, Christopher Nolan’s solemn space epic commits itself both to a father/daughter reunion and the salvation of mankind.

Matthew McConaughey’s Cooper is sent on a mission to plunge into a wormhole near Saturn because Michael Caine tells him to. And no one in a Chris Nolan movie can say no to Michael Caine, here playing a professor named Brand who also sends along his scientist daughter Amelia (Anne Hathaway) with Cooper and two others. Before leaving, Cooper tells his daughter—played by three actresses at different ages—that maybe they’ll be the same age when he returns home, because of Einstein and other stuff we slept through in AP physics. The two ceremoniously synchronize their watches, sure to figure later—two hours for us, rather more for them—in the story. Cooper and company must investigate possible planets for colonization (scouted in advance by other astronauts). One is water, the other ice, and both prove quite lethal. There’s some action (though none so elegant as in the much superior Gravity), but what Nolan really wants Cooper’s team to do is discuss relativity, gravity, the fifth dimension, and quantum data (the latter requiring a visit to a black hole). There’s talk of ghosts and a cosmic “they” who chose Cooper for his long mission. But with the frequent recitations of Dylan Thomas poetry and the grown Murph (Jessica Chastain) stabbing chalky equations on a blackboard, the movie feels like an undergraduate seminar in space—one that’s three hours long. (PG-13) B.R.M. Pacific Science Center IMAX, SIFF Cinema Uptown, SIFF Cinema Egyptian, Thornton Place, Majestic Bay, Ark Lodge, Varsity, Admiral, Pacific Place, others NIGHTCRAWLER Titled and released as if it were a Halloween horror flick, Dan Gilroy’s dark media fable has more in common with Network than Nosferatu. Lou (the politely creepy Jake Gyllenhaal) is identified as an earnest, calculating criminal in the opening minutes; he’s never less than transparent about his motives, most of which appear to have been gleaned from self-help books and inspirational Internet sites. He’s an amoral American hustler, a type descended from Dale Carnegie and Sammy Glick. A career in stolen scrap metal soon gives way to freelance videography at L.A. car wrecks and crime scenes, and Lou’s basest impulses are naturally encouraged by a ratings-starved TV station. (Rene Russo is amusingly aroused as the station’s “vampire shift” manager—a venal Mrs. Robinson who mentors eager Lou.) Nightcrawler is more a parable of unfettered capitalism—there’s your horror—than realistic media satire. Lou’s swift progress in TMZ-land brings him a rival (Bill Paxton, cruising for a bruising) and a naïve protégée (English actor Riz Ahmed), but no one here has—or needs— much depth. Lou has no history, no family, only his hollow aphorisms of success, apparently learned from the Internet. Nightcrawler never quite settles on a satisfactory tone between squeamish laughter and a smarter, Chayefskian disgust, but Lou you remember—a creature for these craven times, prospering from our insatiable need to see the worst.

(R) B.R.M. Sundance, Thornton Place, Lincoln Square, Pacific Place, Cinebarre, others

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Metamodern Man Sturgill Simpson’s psychedelic country sounds both old and new.

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ight off the bat, Kentucky-born to get the point. The tune sounds like a country country artist Sturgill Simpson’s track that might have been created by almost any sophomore release, Metamodern artist at any point in the past 50 years, highlightSounds in Country Music, raises a ing Simpson’s deep warble. But midway through, critical question: What exactly is metamodernthe music shifts into a cosmic, echo-inflected ism? There are many definitions, but it can be breakdown that isn’t really rooted in any form at best described as an extension of ideas and phiall. Listen to the content and the lyrics—replosophies developed in reaction to postmoderntile aliens, LSD, different realms—and you’ll ism. Metamodernism’s understand we’re not in Listen to the content and Nashville anymore. aim is not to rehash old forms, but to borof Metamodern’s the lyrics—reptile aliens, bestOne row elements from songs is Simpson’s frameworks of the past LSD, different realms—and take on “The Promise” and take them in direcby British new wave tions that seemed incon- you’ll understand we’re not group When in Rome. ceivable at the moment On the surface, this is in Nashville anymore. of their creation. a song that shouldn’t Maybe it’s Simpson voice, which bears a work in a country format, and its inclusion striking similarity to Waylon Jennings’, but here smacks of gimmickry. Then you press this release and last year’s High Top Mountain play—and by song’s end you’re wondering how have led casual listeners and cultural comit could have been arranged and performed mentators to peg Simpson as a modern-day any other way; it’s as tender a country ballad facsimile of 1970s outlaw country. It’s a lazy as the best of them. It takes great confidence assumption, one the singer rejects out of hand to take on something so different, something by way of his latest record’s title. so recognizable, and not only distort it in such The 36-year-old has spent most of his life a manner but turn it into something arguably playing music, but it took a while to earn the better than the original—praise many listeners recognition now rolling in, after a series of have lavished on it. odd jobs and a stint in the Navy. His now-wife Simpson’s not an alternative, not an outlaw, encouraged him to move to Nashville to give not a torchbearer or an antidote. He’s simply a music a real chance, and that’s where his singucountry artist producing the only kind of music lar style bloomed. he can in the service of his muse—one which If you think of Hank Williams or Lefty Friis rendering him a leader in an exciting new zell as modernists and Johnny Cash or David period of country music. E Allan Coe as postmodernists, Simpson’s aesthetic music@seattleweekly.com begins to make more sense. His approach isn’t to re-embody days long past, but to make an STURGILL SIMPSON original statement altogether in his own time.

With Lucette. Tractor Tavern, 5213 Ballard Ave., You need only parse the words from Metamod789-3599, tractortavern.com. ern’s leadoff single, “Turtles All the Way Down,” SOLD OUT. 8 p.m. Wed., Nov. 26.

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J Mascis Struggles to Unplug

JAZZ ALLEY IS A SUPPER CLUB

The Dinosaur Jr. founder hits the road for a solo acoustic outing.

BY DAVE LAKE

LEO KOTTKE

WED, NOV 19 - THURS, NOV 20

Acoustic contemporary folk guitar virtuoso known for his unique fingerpicking style

TAJ MAHAL TRIO

NOV 21 - 23, 25 - 26, 28 - 30

One of the most influential American blues and roots artists of the past half-century!

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ROY HARGROVE QUINTET

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Grammy-winning jazz, R&B and funk trumpet virtuoso

ROBERTA GAMBARINI

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J

trying to fit music into that concept.” A few guest musicians, including Cat Power’s Chan Marshall and Black Heart Procession’s Pall Jenkins, helped him achieve that vibe, but the album tour was always envisioned sans other players.

Mascis’ solo set showcases a healthy dose of songs from his two proper solo albums, but also quieter selections from his large catalog and a couple of covers, which he has a particular knack for making his own. “It just has to sound good to me somehow when I’m doing it,” he says about the covers that make the cut, “or feel like I’m not ruining it.” About half the time it doesn’t work out. “We did a Zombies song for a B-side a few years ago, and it didn’t sound so good.”

With three decades of touring under his belt, the 48-year-old says the key to his success and longevity has been not having a backup plan: “I don’t have many other interests.

I’m just into music.” An avid record collector and guitar geek, Mascis has a favorite stop in Seattle: Emerald City Guitars in Pioneer Square.

He has a particular fondness for models from the late ’50s, which his signature Jazzmaster is modeled after. “I’m looking not to buy anything,” he confesses, “but if something really speaks to me, I sometimes buy it.” E

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SE ATTLE WEEKLY • N OVEMBER 19 — 25, 2014

Mascis likes to play loud. Which is why it’s a bit weird that his second solo record, Tied to a Star, is decidedly quiet.

There are a few songs with drums and some electrified guitar solos, but the bulk of the album is subdued and delicate, anchored by Mascis’ gently strummed acoustic guitar and his almost-whisper of a vocal. “I generally always want to have noisy guitars and drums, so it’s always a battle,” he tells Seattle Weekly. “And sometimes I just lose the battle on certain songs.”

Mascis found success in the early ’90s as the front man for pioneering alt-rock trio Dinosaur Jr., and he’s had a steady career ever since, playing in a number of bands, including Witch, a doommetal act for which he drums, and J Mascis + The Fog. He’s also an indie-rock guitar hero, boasting a signature Fender guitar and making Rolling Stone’s 100 Greatest Guitarists list.

Adjusting to life on the road as a solo acoustic act has been bumpy since Mascis is unaccustomed to being alone onstage.

On most songs he accompanies himself via a guitar pedal sampler that loops his chord progressions, allowing him to play leads over his rhythms, which require his playing to be spot-on, a more difficult task on acoustic guitar. He’s also not used to the intimacy of acoustic shows. “You can hear people talking sometimes, and it’s not loud enough to drown people out,” he says—though he can appreciate that certain aspects of touring are easier as a party of one. “I’m very punctual and I get annoyed in a band situation. I always end up waiting for people, which drives me crazy.”

In a departure from the writing process he employs for his band projects, Mascis wrote Star on his acoustic guitar, most often sitting at his kitchen table or the couch while watching TV, recording the good bits on his iPhone.

“I write for a specific project,” he says. “I’m thinking of the vibe I want to get across, so I’m

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next • 12/2 kate lynne & the ghost runners • 12/3 goapele • 12/4 john roderick • 12/6 fremont abbey winter round • 12/7 gypsy soul • 12/8 charlie hunter and scott amendola • 12/9 a winged victory for the sullen • 12/11 - 12/27 land of the sweets: the burlesque nutcracker • 12/28 & 29 the bobs after christmas show! • 12/30 aurelio • 12/31 leroy bell & his only friends • 1/3 cahalen and eli • 1/7 midge ure • 1/8 david lindley • 1/9 anna coogan w/ carrie akre • 1/10 elvis alive with vince mira • 1/11 korby lenker • 1/14 sean watkins

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arts&culture» Music

TheWeekAhead Wednesday, Nov. 19

Just two years after releasing its well-received debut album, You’re a Woman, I’m a Machine, in 2004, Toronto dancepunk duo DEATH FROM ABOVE 1979 broke up, which gave it and the album a cultlike status. But now, three years after their reunion, drummer/singer Sebastien Grainger and bassist Jesse Keeler are back with their highly anticipated sophomore album, The Physical World. Like its predecessor, it’s a raucously good time, a mix of synth features, thundering percussion, and aggressive bass riffs. It may have been 10 years between albums, but a reinvigorated Death From Above 1979 was worth the wait. With Biblical.

Neumos, 925 E. Pike St., 709-9442, neumos.com. 7 p.m.

SOLD OUT. All ages. AZARIA C. PODPLESKY At this release show for Colorpunch, THE HOOT HOOTS’ third full-length, the power-pop quartet’s making sure fans get the complete experience. Not only will they play new tunes, they’ll have a custom laser show as accompaniment. This should pair nicely with songs like “In the Air,” which is kicked off by a series of laser-beam-like synth effects and features a pulsing beat from drummer Chris Prairie that’s perfect for a constantly shifting laser show.

Group vocals add to the energy and give the song a sunny feel, which will no doubt transfer to the stage. With the Young Evils. Pacific Science Center Laser Dome, 200 Second Ave. N., 443-2001, pacificsciencecenter.org. 7:30 p.m. $10. All ages. ACP

Friday, Nov. 21

Twin Peaks

POONEH GHANA

Though three-fourths of Chicago quartet TWIN PEAKS left Evergreen State College to pursue music, something tells me the kids will be alright. The 20-somethings have managed to capture the essence of ’60s garage-rock—most recently on sophomore album Wild Onion—in spot-on bursts of songs often less than three minutes long. There are slightly psychedelic songs like “Mirror of Time” and “Strange World”; the über-catchy “Telephone”; and the folk-tinged “Sweet Thing” and “Mind Frame.” Classic guitar riffs from Clay Frankel add an even more authentic feel. I guess age really is nothing but a number. With Meatbodies, Criminal Hygiene, Bod. Vera Project, 305 Warren Ave. N., 956-8372, vera project.org. 8 p.m. $10 adv./$12 DOS. All ages. ACP

Thursday, Nov. 20

Like the palace that inspired his stage name, Henry Saint Clair Fredericks is internationally known. The blues musician, who fronts the TAJ MAHAL TRIO with bassist Bill Rich and Kester Smith on drums, has been performing for 50 years and recently won the Lifetime Achievement for Performance Award at this year’s Americana Honors and Awards. A look at Fredericks’ extensive discography backs up the praise: more than two dozen albums, including his latest, the aptly titled Maestro, and a variety of live albums and compilations. He has also appeared on a variety of movie soundtracks and can play as many instruments.

Now with his trio, the self-taught musician is adding more acclaim to his career, returning to Jazz Alley for his annual residency. Through Sunday, Nov. 30. 2033 Sixth Ave., 4419729, jazzalley.com. 7:30 & 9:30 p.m. $36.50. All ages. ACP Singer/songwriter DAVID BAZAN is perhaps best known for fronting Pedro the Lion and for his two solo albums, Curse Your Branches and Strange Negotiations. With the PASSENGER STRING QUARTET, led by Andrew Joslyn, the songwriter is reimagining tunes from both stages of his career on Volume 1. Longtime Bazan fans needn’t worry; the songs are not reworked beyond recognition. Instead, the orchestral arrangement elevates what Bazan created. The songs feel fresh without losing the emotion behind his lyrics. With David Dondero. The Neptune, 1303 N.E. 45th St., 877-STG-4TIX, stgpresents.org/ neptune. 9 p.m. $22 adv./$25 DOS. All ages. ACP “We’re gonna haunt you/Twenty-four seven,” DEERHOOF’s Satomi Matsuzaki sings on “Black Pitch” off the band’s 12th full-length, La Isla Bonita. And haunt you it does— only with catchiness, not creepiness. Matsuzaki’s voice is bright and playful, clear like a bell, while the band runs through a variety of genres. There’s the more ethereal “Mirror Monster,” the groovy “Tiny Bubbles,” the Ramones-inspired “Exit Only,” and the punk “God 2.” Now in its 20th year, Deerhoof is known for being spontaneous, and La Isla Bonita follows suit. With Busdriver, Go Dark.

Neumos. 8 p.m. $15. All ages. ACP

Saturday, Nov. 22

Punk-rock supergroup CHILDBIRTH—Tacocat’s Bree McKenna, Pony Time’s Stacy Peck, and Chastity Belt’s Julia Shapiro—takes the riot-grrl sound to a whole new, cruder level with their debut, It’s a Girl! Song titles like “I Only Fucked You as a Joke,” “Crossbitch,” and “How Do Girls Even Do It?” give a pretty good idea of what’s to come, but to actually hear the hospital-gown-clad trio sing about regretful hookups, sister wives, the mysteries of lesbian sex, and menopause is a whole other hilarious thing. Really, what’s more punk than childbirth? This show doubles as a birthday celebration for Highline booker Brian Foss’ wife Cyndi, so come ready to party. With the Dee Dees, the Witches Titties, Culture Shakti. The Highline, 210 Broadway Ave. E., 328-7837. 9 p.m. $7. 21 and over. ACP Against Me!’s LAURA JANE GRACE isn’t one to tone things down. Transgender Dysphoria Blues, the band’s first album since she came out as trans, tackled body and gender issues with ripping guitars and blaring vocals.

Even with all the screaming, the singer managed to express her story relatably. Now she’s stripping back all the noise for an acoustic performance and a discussion on trans-activism, giving a rare, intimate look at one of modern punk’s most compelling figureheads. UW’s North Hub Ballroom, 4001 W. Stevens Way N.E., 543-8191, depts. washington.edu/thehub. 7 p.m. $8 students/$15 GA. All ages. DUSTY HENRY

» CONTINUED ON PAGE 34

El Corazon www.elcorazonseattle.com

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

WEDNESDAY, NOVEMBER 19TH

SATURDAY, NOVEMBER 22ND

MIKE THRASHER PRESENTS:

MIKE THRASHER PRESENTS “THE JOURNEYS NOISE TOUR” FEATURING:

with Every Time I Die, Architects, Hundredth, Backtrack Doors at 6:00PM / Show at 6:30 ALL AGES/BAR W/ID. $18 ADV / $20 DOS

with I Killed The Prom Queen, Ghost Town, Nightmares, Marmozets Doors at 6:00PM / Show at 7:00 ALL AGES/BAR W/ID. $18 ADV / $22 DOS

THE GHOST INSIDE THURSDAY, NOVEMBER 20TH

THE DECOYS

with Deep Channel, Theories Of Flight, Loudsole, Plus Guests Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

FRIDAY, NOVEMBER 21ST MIKE THRASHER PRESENTS:

EMERY

with The Classic Crime, Artifex Pereo, Shoreline Drive, Black Sky, A Taste Of Daylight Doors at 6:00PM / Show at 6:30 ALL AGES/BAR W/ID. $18 ADV / $20 DOS

FRIDAY, NOVEMBER 21ST

FOXING

with Gates, Special Explosion, The Female Fiends, The Wild Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

ISSUES

SUNDAY, NOVEMBER 23RD

THePETEBOX

with Da Beckoning Band, Charlatan, Rowe Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY, NOVEMBER 25TH

LORD DYING

with Castle, Witchburn, SwampheavY, Powerhitter Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

WEDNESDAY, NOVEMBER 26TH

“WALK OF SHAME COMEDY TOUR”

featuring: Dana Moon, Becky Robinson, Jessica

Michelle Singleton, Lisa Curry Lounge Show. Doors at 8:00PM / Show at 9:00 ALL AGES/BAR W/ID. $10

JUST ANNOUNCED 12/2 LOUNGE - PASCAL 12/9 LOUNGE - DANI FOUTS 1/2 - I DECLARE WAR 1/3 - DR. KNOW FEATURING KYLE TOUCHER 1/26 - JAKE E. LEE’S RED DRAGON CARTEL 2/3 - KARMA TO BURN 2/10 - BEHEMOTH / CANNIBAL CORPSE 3/24 - TIM BARRY 3/28 - PANCAKES & BOOZE ART SHOW UP & COMING 11/28 LOUNGE - THREE SIX OHH 11/29 - RACHEL TAYLOR (HE IS WE) 11/29 LOUNGE - VESSELS 12/3 - THE ATARIS 12/4 LOUNGE - KURT TRAVIS 12/5 - THE ICARUS LINE 12/5 LOUNGE - PAGEANTRY 12/6 - LEMURIA / INTO IT. OVER IT. 12/6 LOUNGE - DEVILWOOD 12/7 LOUNGE - COURAGE MY LOVE 12/12 LOUNGE - THE DREAD CREW OF ODDWOOD 12/13 - AURELIO VOLTAIRE 12/13 LOUNGE - SMOKE SEASON 12/14 DAY - MOURNING MARKET 12/14 - STICK TO YOUR GUNS 12/14 LOUNGE - WHERE MY BONES REST EASY 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 • N OVEMBER 19 — 25, 2014

TJ Grant has one of those voices that seem to work well with any genre. Whether he’s performing acoustic tunes under his own name or more upbeat songs as his solo project, IF BEARS WERE BEES, the Ravensdale native’s rich voice fits right in. Grant’s latest as himself, the acoustic Runaway TJ, is soulful and honest, recorded in an emotional, unedited burst. His latest as If Bears Were Bees, The Black Arts, on the other hand, is brighter though no less emotional, with Grant backed by bass and percussion. But no matter which, that rich voice rings strong.

With Add Ode (ft. Galen Disston), Mark Gilday Jr., Gabriel Mintz. Blue Moon, 712 N.E. 45th St., 675-9116, bluemoon seattle.wordpress.com. 9 p.m. $5. 21 and over. ACP HAUNTED HORSES’ latest EP, the first release for the Fainting Room Collective’s Triple-Six Series, is, in a word, bizarre. The guitar riffs drone, the percussion is furious, the vocals are erratic, and the overall vibe is dark. And yet I found myself listening to the EP over and over. The industrial-punk trio of Colin Dawson, Myke Pelly, and Troy Ayala has taken a cacophony of dark sounds and layered them in a way that adds appeal to these truly haunting tunes. If you’re missing the spirit of Halloween, then this release show should be the creepy celebration you crave.

With Sayonara, Audrey Home. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $5. 21 and over. ACP Pretty soon, people will be mentioning SHAPRECE in the same sentence as FKA twigs and Little Dragon’s Yukimi Nagano. For her latest EP, Molting, the singer teamed with producer IG88 and string arrangers Phillip Peterson and Daniel Butman. The result is a collection of songs that

falls somewhere between trip-hop and orchestral pop.

Shaprece’s sultry voice, subdued at times and always intimate, pairs well with the ambient nature of IG88’s beats, and rises and falls alongside the strings. Molting, which features the previously released “Her Song” and a Blue Sky Black Death remix of “Tell Me,” finds the artist shedding musical layers to create something more minimalistic. With Budo, Theoretics. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com.

8 p.m. $8 adv./$10 DOS. 21 and over. ACP After 15 years in Seattle, guitarist Jeff Fielder has racked up a resume that includes work with the likes of Star Anna, Sera Cahoone, Mark Lanegan, Lindsay Fuller, and countless others, as well as projects like Jeff Fielder and the Dinosaurs. To celebrate all that, and as a “love letter” to the city and his talented collaborators, the axeman has organized JEFF FIELDER REDUX, a chance for him to perform original material and songs from those who have influenced him over the years. This show will feature Ian Moore, Garth Reeves, Jen Ayers, Zach Harjo, Om Johari, Eric Eagle, David Salonen, Daniel Walker, Andy Stoller, Arthur Migliazza, and others. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $12. All ages. ACP

33

a&c» Music » FROM PAGE 33

Join us in the Trophy Room for Happy Hour: Thursday Bartender Special 8-Close Fridays: 5-8pm RESERVE THE TROPHY ROOM FOR YOUR NEXT EVENT!

Sometimes sad records are one-dimensional and leave listeners feeling empty; other times they have layers that feel a bit more reflective. The melancholic self-titled album from rock quintet MODERN RUINS falls in the second category. There’s a somberness to singer/ guitarist Leigh Stone’s voice, especially when she sings lyrics like “You come from there/I’m over here/Why can’t you see me?” (“Theories”). But brighter instrumentation, albeit with droning guitar riffs, makes the album seem almost hopeful. There’s a beauty to Modern Ruins’ gloomy sound that adds depth. Fans will get a chance to experience both sides of the band at this album-release show. With Wishbeard, DJ Meaty Okra. Vermillion, 1508 11th Ave., 709-7979, vermillionseattle.com. 9 p.m. Free.

21 and over. ACP Alt-rock quartet Dark Hip Falls and 3rd Shift Dance have teamed up for a jam-packed one-night-only event, something the band is calling SHIFT SESSIONS: VOLUME 1. Not only will audience members get to hear Seventy Four, the group’s debut album, played in full, they’ll also get to enjoy original dance pieces from 3rd Shift Dance artistic director Xaviera Vandermay and five other choreographers inspired by the album, and catch the premiere of the music video for “Lam2: Red Hands.”

Seventy Four is sparse and lacks any huge choruses, but the band’s moody vibe and musical diversity will give the dancers a lot to work with. Westlake Dance Center, 10703 Eighth Ave. N.E., 621-7378, westlakedance.com.

7 p.m. $12 adv./$20 DOS. All ages. ACP

Sunday, Nov. 23 Tuesday’s

Wednesday’s COCKTAILS • TASTY HOT DOGS • LOTSA PINBALL

2222 2ND AVENUE • SEATTLE

206-441-5449

At this TRIBUTE TO THE LAST WALTZ: A BENEFIT FOR RAIN CITY ROCK CAMP FOR GIRLS, the nonprofit, which is dedicated to building self-esteem in girls and encouraging musical expression, is honoring The Band’s iconic final show. Local musicians, including Leif Dalan of Clinton Fearon and the Boogie Brown Band and Bill Nordwall and Jasen Samford of Exohxo, will fill in for The Band. And like the original star-studded event, this show will feature plenty of guest vocalists, including Star Anna, Stephanie Anne Johnson, Nouela Johnston (People Eating People), Fredd Luongo (the Swearengens), Joel Schneider (My Goodness), and many more. Tractor Tavern, 5213 Ballard Ave. N.W., 7893599, tractortavern.com. 8 p.m. $10. 21 and over. ACP

Monday, Nov. 24

G-EAZY, aka Gerald Earl Gillum, made a name for himself

SEATTLE WEEKLY • NOVEM BER 19 — 25, 2014

in 2011 with his mixtape, The Endless Summer, which includes “Runaround Sue,” a fusion of doo-wop and hip-hop that features a sample of the Dion song of that name. Now on his latest full-length, These Things Happen, the rapper is keeping that momentum going, only this time with a more modern hip-hop sound and appearances from the likes of A$AP Ferg, Devon Baldwin, E-40, and Jay Ant—the latter two opening this show. Tales of life on the road, missing home, and working toward bigger goals pepper G-Eazy’s lyrics and add a fresh voice to the scene. Showbox SoDo, 1700 First Ave. S., 652-0444, showboxpresents.com.

8 p.m. $30. All ages. ACP

34

Tuesday, Nov. 25

In September 2013, British alt-rock quartet BASTILLE made its Seattle debut with a sold-out show at Tractor Tavern.

A little over a year and a sold-out Showbox SoDo show later, the band is taking over KeyArena for the night.

That progression is pretty impressive, given that the band is still touring behind its debut album, Bad Blood.

Multiple singles, including the title track, “Flaws” and the cinematic “Pompeii,” have helped the band’s uphill trajectory, though unexpected covers and mashups and big screen-ready music videos have also added to the buzz. With Grizfolk. KeyArena, 305 Harrison St., 684-7200, keyarena.com. 8 p.m. $31.50–$39.50. All ages. ACP Nashville-based singer NIKKI LANE is, as she says on Facebook, as country/Americana as they come. Her latest album, the Dan Auerbach–produced All or Nothin’, is a collection of nitty-gritty country tunes. From the bouncy “I Don’t Care” to the surf-rock-tinged “ Seein’ Double,” and from “Love’s on Fire,” a romantic duet with Auerbach, to the soulful title track, Lane’s vocals have a vintage feel and a lot of room to play on this album. Her lyrics run the gamut from affectionate (the deceptively titled “I Don’t Care”) to brutally honest (“Sleep With a Stranger”), but that just gives the album an even more down-home feel. With Jamestown Revival, Pete Molinari. Tractor Tavern. 8 p.m. $15. 21 and over. ACP Send events to music@seattleweekly.com.

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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 Associate Wilson Sonsini Goodrich & Rosati seeks an Associate for its Seattle, WA office. Provide Legal and Business advice involving use of IP and Tech. Structure, draft, & negotiate legal policies, terms, & agreements.

J.D. and 5 yrs of exp. Mail resume & cvltr to Wilson Sonsini Goodrich & Rosati, Attn: L. Nevarez . 650 Page Mill Road, Palo Alto, CA 94304. Must ref: 2014SL to be considered.

Senior Software Developer sought by Redfin Corporation to work in our Seattle, WA location. Accumulate data into an organized format as part of the Data Platform Team. Research, design, develop, & test OS level sftwr utilizing Java, Hadoop & other data tech prgms. BS in Comp. Sci. or related + 5 yrs exp. as Sftwr Dev, Sftwr Dev Engi., or related. MS + 3 yrs OK. Reply to: Job# jw14, 2025 1st Ave, #500, Seattle, WA 98121 or jobpostingjw14@redfin.com

Real Estate for Sale King County Federal Way

2 bedroom townhome 1.5 bath, large kitchenfireplace, W/D, DW. Private Federal Way area with 2 car parking next to front door. $975. 253778-0279 Real Estate for Sale San Juan County EASTSOUND, 98245.

Professional Services Music Lessons GUITAR LESSONS Exp’d, Patient Teacher. BFA/MM Brian Oates (206) 434-1942

Home Services

Heating/Air Conditioning

Home Furnace & Heater Cleaning Good Service, Low Prices. King & Pierce County.

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 Rent King County

253-217-5862 Licensed & Insured

Call Geoff Today:

206-854-1794 LICENSED & INSURED

Mercer Island Gorgeous view home available now. 4 BD, 3.5 BA, 4,400 SF. Great school system! Adjacent to beach club. $5600/Mo on a 12 month lease.

(206)579-6648 theagapehouse7@ gmail.com theagapehouse7@gmail.com

Announcements

WEST SIDE FRIDAY HARBOR

NORTHEND MASSAGE FOR YOUR HEALTH LAURIE LMP #MA00014267 (206) 919-2180

WATERFRONT APT. Fully furnished. Newly remodeled w/ spectacular views of the water from every window. Separate entrance. Quiet location at the end of the lane, water only 30’ away! Makes this a hiker, kayaker or bird watchers paradise. Eagles and Otters are part of the local crowd. Comfortable w/ heated floors & lots of windows. Newly painted. Granite tile bath with jacuzzi tub. Large bedroom with large closet & king bed. All new kitchen. Open dining & living areas. Laundry available. No smoking or pets. Includes utilities, wi-fi, cable TV, phone, $1300/mo (year-round).

360-378-8332.

WA Misc. Rentals Rooms for Rent

Home Services Lawn/Garden Service

Plant, Prune, Mow, Weed, Bark, Remove Debris Henning Gardening

Real Estate for Rent San Juan County

Greenlake/WestSeattle $400 & up Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342

U-DISTRICT $450-$550 All Utilities Included!

Call Peir for more info (206) 458-0169

Firewood, Fuel & Stoves

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

The YWCA of Seattle-King CountySnohomish County seeks a

HMIS Data Clerk Community Support Specialist Puget Sound Regional Services offers a rewarding opportunity for individuals to provide residential and community support to adults with developmental disabilities.

Generous Benefits! $10.50/hr. FT/PT available. in Seattle, Federal Way, Renton and Kent areas.

To apply: Call 206-772-5700x121 cmartin@gopsrs.org or visit us 149 Park Ave N., Renton 98057 Hiring Security Officers Seattle/Bellevue Area careers.sossecurity.com

Employment Computer/Technology Engineering Manager, Big Data Analytics sought by Redfin Corporation to work in our Seattle, WA location. Integrate, sanitize & productize market and user data; lead group that develops machine learning algorithms; work with technologies like Postgres, Redshift, Pentaho, Hadoop and Hive. BS in Comp.

Sci, Comp/Elec Eng., Math, or related + 5 yrs exp. MS + 3 yrs OK. Reply to: Job#yh14, 2025 1st Ave, #500, Seattle, WA 98121 or jobpostingyh14@redfin.com

The Data Clerk performs data entry for the YWCA’s Snohomish County programs, including but not limited to, Shelter + Care, Housing Services, Mental Health Counseling, and Children’s Domestic Violence. The Data Clerk prepares timely and consistent reports for HMIS, CoC and other funders as necessary.

Part time, 25 hrs/wk. Rate $15.38/hr.

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

The choice is yours ... ... choose to succeed!

CAREER TRAINING

If you want to change your life for the better, choose career training from Everest College!

1-888-291-1362 • www.EverestLearn.com 5 LOCATIONS: Bremerton • Everett Renton • Seattle • Tacoma Financial aid available for those who qualify. Programs and schedules vary by campus.

For useful consumer information, please visit us at www.everest.edu/disclosures.

SE ATTLE WEEKLY • N OVEMBER 19 — 25, 2014

A LOVELY HOLIDAY Waterfront Apt available weekly or monthly. Fully furnished w/ spectacular views of the water from all windows. Quiet location at the end of the lane, water only 30’ away! Makes this a hiker, kayaker or bird watchers paradise. Eagles, seals, foxs & otters are part of the local crowd. Comfortable w/ heated floors & lots of windows. Granite tile bath with jacuzzi tub, seperate shower. Large bedroom w/ spacious closet & king bed. All new kitchen. Open dining and living areas.

Laundry avail. No smoking or pets. Includes utilities, wi-fi, cable TV, phone. $750/ week or $2500/mo 360-378-8332

Be a part of the largest community news organization in Washington!

Do you have a proven track record of success in sales and enjoy managing your own territory? Are you competitive and thrive in an energetic environment?

Do you desire to work in an environment which offers uncapped earning opportunities? Are you interested in a fast paced, creative atmosphere where you can use your sales expertise to provide consultative print and digital solutions? If you answered YES to the above, then we are looking for you!

Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. is looking for self-motivated, resultsdriven people interested in a multi-media sales career. This position will be responsible for print and digital advertising sales to an eclectic and exciting group of clients.

As part of our sales team you are expected to maintain and grow existing client relationships, as well as develop new client relationships. The successful candidate will also be goal oriented, have organizational skills that enable you to manage multiple deadlines, provide great consultative sales and excellent customer service. This position receives a base salary plus commission; and a benefits package including health insurance, paid time off, and 401K. Position requires use of your personal cell phone and vehicle, possession of valid WA State Driver’s License and proof of active vehicle insurance. Sales experience necessary; Media experience is a definite asset. Must be computer-proficient.

If you have these skills, and enjoy playing a proactive part in impacting your local businesses’ financial success with advertising solutions, please email your resume and cover letter to: hreast@sound publishing.com ATTN: SEA. Sound Publishing is an Equal Opportunity Employee (EOE) and strongly supports diversity in the workplace.

Visit our website to learn more about us! www.soundpublishing.com

Employment Computer/Technology

Proof Due

Ad #: 121 Deadline T Publicatio Section: B Specs: 4.8

T Appro T Appro T Revis

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Appliances AMANA RANGE Deluxe 30” Glasstop Range self clean, auto clock & timer ExtraLarge oven & storage *UNDER WARRANTY* Over $800. new. Pay off balance of $193 or make payments of $14 per month. Credit Dept.

206-244-6966

Classified

Call

@ 206-623-6231, to place an ad HomeWell Senior Care Franchising is growing!

Recession proof business. Only 8 available territories in Western Washington. $85K Initial investment includes Franchise Fee. Next Step: Visit www.HomeWell.biz

MOST CASH PAID 4 GOLD JEWELRY 20%-50% MORE 24/7 CASH 425.891.1385

WWW.KIRKLANDGOLDBUYER.COM Severe Allergies or Autoimmune Disease?

Earn $200 - Donate Plasma plasmalab.com 425-258-3653

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Professional help for sex & porn addicts, and those who care about them. 206-778-2236 Free initial consult

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206-244-6966

LEARN BALLROOM, LATIN, SWING, COUNTRY, SALSA & MANY MORE!

206-764-2458.

327 NE 91st St. Seattle (206) 227-9912

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HOLIDAY BAZAAR

KENMORE FREEZER

Repo Sears deluxe 20cu.ft. freezer 4 fast freeze shelves, defrost drain,

interior light *UNDER WARRANTY* Make $15 monthly payments or pay off balance of $293.

Credit Dept. 206-244-6966

KENMORE REPO Heavy duty washer & dryer, deluxe, large cap. w/normal, perm-press & gentle cycles. * Under Warranty! * Balance left owing $272 or make payments of $25. Call credit dept.

206-244-6966

REPO REFRIGERATOR Custom deluxe 22 cu. ft. sideby-side, ice & water disp., color panels available

UNDER WARRANTY!

was over $1200 new, now only payoff bal. of $473 or make pmts of only $15 per mo.

Credit Dept. 206-244-6966

Fri, 11/21, 9am-4pm & Sat, 11/22, 9am-3pm

Ballard NW Senior Center

5429 32nd Ave NW Seattle, WA 98107

VASHON ISLAND 98070.

SEATTLE WEEKLY • NOVEM BER 19 — 25, 2014

36

Auto Events/ Auctions

Barely Clean Topless Housecleaning

Over 50 tables of crafts, gifts, bake sale, music and refreshments.

BIG D TOWING Abandoned Vehicle Auction Thursday 11/25/14 @ 11AM. 1 vehicles.

Preview 10-11am.

1540 Leary Way NW, Seattle 98107

9329 SW Cemetery Rd held at McMurray Middle School

Career Education

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SAT, NOV 22nd, 9 TO 3 ANNUAL ST. ANDY’S Gals Holiday Bazaar!

Lots of Crafts, Gifts, Holiday Decorations, Baked Goods and Raffle Items. A portion of the proceeds will benefit Youth & Women Programs.

St. Andrew Presbyterian Church, 3604 NE 10th Ct, Renton Highlands. For more info and directions, see www.standrewpc.org or call: 425-255-2580

Sat 11/22, 10-4

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Walk-ins Welcome

RENTON, 98056

%206-244-6966%

425.229.1213

MEDICINE MAN WELLNESS CENTER

Bazaars/Craft Fairs

Gifts, Crafts, Baked Goods, Treasures & Much More!

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Bazaars/Craft Fairs

#SFNFSUPO t 4FBUUMF t 5BDPNB Programs and schedules vary by campus.

For useful consumer information, please visit us at www.everest.edu/disclosures.

NOW BOOKING APPOINTMENTS ONLINE!

Temporary, Temporary-to-Hire & Direct Hire Do you have administrative experience? We place: •

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Doctors available Tuesday 2 - 6 • Thursday 11 - 3, Friday 11 - 6

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Providing Authorizations in Accordance with RCW 69.51A

Also Open Sunday 12 - 4

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