Seattle Weekly, December 24, 2014

DECEMBER 24-30, 2014 I VOLUME 39 I NUMBER 52

SEATTLEWEEKLY.COM I FREE

THE PROBLEM WITH OUR PARKS » PAGE 5 REIGNING IN THE NEW YEAR » PAGE 21

THE TRIUMPH

OF THE TRIUMPH OF HUMAN THE

SPIRIT

HOLIDAY FILM » PAGE 7 BENEDICT CUMBERBATCH wins World War II (again), with an assist from ANGELINA JOLIE. Plus STREEP sings SONDHEIM, TIM BURTON'S latest, the last of GLEN CAMPBELL, and more.

JAN

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

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RED FANG // SOL // DEEP SEA DIVER HOBOSEXUAL // AAN // PROM QUEEN B E L L A M A I N E // L E G S // S I S T E R S COURTNEY MARIE ANDREWS DUDE YORK // THE BANNER DAYS P L A N E S O N P A P E R // A D D O D E

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inside» December 24–30, 2014 VOLUME 39 | NUMBER 52

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news&comment 5

UNHAPPY TRAILS

BY DANIEL PERSON | If tax revenues

don’t get hiked, our state parks might not either. Plus: Meet the protester behind the mask.

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HOLIDAY FILMS

BY SW CRITICS | All the big releases, from Benedict Cumberbatch as Alan Turing to Meryl Streep as a Sondheimsinging witch. Plus Tim Burton’s art-fraud comedy and Angelina Jolie’s WWII biopic.

14 | FILM CALENDAR

food&drink

17 MEAT: YOUR MAKER

BY JASON PRICE | What two weeks as

a charcuterie intern taught me.

17 | FOOD NEWS/THE WEEKLY DISH

arts&culture 19 REVOLUTION LIT

BY ROGER DOWNEY | Why do grownups respond so strongly to The Hunger Games?

19 | THE PICK LIST 20 | PERFORMANCE

BY DAVE LAKE | How Reignwolf’s Jordan Cook discovered Seattle was a music mecca. Also: Soundgarden’s box set and an intro to paranda.

24 | NEW YEAR’S EVE LISTINGS 28 | THE WEEK AHEAD

odds&ends 31 | CLASSIFIEDS

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

rock in the New Year!

PRODUCTION

Graphic Designers Nate Bullis, Brennan Moring ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Senior Multimedia Consultant Krickette Wozniak Multimedia Consultants Sam Borgen, Cecilia Corsano-Leopizzi, Peter Muller, Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS

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Production Manager Sharon Adjiri

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news&comment

Parks and Aggravation Higher fees. Worse service. Welcome to your public lands.

BY DANIEL PERSON

PATRICK HUTCHISON

S

Profiles in Protest The Guy Fawkes Guy

BY PATRICK HUTCHISON

F

Mount Rainier

nearly fast enough to make up for the $86 million reduction in general funding between 2009 and now. Parks officials say it’s a recipe for collapse.

Alongside Squire’s complaint, other problems that parks officials highlight include: an average loss of three and a half employees for every state park in the state; dirty bathrooms; and in some parks, a 75 percent decrease in trail maintenance. It got so bad last year that the parks had to cut volunteer hours by 70,000 because they didn’t even have anyone to supervise the free labor.

“If we don’t arrest that situation and reinvest in the parks, people aren’t going to want to come,” concludes Virginia Painter, spokeswoman for Washington State Parks. “It’s not sustainable.”

news@seattleweekly.com

weed control » Mayor Murray Won’t Mess With Medical Marijuana Last week a City Hall staffer told Seattle Weekly that the mayor’s office is backing away from a plan to regulate the city’s proliferating, unregulated medical-marijuana businesses after questions about the city’s authority to do so were raised. Our readers responded: “Mayor Murray is a coward. He should be protecting medical marijuana patients not attacking them.” —Dom “Shut down the illegal MMJ

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operations! These are criminals masquerading as patient advocates! There are no laws allowing huge collectives or hundreds of dispensaries. It’s all a sham.” —James007

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“The only sham here is continuing to criminalize people for a plant.” —John Novak

or many protesters, identity is a big concern. They worry about being spotted by police, labeled as troublemakers or organizers, or recognized by employers or friends who may not agree with their stance.

As a result of these concerns, and because of cold weather, many protesters elect to wear bandannas or ski masks over their faces. Or, in John’s case, a Guy Fawkes mask—the veil of choice for the international hacktivist network Anonymous. I had seen John at most of the protests, usually because the mask caught my eye. On Monday night, we finally met.

Why the mask? I’m glad you asked. It’s for a few reasons, actually. First, it’s so I can be recognized as part of the community, as one of the protesters. People see the mask and they know I’m with them. It’s also to protect my identity. So I guess it’s to be recognized and unrecognizable at the same time. It’s also a sign that I support Anonymous, an organization I really wish more people would take the time to learn about.

Does it attract unwanted attention? Oh, absolutely. I have the mask as my profile picture on Twitter, and I get a lot of people trolling my account because of it. They say “I hate your mask!” and I’m like, “I think you just need a hug.” Once I was yelled at by a drunk guy while walking by a bar. I tried to get a picture with him, but he wouldn’t let me.

What was your first protest experience? It was May Day of this year.

And how was that? It was incredible. The sense of community was just overwhelming.

Suddenly I was surrounded by all these people who were just instant friends. Everyone was shaking hands and hugging. It was amazing, something I’d never experienced.

So are the protests more about your desire for that sense of community or about the issues you’re protesting? It’s about both. The protests

are made up of a community that I really care about and the issues affect them, so they affect me. In that way, all the issues are important to me because they’re important to my community.

Are any of the recent police-related cases particularly important to you? No, I can’t

choose one. They all matter. You know, we always chant “Black lives matter,” but I think that’s just a metaphor. All lives matter. Any person that dies is a fucking tragedy. E

news@seattleweekly.com

Portraits in Protest is an ongoing series spotlighting local activists involved in the Black Lives Matter protests.

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

While not as extreme, a similar dynamic is at play in our national parks. Over the past four years, federal funding for parks operations has dropped 8 percent and park construction funding more than 60 percent, according to parks advocacy group National Parks Conservation Association. This has led to a $6 billion backlog in transportation projects alone.

At Mount Rainier, the work backlog includes dilapidated bathrooms and abandoned roads, says acting deputy superintendent Dave Larson. In a normal business, this isn’t the kind of product that you’d feel confident announcing a 67 percent price increase for, but that’s exactly what parks across the country, including Rainier and Olympic National Park, are proposing: Next year a week pass at the two parks will increase from $15 to $25 and a year pass from $30 to $50, if the fee increases go through

(they are up for public comment until Dec. 31).

Not that the parks have any other choice to shore up their crumbling infrastructure. It would be delusional to expect the incoming Republican Congress to drastically increase federal spending on the national parks system.

“There’s not a lot of money going around,” Larson concludes. “What we’ve been told is to look at how we can deal with the backlog.”

Here’s looking at you, park visitor.

Back at the state level, with the release of Gov. Jay Inslee’s budget on Thursday, Painter said her agency is cautiously optimistic that some relief could be on its way. Inslee highlighted parks funding in a summary of his budget, saying it would provide for 91 more staff members to join the agency, among other improvements.

The budget shows “he is agreeing . . . that state parks cannot be fully self-supporting,” Painter says.

However, the budget is sure to face serious scrutiny from the legislature, especially the $1.3 billion in new revenues Inslee wants to bring in through capital gains and pollution taxes.

And regardless of what happens, the parks will continue to rely heavily on user fees to pay for operations, which could see a decided drop in business from British Columbia.

As it turns out, Squire is an outdoor-travel columnist. As he noted in the op-ed he wrote for the Star in Grand Coulee detailing his nightmare at the nearby Steamboat Rock State Park, he intended to write his next column about his experience south of the border.

The general takeaway, he said: Beware. E

THINKSTOCK

teamboat Rock State Park in northcentral Washington is simply stunning. Jutting out into the middle of Banks Lake, it stands sentry amid azure waters and deep coulees—a stark and wide-open landscape that makes an appearance in the new Chevy Silverado commercial, the one featuring Kid Rock passing a stone while he sings “Boooooooorn free!”

J.P. Squire of Kelowna, B.C., had heard such good things about the park that he decided to make the four-hour drive on a Friday last May to see it himself. But nothing about his experience would bring to mind the word “free,” in any sense.

As he detailed in a screed later published in a newspaper, he called ahead to make a campsite reservation, but was told the computer system couldn’t process same-day reservations. Undeterred, he and his camping partners headed south anyway, with intentions to reserve a site when they got there—a plan that would be familiar to any seasoned camper.

They arrived after 10 p.m to an unoccupied park booth and a registration box with no registration forms in it. Tired, they decided to grab a couple of unoccupied sites with no “reserved” signs on them, get some rest, and deal with payment the next day. But the next morning, there was still no park staff around to take their money for a campsite. They waited till 11 a.m. before giving up and going for a hike. When they returned, they found tickets bearing $138 fines on each of their vehicles for various offenses, among them camping at a reserved site even though, Squire wrote, no one was in either site and nothing marked them as reserved. They protested, unsuccessfully, and left the park utterly defeated.

Washington State Parks has since apologized to Squire and sent him a $75 gift certificate. But the tickets stuck, since they were already in the court system and out of the park’s hands. The unlucky Canadians eventually paid the fines “under protest.”

Within Squire’s ordeal lies the paradox of Washington’s state parks: State lawmakers have, through severe funding cuts, required the parks system to become almost completely reliant on user fees—mostly through the yellow Discover Passes seen hanging in every Subaru windshield in Seattle, but also camping fees like the ones Squire was trying to pay if he could just find someone to give them to. However, due to those cuts, the services that parks are asking people to pay for are getting progressively worse. In private-sector terms, it’s like taking half the icecream flavors out of a shop, cutting hours, then expecting people to pay more for their dessert.

Since they were introduced in 2011, sales of Discover Passes have grown steadily, though not

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SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

HOLIDAY FILM 2014

H

ollywood loves a winner, and the holiday movie season is when the industry most depends on tales of uplift, inspiration, and overcoming.

(The Interview, obviously, no longer fits that template, since North Korea has so thoroughly defeated Sony and caused that movie’s cancellation.) Summer is for caped superheroes, but December’s Oscar derby brings out the champions in mortal form and ordinary attire. Flesh and blood take precedence over magical powers; humanity again prevails over the forces of darkness.

The Triumph of the Triumph of the Human Spirit

BY BRIAN MILLER

How to navigate tales of heroism, victory, and vindication.

(No losers, downers, or North Korean dictators allowed!)

Jack O’Connell in Unbroken.

Old cinematic standbys Hitler (Imitation Game) and Sauron (Hobbit 3 . . . plus all those LOTR movies) are joined by: Meryl Streep’s singing witch in Into the Woods. Walter Keane, the liar and untalented fraud in Big Eyes. Steve Carell’s John E. du Pont in Foxcatcher, the bird-beaked patron of the rasslin’ Schultz brothers (Mark Ruffalo and Channing Tatum). Iraqi terrorists in American Sniper. The Golden Fang conspiracy in Inherent Vice. This evil will not stand!

The Epic Journey Hilary Swank carting mad

frontierswomen eastward across the prairie in The Homesman. Bilbo’s long march in Hobbit 3.

Zamperini being shot down over the Pacific,

Moment of Weakness, Madness, or Betrayal

Thorin’s gold-lust in Hobbit 3. Heroin-addicted Reese having a three-way in an alley. Rock’s comic backsliding into alcoholism (and agreeing to marry a reality TV star). Emily Blunt as the Baker’s Wife succumbing to Prince Charming in Into the Woods. Ben Affleck and Rosamund Pike’s entire horrible marriage in Gone Girl. Keaton trying to mount a Broadway show based on depressing Raymond Carver stories. (Also, he’s probably delusional about possessing those superpowers. Probably.)

Tommy Lee Jones, in The Homesman, trying to abandon his insane cargo. Zamperini briefly considering doing a radio propaganda broadcast for the Japanese. In all these cases, a hesitation-and-recovery moment inevitably signals the pivot to Act III triumph.

Silver Cloud/Dark Lining Paradox Turing commits suicide—but only in the postscript!— after being persecuted for his sexuality. Mark Schultz (Tatum) has his life ruined (even while gaining his freedom). Bilbo finally returns to the shire, where Frodo and superior LOTR

movies will eclipse him. Cooper’s sharpshooter wins numerous medals, but is murdered by a fellow gun nut in the end. Having completed her journey, Reese’s heroine realizes that she’ll never accomplish anything so grand again; marriage and kids can only be a letdown. In Selma, after MLK overcoming, etc., the whole assassination thing. Affleck’s lunk is cleared of murder charges, but he’s still married to Pike’s psycho bitch. For Margaret, there’s the unavoidable fact that her paintings are kitsch.

And in every instance, the Oscar apparatus must ignore such dark truths.

Character-Defining Epiphany Reese’s hiker lets

go of her dead mother, finally, on the PCT. Rock goes back to what he’s best at, stand-up comedy. Cinderella (Anna Kendrick) and company give up on enchantment in Into the Woods, accepting the limits of real life and all its messy problems. Bilbo gives the dwarves’ magical Arkenstone rock to the elven army, betraying Thorin to avert needless bloodshed. Doc realizes that his ex Shasta (Katherine Waterston) no longer loves him, but helps her anyway.

Zamperini accepts divine providence while trapped in a sinking plane. If Hawking’s body is ruined, he still has mind. And even the grumpy odd-duck Turing learns to cooperate with the inferior intellects of his team: That’s how wars and Academy Awards are won! E

bmiller@seattleweekly.com

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

Nemesis Against Whom Virtue Is Contrasted

surviving 47 days in a raft, enduring torture, and finally returning home. Reese Witherspoon in Wild, where the journey is the entire plot. Richard Linklater’s 12-year project Boyhood: a temporal journey to young manhood. Remember: Distance plus time equals a likely Oscar nomination.

Benedict Cumberbatch in The Imitation Game.

JACK ENGLISH/WEINSTEIN CO.

Sensitive Hero’s Noble Flaw Turing is both gay and somewhere on the Asperger’s spectrum.

Stephen Hawking (Eddie Redmayne) gradually succumbs to ALS in The Theory of Everything.

Cooper’s soldier suffers from PTSD. Michael Keaton’s over-the-hill actor in Birdman is possibly schizophrenic. Meek painter Margaret Keane (Amy Adams) in Big Eyes defers to her overbearing, sexist husband Walter (Christoph Waltz), allowing him to claim credit for her saucer-eyed waif paintings. Preteen Zamperini is a sneak thief. Chris Rock’s comic has a drinking problem in Top Five, and Phoenix’s Doc Sportello is a pothead. Yet in all cases, these handicaps and setbacks cannot break their spirit!

ANNE MARIE FOX/FOX SEARCHLIGHT

DAVID JAMES/UNIVERSAL

Which, necessarily, brings us back to World War II. Two of the season’s most Oscar-hyped releases harken back to this nation’s (and Britain’s) biggest triumph of the past century.

Angelina Jolie’s Unbroken relates the true-life adventures of athlete and aviator Louis Zamperini, who survived a crash landing and a brutal Japanese POW camp. Produced by Americans but cast with Brits, The Imitation Game is yet another WWII biopic, this time about the eccentric gay English mathematician Alan Turing, who cracked the Germans’ Enigma code— thereby saving countless lives and decisively shortening the course of the war.

This week we review those wartime tales, along with the Stephen Sondheim musical adaptation Into the Woods, Tim Burton’s painter biopic Big Eyes, and a doc about Glen Campbell succumbing to Alzheimer’s—dignity intact, of course. (The Interview will be arriving soon at a landfill near you.)

Still in theaters, too, are notable releases from earlier this year, from Birdman to Boyhood and beyond. Then there are the prestige pictures yet to reach Seattle: Joaquin Phoenix as hippie gumshoe in Inherent Vice ; Selma reprising the civil-rights struggle of Martin Luther King; and Bradley Cooper as anguished war vet in American Sniper.

All these movies share thematic touchstones.

All hew to a familiar, triumphalist formula. All share certain standard, awards-friendly elements that we help you identify here:

Reese Witherspoon in Wild.

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HOLIDAY FILM

Car Pros FIAT of SEATTLE Form and function meet.

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Codebreakers: Cumberbatch (front) with Knightley, Matthew Beard, Goode, and Allen Leech (rear, l-r).

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Gay martyr and war hero, Alan Turing finally gets his due— and provides a boost for Benedict Cumberbatch during awards season.

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Turing and his proto-PC.

erberg in favor of his cuddlier partner Eduardo Saverin—a figure with whom the audience could more easily identify? The Imitation Game doesn’t sell out its main character.

Especially in Cumberbatch’s truly eccentric hands, Turing stays defiantly what he is: an oddball who uses rationality to solve problems.

This comes to a dramatic head after Enigma is decoded: The scientists could save Allied lives in the short run by exploiting the enemy’s information, but they don’t because that would tell the Germans that Enigma has been cracked. Cool heads, and a stiff upper lip, must prevail.

The film suggests that Turing does not have to become a nicer person—he beat Enigma and won World War II, so let him be. E

film@seattleweekly.com

THE IMITATION GAME Opens Thurs., Dec. 25 at SIFF Cinema Egyptian, Sundance, and other theaters.

Rated PG-13. 113 minutes.

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But the real reason to like this movie is that it’s

1188409

JACK ENGLISH/WEINSTEIN CO

true story can survive even the Oscar-bait effect. This is a profile of Alan Turing: British mathematician, code-breaker of Germany’s Enigma device (a feat of decrypting that significantly shortened World War II, per Winston Churchill), father of the machines we now call computers. Turing’s achievements were long kept secret, although he’s been depicted a few times in recent years, including a BBC take with Derek Jacobi (Breaking the Code, 1996) and a fictionalized film with Dougray Scott (Enigma, 2001). But The Imitation Game is bound to prove definitive, if not Oscar-winning.

Here Benedict Cumberbatch plays the brilliant Turing as a borderline-autistic personality, a rude brainiac who fiddles with his big computing machine while his colleagues (led by Matthew Goode, Mark Strong, and Charles Dance—that British acting pool remains deep) stand around scratching their heads. Turing’s homosexuality only gradually enters the picture, and even when he proposes marriage to fellow code-breaker Joan Clarke (Keira Knightley), it isn’t treated as a really big deal. (At the end of Turing’s criminally shortened life, it is treated as a big deal.)

Even if the movie sketches simplistic conflicts among its principal characters, the wartime world is so meticulously re-created and the stakes so compelling that it emits plenty of movie-movie sparks. Norwegian director Morten Tyldum’s previous film was the ridiculously entertaining Headhunters, and although this is a blander affair, it does keep its momentum going. Plus, Cumberbatch and Knightley are a dream couple, thoroughbred actors who can’t wait to get on the track and run.

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Angelina Jolie’s war tale is a test of endurance for her hero—and the audience, too.

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With its lugubrious pacing and patina, you

can’t wait for Unbroken to get Louis on the raft.

UNBROKEN Opens Thurs., Dec. 25 at Sundance, Pacific Place, and other theaters. Rated PG-13. 137 minutes.

UNIVERSAL

8th Annual

he greedy guy on a life raft who eats all the (Yes, there will be sharks, in a small mercy for the chocolate bars is surely going to die. That’s viewer.) Then you can’t wait for him and his pilot just one of the moral lessons in Angelina (Domhnall Gleeson, from Frank) to get off the Jolie’s adaptation of the remarkable life story raft and into the prison camp. Then you can’t wait for Louis to get out of the camp and away from its Unbroken, a recent bestseller by Laura Hillensadistic warden ( Japanese pop star Miyavi), who brand. Since indefatigable hero Louis Zamperini becomes slightly and slyly more interesting while endured so much during World War II—surviving Louis remains the same solemn martyr. a bomber crash in the Pacific, 47 days on that life raft, then two years of brutal mistreatment in a Japanese POW camp—Jolie needs to extract plenty of lessons, or at least uplift, during her very sincere, stolid movie.

Zamperini’s incredible survival ordeal immediately attracted attention after the war, yet somehow defied being filmed. Maybe O’Connell’s aviator is tormented that’s because

by Miyavi’s prison tyrant. postwar studios wanted simple tales of victory, not suffering Unbroken is unusual among modern movies and stoicism. (The Best Years of Our Lives was with its occasional prayers and God talk. (“Love a notable exception.) By the time of revisionist thy enemy,” a priest instructs Louis as a boy; and war movies like The Bridge on the River Kwai, that payoff inevitably comes in the postscript, along Zamperini was forgotten. Then came Hillenwith photos of the actual Zamperini.) But think brand’s 2010 book, and Zamperini—who died back to Fury, a much better WWII movie despite this summer at age 97—became the object of the implausible ending, where Shia LaBeouf ’s tank Jolie’s complete adoration. gunner was constantly praying amid the carnage.

Hero worship of this plain, old-fashioned sort That was a tough-minded, R-rated war movie, has long fallen out of Hollywood favor. Fictions deeply influenced by Saving Private Ryan, but Jolie like The Hurt Locker and factual accounts including shies away from such viscera. Death is kept at a Clint Eastwood’s forthcoming American Sniper now distance, like the silently exploding bombs Louis betray much more ambivalence about war. Jolie’s drops from his B-24. When his comrades perish, Unbroken is very much a throwback to the square, they do so quietly and without evident suffering. patriotic era of Audie Murphy movies, with a proAnd, even more problematically, the notions tagonist who lacks any quality but virtue and endur- of torture and war crimes are—but for a fleetance. Starvation, fear, and torture only make him a ing postscript that could be easily trimmed for better man, which is to say a worse screen hero.

Japanese exhibition—entirely elided. The Geneva After a medias res cold start aboard his Convention existed back then, and the abuse bomber (effectively rendered with CGI), we and occasional execution of prisoners during flash back to Louis’ childhood in Depression-era WWII has been well documented. (We see it in California, where he’s the son of pious Italianboth Fury and Saving Private Ryan.) And more, speaking immigrants. Louis is a sneak thief and war prisoners talked about it, in a genre that troublemaker until his older brother introduces includes Bridge on the River Kwai, Stalag 17, and him to distance running—which leads to an The Great Escape. Here, all Japanese war guilt is eighth-place finish in the 5,000 meters at the distilled into one figure, Watanabe the warden 1936 Olympic Games in Berlin. ( Jesse Owens (dubbed “The Bird,” which has to be the least is glimpsed; Hitler is not.) By this time Louis is fearsome nickname ever), who presses into Louis’ played by Anglo-Irish actor Jack O’Connell, who face to say things (in English) like “You are like made such an impression as the violent young me. We are both strong.” No, really? convict in Starred Up. Louis comes from good Considered as another patriotic tribute to people who speak in nothing but inspirational The Greatest Generation (now mostly gone), slogans—which, like his prayers, will find many Unbroken isn’t a terrible movie. Yet as it grinds occasions for repeating on the raft and in the its way to victory, which is to say survival, there’s POW camps. Though the Coen brothers had a the unpleasant sense that we’re prisoners, too, hand in the early draft (not evident here), Jolie’s and Jolie our cruel captor. E half-dozen screenwriters deliver their words with bmiller@seattleweekly.com the relentless dull thudding of antiaircraft fire.

Corden’s baker runs afoul of Streep’s witch.

PETER MOUNTAIN/DISNEY ENT.

AFTER THE HAPPILY EVER AFTER No, Disney hasn’t ruined the Sondheim musical, where disenchantment still shines through.

BY ROBERT HORTON

T

There’s more, including Rapunzel and the

giants. The blend of rustic locations and studiobuilt woods is eye-filling, especially when the characters cross the border from the realistic realm to the enchanted forest. In general, though, director Rob Marshall (who guided Chicago to its dubious best-picture Oscar) brings his

usual clunky touch, hammering home the big moments and underlining subtlety with a broad brush. The singing tends toward the Broadwaybrassy, although Blunt and Corden—working in a more casual style—are completely charming.

Depp’s zoot-suited Wolf may be stunt casting, but at least his creepy strutting avoids any hint of Disneyfication, while buried in the cast is a splendid Tracey Ullman, who really seems to have stepped straight out of a Grimm fairy tale as Jack’s overbearing mother.

In a few ways, Into the Woods actually does fit into the recent Disney run of fairy-tale revisionism that’s given us Tangled and Frozen. The latter film, after all, rejects the usual story arc and instead wonders why a girl would want a prince in the first place. (It’s as though the company is atoning for all those happy endings of the past.) All of which culminates in Sondheim’s marvelous lyrics for “No One Is Alone,” a song that considers revenge scenarios and triumphal endings, and then basically shrugs. “People make mistakes,” the Baker and Cinderella sing—a line that can only be described as making the case for radical empathy. And more: “Witches can be right, giants can be good.”

It might not make for a black-and-white finale, but it’s a liberating moment for anybody ever bored by happy endings. If the film itself isn’t as good as Sondheim’s best moments—the adaptation remains stubbornly unmagical—it’s still an unusual blockbuster to unleash at Christmastime. And it might even instill a bit of skepticism and wonder in unsuspecting viewers—like a magic bean, tossed into the ground, that turns into something unexpected and wild. E

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INTO THE WOODS Opens Thurs., Dec. 25 at Ark Lodge, Majestic Bay, Pacific Place, Sundance, SIFF Cinema Uptown, and other theaters.

Rated PG. 126 minutes.

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SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

he crucial masterstroke of Into the Woods is that the fairy-tale happy ending comes halfway through the action. What exactly becomes of Cinderella after she settles in with her Prince? Does Jack miss the adventure of climbing up the beanstalk? Does Little Red Riding Hood ever dream about the Wolf ?

Such questions fuel the wickedly amusing 1987 Broadway musical, with songs by Stephen Sondheim and book by James Lapine.

Cue the irony, then, that Sondheim’s sly modern classic has been taken up by Disney, history’s busiest purveyors of the happy ending. Sondheim and Lapine were both involved in the film, and if many things have been cut or altered, a bit of a subversive message still peeks through (and some key characters die along the way). Into the Woods presents a crowded roster, with Meryl Streep earning top billing as the Witch, the blue-haired crank who sets things in motion. Streep’s opening scene is pretty glorious, as the actress stalks around the Baker’s shop, spitting out the backstory and laying down a curse.

The Baker (Brit comedian and future CBS Late Late Show host James Corden) and the Baker’s Wife (Emily Blunt) must then gather magical totems in three days’ time, lest they remain infertile. When they head into the woods for that purpose, they run into Jack (Daniel Huttlestone), who’s sucker enough to trade his cow for some magic beans. Meanwhile, Cinderella (Anna Kendrick) is avoiding her rotten family and charming a Prince (Chris Pine), while Little Red (Lilla Crawford) is seduced by the Wolf ( Johnny Depp, a cameo) on the way to grandma’s house.

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LOVE THE ARTIST, NOT HER ART

Tim Burton non-ironically celebrates the woman behind a famous fraud.

BY BRIAN MILLER

C

hristmas is a time for kitsch, and holiday movies usually reward us with the same sort of mass-produced sentiment, the meaning long since drained from familiar tales and symbols. And I imagine Christmas must’ve been hell for Big Eyes director Tim Burton, growing up in snowless suburban California during the ’60s, surrounded by all that phony frost and Yuletide fakery. A young budding artist and gloomy outsider would’ve wondered, Why are all these ugly, false Christmas decorations and holiday movies so popular?

What’s wrong with these people?

Therein lies the double appeal of the pancake-eyedwaif portraits of Walter and Margaret Keane during the ’60s.

Burton has said in interviews that he remembered them during their peak-decade popularity, and they still hold a creepy fascination: bad art that is (or was) so popular that you’re forced to consider the grounds for their appeal. He even begins his biopic with a quote from Warhol: “I think what Walter Keane has done is just terrific. It has to be good. If it were bad, so many people wouldn’t like it.” A better film and a deeper thinker than Burton would’ve tried to plumb the paradox of the Keanes’ success— born from the beatnik Bay Area of the late ’50s, reversed at the 1964 World’s Fair, and finally collapsing during the Nixon end of the ’70s.

The nation turned more cynical during that span, or developed more sophistication, but Burton isn’t interested in diagnosing the American mood. Big Eyes is a simple comedy of female vindication, and it’s enjoyable as such. Any film with Amy Adams (as the naive painter Margaret), Christoph Waltz (as her credit-stealing husband Walter), and Terence Stamp (as the New York Times critic who calls them out) is a film I want to watch. Absent The Interview, Big Eyes is also the only comedy opening this week—a relief from the season’s dreary virtue and cheerful embrace of dreck. Even those baby boomers who once snickered at their parents’ Keane posters in the rec room will root for Margaret’s liberation, through it’s hard to imagine anyone buying her art today.

(She’s 87, still painting, and happily making the publicity rounds with Burton and Adams. Her disgraced husband died over a decade ago.)

We witness the twofold response to kitsch— disgust and attraction—in Margaret’s initial flight from Burton’s hated suburbs. Daughter in tow, she’s running from not just a bad marriage, but the era’s whole pre-feminist marital template.

As communicated by Adams’ ever-avid eyes, Margaret really wants the Eisenhower ideal of

home, husband, and marriage; she’s not an ironist like Burton; and she’s easily duped by smoothtalking Walter, who purports to be an artist and swiftly marries her. (A Hawaiian honeymoon is color-boosted far past even postcard hues, one of several Burtonesque visual flourishes that depict Margaret’s romantic mindset: She only wants to see beauty, not the real world.)

The Keanes (Waltz and Adams) are at first thrilled by their shared success.

Because of Waltz’s lupine charm, Walter’s decision to slap his name on Margaret’s art doesn’t seem so implausible. “People don’t buy lady art,” he says, and it’s true. During this sexist Mad Men era, even the trendy gallery across the street from Walter’s—a modern-art establishment run by a snooty Jason Schwartzman—eschews female artists. When Walter shows his true colors, something like a dissolute Don Draper, the menace to Margaret—now ensconced in a mid-century modernist suburban home—hardly feels real. Though the costumes and art direction nod to Vertigo and Marnie, the mood is more melodramatic lampoon: This is a movie where the divorced Keanes will finally have a paint-off in court to solve the riddle of who’s the real genius at the easel.

Burton’s been down this road before with Ed Wood, also written by Scott Alexander and Larry Karaszewski. (They found the Keane story thanks to a ’90s alt-weekly account by Port Townsend publisher Adam Parfrey, coauthor of the new Citizen Keane: The Big Lies Behind the Big Eyes.) Did it matter if Wood was a terrible director? No, Burton clearly loved him for it, identified with him in some strange way. And like Warhol, Burton’s always had an ambivalence about commercialized, commodified art—both deploring it and acknowledging its hold on the public. Margaret Keane is a less colorful or zany figure than Ed Wood (with Walter at least supplying some compensatory zeal as the plot peters out). Still, she clearly tapped into an undefinable something in the national zeitgeist; we can laugh about it now, but never mock her. E

bmiller@seattleweekly.com

BIG EYES Opens Thurs., Dec. 25 at Pacific Place and other theaters. Rated PG-13. 104 minutes.

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Also lending support is a long roster of musi-

cians, many with Alzheimer’s in their families: Keith Urban, Sheryl Crow, The Edge, and Jimmy Webb (who wrote Campbell’s “Wichita Lineman” and “By the Time I Get to Phoenix”).

These bland, heartfelt testimonials are consistent with the very family-sanctioned tenor of I’ll Be Me. Campbell had three wives and five other kids before meeting Kim in the early ’80s, and the prior decade’s alcoholism and drug abuse are hardly mentioned. Since then he’s been willingly cleaned up and packaged (also giving his assent to Keach in remarks that must’ve come early in the two-year project). Home-movie clips find their way into frequent montages, but never do we get a sense of the man before the friendly gatekeeper Kim (a former Rockette) or before Alzheimer’s. Heartstrings are being plucked in a familiar Malibu melody (see YouTube for his episode of Behind the Music).

And that is where—despite the universal baby-boomer fears of Alzheimer’s—I’ll Be Me does a small disservice to its subject. If we are to mourn for Campbell, and sympathize with his obviously close, loving family, we really want to know the man better. The whole man. One encomium comes from that obscure banjo playerturned-comedian, Steve Martin, who wrote jokes for Campbell’s 1969–72 variety show on CBS. What he and Keach are too polite to mention is how Campbell replaced the Smothers Brothers (who also employed Martin), whose show was controversially canceled by the network for its political and satirical humor.

Campbell was the opposite of that: Campbell searches for familiar chords. a genial, apolitical, anti-hippie paladin; a handsome, reassuring presence who entertained and embodied Nixon’s silent majority—even if he didn’t exactly belong to such a square crowd. Why, after all, did John Wayne pick this mediocre actor to costar in True Grit during the height of the counterculture and Vietnam War? Part of the sadness here is how the real, complete Glen Campbell has been forgotten by all parties involved here. He may not be an important musical figure, but during the zenith of his fame and his final sunset, he durably represented his times. E

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plays better than many guitarists. And the music seemingly helps stave off decline: “He becomes himself again” onstage, says one son.

And though I’ll Be Me sometimes seems a poignant plea for attention on the part of his family, the onstage Campbell appears perfectly happy—as do his fans, never mind the occasional flubbed song or muffed joke. Offstage, Campbell shows the ornery, disoriented flareups well familiar to anyone with Alzheimer’s in the family. To their credit, Keach and Campbell’s wife Kim include enough of these moments to keep the film grounded; it’s not just a promo reel for the family enterprise or a fundraising pitch to Congress. Though the family duly visits Washington, D.C., to lobby and perform; and here’s Bill Clinton—a fellow Arkansan—to add his voice in support.

206-432-6992 2052 Rainier, Seattle

BY BRIAN MILLER o musician wants to forget the words they’re singing onstage, and one of the dirty little secrets to the endless touring of geezer rock groups—members now in their 60s and 70s—is the use of teleprompters to cue the rebellious lyrics written back when LBJ was president. This affecting and intimate Alzheimer’s-awareness doc, Glen Campbell: I’ll Be Me, is more forthright about such stagecraft. When the teleprompter fails during one of the 150 club dates Campbell plays during a 2011–12 farewell tour to support Ghost on the Canvas, the show stops dead. The band—including three of Campbell’s adult children—keeps vamping, while he laughs good-naturedly at his inability to remember the lyrics to “Gentle on My Mind,” which he’s surely sung a million times since 1967.

It’s a fairly naked, painful moment during this film by James Keach (of the famous acting clan), made with the complete and somewhat selfserving participation of Campbell’s family. Once Keach shows us the teleprompter, however, we marvel that it displays only the lyrics. It becomes evident here, with some support from Campbell’s neurologist, that his fingers recall more than his mind. He knows all the songs on his “git-tar,” all the chords and changes, all seemingly wired into his synapses after some 60 years as a professional musician. Even while deteriorating, he

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tortures blameless burglars Joe Pesci and Daniel Stern in this Christmas-themed 1990 horror movie, written by the late John Hughes. (PG) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7-$9. 7 p.m.

Sat.-Tues. Also 3 p.m. Sat. matinee IT’S A WONDERFUL LIFE Times are tough in Frank Capra’s 1946 holiday classic. Banks are failing. People are losing their homes. Veterans are returning from a bloody war abroad. Families are falling apart. And all these stresses converge during the holidays, when there may not even be enough money in the household to buy any presents. In the GI’s 44th-annual screening of this seasonal classic, the distressed town of Bedford Falls could today be Anytown, USA. And beleaguered banker James Stewart could be any small businessman struggling to remain solvent. If It’s a Wonderful Life is arguably the best Christmas movie ever made, that’s because it’s certainly one of the most depressing Christmas movies ever made. Our suicidal hero is given a future vision of bankruptcy, death, poverty, and evil, unfettered capitalism (hello, Lionel Barrymore). Even his wife (Donna Reed) ends up a spinster in the alternative universe of Pottersville. Before the inevitable tear-swelling plot reversal, the movie is 100 percent grim. Yet it preserves the power to inspire hope for better days ahead. (NR) BRIAN MILLER Grand Illusion, 1403 N.E. 50th St., 523-3935. See grandillusioncinema.org for showtimes. Ends Thurs., Jan. 1.

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THE PRINCESS BRIDE/WILLY WONKA & THE CHOCOLATE FACTORY Two family favorites are

running on a complicated weekend schedule through New Year’s Day. The 1987 Bride is being screened as a quote-along presentation, while the 1971 Wonka features “Smell-O-Vision,” so be warned if you’re fragrance-intolerent. (NR) SIFF Film Center (Seattle Center), 324-9996, $7-$12. See siff.net for showtimes.

Ends Thurs., Jan. 1.

Ongoing

ANNIE Previously filmed in ’82, the beloved 1977

Broadway show gets a thorough reworking, with rewritten lyrics, funked-up music, and a time-shift to the present day. (The comic-inspired original was a Depression-era fable, complete with cameo by Franklin Roosevelt.) Though it’s going to get lambasted, this new Annie is actually kind of fun on its own terms, with a rapid-fire pace and actors who aren’t afraid to be silly. The role of Annie usually goes to girls who sound as though they’ve swallowed Ethel Merman’s trumpet, but here the part is played by soft-voiced Quvenzhané Wallis, the kid from Beasts of the Southern Wild.

Annie’s no longer a little orphan, but a foster child, raised in a Harlem group home by the booze-swilling Miss Hannigan (Cameron Diaz). The campaign managers of a billionaire mayoral candidate named Will Stacks (Jamie Foxx, in good form) determine that this child would look great in pictures with their guy. So Annie becomes the ward of the workaholic tycoon, and you know where it goes from there. (Songs like “Tomorrow” and “It’s the Hard Knock Life” remain, of course, with new arrangements.) The movie gets messier as it goes, but the actors are peppy and a sense of goodwill pervades—even mean Miss Hannigan is revealed to be misunderstood. (PG) ROBERT HORTON Meridian, Varsity, Meridian, Lincoln Square, Thornton Place, Bainbridge, others BIRDMAN A movie star in a career skid since he stopped playing a masked superhero named Birdman back in the ’90s, Riggan Thomson (Michael Keaton) is preparing his big comeback in a Broadway adaptation of Raymond Carver stories, funded and directed by himself. Obstacles abound: Riggan’s co-star (Andrea Riseborough) announces she’s pregnant with his child; his grown daughter (Emma Stone) is his assistant, and not his biggest fan; a critic plans to destroy the play.

And, in the movie’s funniest headache, Riggan must endure a popular but insufferable stage actor (Edward Norton, doing a wonderful self-parody) who’s involved with the play’s other actress (Naomi Watts). This is all going on while Riggan maintains a tenuous hold on his own sanity—he hears Birdman’s voice in his head, for one thing. To create Riggan’s world, director Alejandro González Iñárritu and Gravity cinematographer Emmanuel Lubezki present the film as a continuous unbroken shot (disguised with artful digital seams).

Birdman serves so many heady moments it qualifies as a bona fide happening. It has a few stumbles, but the result is truly fun to watch. And Keaton—the former Batman, of course—is a splendidly weathered, human presence. Ironically or not, he keeps the film grounded.

(R) R.H. Seven Gables, Pacific Place, others

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EXODUS: GODS AND KINGS Ridley Scott has surely

been waiting all his life to get a crack at the florid yarn-spinning of the Old Testament. Christian Bale creates a somber Moses, adopted brother of Egyptian king Ramses (Joel Edgerton, from The Great Gatsby).

You know the story: When an enslaved Hebrew elder (Ben Kingsley) informs Moses of his actual Jewish heritage, our hero goes through a spiritual crisis, is banished, and returns to help his people wait out the plagues. The storytelling has been surefire stuff for a millennium and a half, and it still plays. Scott creates the big computer-generated vistas of pyramids and palaces, but the digital flatness diminishes the impact after a while. Both Bale and Edgerton seem on the way to interesting character detail, but there’s so much to cover they can’t complete the task. And forget about developing the roles played by Aaron Paul, Sigourney Weaver, Hiam Abbass, and other good actors; they barely register in the spectacle. Only Ben Mendelsohn (Animal Kingdom) gets anything memorable going, and he’s playing a caricature of pagan depravity. Exodus violates the 11th commandment of Hollywood: Thou shalt not bore the audience. (PG-13) R.H. Meridian, Lincoln Square, others FORCE MAJEURE On a ski vacation in the French Alps, Tomas, Ebba, and their two young kids are a sleek, modern Swedish family seemingly stepped out of an iPhone 6 ad. At lunch on a sunny balcony, the family and fellow diners are suddenly hit by a seeming avalanche. 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. 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? This isn’t a fraught drama of the old Bergmanesque variety; it’s more a dark comedy of shame. Men reveal themselves to be posturing fools here, while women sensibly wonder if they’re the only ones keeping our species alive. (R) B.R.M. Crest FOXCATCHER The wrestler Mark Schultz (Channing Tatum), who won gold in the 1984 Olympic Games, isn’t very bright. He’s got a puppy-dog earnestness; his ears have turned to cauliflowers after so much time on the mat; he’s accustomed to taking orders from his older brother Dave (Mark Ruffalo), who also won gold in ’84.

Yet Mark is suddenly on his own when he accepts the patronage of the eccentric multimillionaire John E. du Pont (Steve Carell). In Bennett Miller’s clinically chilly true-crime tale, the murderous outcome is never in doubt. One brother will perish and du Pont go to jail (where he died in 2010). There was the same kind of underlying criminal inevitability to Miller’s 2005 Capote, where the surprise lay in how a frivolous writer created his unlikely masterpiece. Here there’s no such consolation. Foxcatcher is uniformly well crafted and acted, though Carell playing the villain isn’t really the selling point. With his birdlike prosthetic nose, craned neck, and opaque, upper-toothed smile, Carrell’s du Pont remains a mystery. Yet even if Miller can’t find a satisfying dénouement for Foxcatcher, Mark—whom Tatum ably invests with inchoate currents beneath that bulging brow—becomes a clay-footed figure of inarticulate tragedy. (R) B.R.M. Sundance, Meridian, Lincoln Square, Thornton Place, others FURY In David Ayer’s proudly old-fashioned WWII drama, Sgt. Don Collier (Pitt) gives no indication of his life before the war. Nor is there any depth to his typical crew—Shia LaBeouf the pious Bible-thumper, Michael Peña the steadfast Mexican-American, Jon Bernthal the volatile hick—and their regional accents. Because every WWII movie demands one, the greenhorn here is Ellison (Logan Lerman), a typist recruited to man the machine gun where his predecessor perished in a bloody puddle. Fury covers 24 hours in April 1945, as Allied forces roll through Germany in the war’s endgame. Collier’s most lethal enemies are the few remaining Tiger tanks, much better armored than our flimsy Shermans. Though victory is, to us, preordained, the mood here is all mud and exhaustion. Collier and crew have been fighting for years, from North Africa to Europe, to the point where he says of his tank, “This is my home.” Ayer creates a strange, overlong interlude at Fury’s midpoint, as two German women host Collier and Ellison, though this is hardly a date movie. In an otherwise predictable, patriotic flick, here Collier seems to yearn for a calm, cultured oasis amid the chaos of war. (R) B.R.M. Crest

•

THE HOBBIT: THE BATTLE OF THE FIVE ARMIES

Peter Jackson’s crowded final film of the J.R.R. Tolkien universe begins in mid-breath. Fiery breath: The flying dragon Smaug (voiced by Benedict Cumberbatch) was loosed at the end of Part Two, and his flaming rampage is in full swing as Five Armies commences. With no memory-refreshing from the previous chapters, we launch into a dozen or so plotlines: all those names and all those creatures, plus cameo appearances from LOTR cast members. The hubbub renders nominal hero Bilbo Baggins (Martin Freeman) a team player rather than a true protagonist. The second half of the picture is overwhelmed by a giant battle (there may be five armies involved, but I’m a little vague on that), which ping-pongs between thousands of computer-generated soldiers and clever hand-to-hand combat involving the principals. Jackson is as resourceful as ever at exploiting cool locations—crumbling bridges and iced-over lakes—for cartoony stunts. Such ingenuity is at the service of a project that lost its emotional core when Jackson decided to take Tolkien’s relatively streamlined novel and pump it up into three plus-sized movies. It’s still pleasant to see Bilbo in the company of the wizard Gandalf (Ian McKellen), but the rest of the cast hasn’t taken up the slack. (PG-13) R.H. Cinerama, Meridian, Sundance, Admiral, Ark Lodge, Majestic Bay, Lincoln Square, Thornton Place, Kirkand, Bainbridge, 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, Varsity, Thornton Place, Meridian, others NIGHT AT THE MUSEUM: CURSE OF THE TOMB

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SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

After two Night movies, the core cast is well established: Ben Stiller’s security guard Larry overseeing a magically animated menagerie of historical characters (played by Robin Williams, Owen Wilson, Steve Coogan, etc.) and beasts (most notably an incontinent monkey). The plots of the Night trilogy aren’t important or even interdependent; this one concerns a magical Egyptian tablet, which animates all the museum displays, that must be transported to the British Museum for repair, like some broken iPad. Tomb is actually lighter on the chases and anarchic wreckage than expected. By now, the museum’s nighttime secret has become a showbiz attraction and humble Larry a backstage impresario trying vainly to get his charges to perform on cue. (Stiller also doubles as a dumb, sweet Neanderthal named Laaa, who has a mighty appetite for Styrofoam packing kernels.) Apart from the chases, peeing monkey, and medieval ninja antics of Sir Lancelot (Downton Abbey’s quite amusing Dan Stevens), all pleasing to kids, parents will appreciate the interplay among the not-quite-condescending cast. What comes through most in this enjoyable hodgepodge adventure is Stiller’s all-too-recognizable brand of impatience and fatigue: a bit of the indieworld midlife panic from Greenberg, the realization that I’m getting too old for this shit. That’s why the Night series ends here. (PG) B.R.M. Majestic Bay, Admiral, Lincoln Square, Thonrton Place, Bainbridge, Kirkland, Cinebarre, others THE THEORY OF EVERYTHING The Stephen Hawking biopic opens with our hero (Les Miz star Eddie Redmayne) as a young nerd at university, where his geeky manner doesn’t entirely derail his ability to woo future wife Jane Wilde (Felicity Jones). Hawking is diagnosed with motor neuron disease at age 21 and

given a two-year prognosis for survival—one of the film’s sharpest ideas is to allow time to pass, and pass, without pointing out that Hawking is demolishing the expectations for someone with his condition. James Marsh’s movie is officially adapted from (now ex-wife) Jane Hawking’s memoir, so the love story has its share of ups and downs. This is where Theory manages to distinguish itself from the usual Oscar bait. Whether dealing with Jane’s closeness to a widowed choirmaster) who becomes part of the Hawking family, or Stephen’s chemistry with his speech therapist, the film catches a frank, worldly view of the way things happen sometimes. Redmayne’s performance is a fine piece of physical acting, and does suggest some of the playfulness in Hawking’s personality. From now until Oscar night, you will not be able to get away from it. (PG-13) R.H. Harvard Exit, Lincoln Square, Kirkland, others TOP FIVE If Chris Rock’s movies were as good as his interviews, he’d be racking up year-end critics’ awards right about now. The story unfolds over the course of a long day in New York, as a once-popular comedian named Andre Allen (Rock) desperately promotes his new movie. He’s talking to a New York Times writer (Rosario Dawson) throughout the day, a device that’s less about illuminating his character and more about highlighting their growing rapport. (Although one long slapstick recollection about a lost weekend in Houston keeps the movie 2014-level raunchy.) Rock has gathered a batch of colleagues to contribute smallish roles, including Kevin Hart, Tracy Morgan, and Cedric the Entertainer. As for Rock’s performance, even playing opposite the lively Dawson doesn’t make him a more fluid actor. There’s nothing wrong with the idea of mixing comedy and Woody Allenesque introspection—I guess the comparison here is with Allen’s Stardust Memories, but that movie wasn’t especially strong, either. The “problems” that come with wealth and celebrity are a wobbly basis for comedy, despite the laughs scattered through Top Five. (R) R.H. Sundance, Ark Lodge, Alderwood 7, others WILD Though I have reservations about the fulsome emotional blasts of director Jean-Marc Vallée (like his Dallas Buyers Club), and though the adaptation

by Nick Hornby (About a Boy, An Education) leans rather too hard on the death of bestselling memoirist Cheryl Strayed’s mother (played by Laura Dern), this is a movie that—like its solitary hiker heroine—cannot be stopped. Reese Witherspoon’s ironclad casting makes matters even more inevitable. Here is a woman who bottoms out—with men, drugs, and grief—then straightens out while hiking 1,100 miles on the Pacific Crest Trail from California to Oregon, even without disavowing all her past actions. Wild is essentially a memory trip, presented non-sequentially, as Cheryl plods north. Various men figure in her past (including a brother), but none memorably. In the movie’s second half, more maudlin than its smart start, Wild is all about mommy. Yet don’t mistake Wild for an easy, conventional healing narrative (though healing does of course come at the end). Rather, it’s more a coming-to-terms account. Or as our heroine puts it, “Problems don’t stay problems. They turn into something else”—in this case a book and surefire hit movie. (R) B.R.M. Guild 45th, SIFF Cinema Uptown, Big Picture, Kirkland, Meridian, Lincoln Square, Cinebarre, others ZERO MOTIVATION The comedy in Zero Motivation, sometimes dark, springs not from combat but from tedium on an IDF base somewhere in the desert. There are no car bombs or terrorists, only the daily monotony of typing reports, making tea, and shredding documents in what used to be called the secretarial pool.

Zero Motivation is based on the IDF experiences of writer/director Talya Lavie, who has little use for heroics or nostalgia. She filters her distaff story through three different women facing the same oppressive sexism of the military. Slackers Zohar and Daffi are besties who at first appear to be cut from the same cloth. They’re bored and resentful upon returning to base after a short leave, but Zohar (Dana Ivgy) seems more resigned to the situation. Meanwhile the slightly more chipper Daffi (Nelly Tagar) is determined to transfer back to Tel Aviv. To do this, she must impress her boss Rama (Shani Klein), one of the few female officers on base. Lavie’s characters are clockwatchers whose response to the absurdities of military life is mostly deadpan. They’re women engaged in everyday resistance to bureaucracy, one reason the film often feels like a sitcom-during-wartime. Still, 34 years after Private Benjamin, Zero Motivation is a welcome film long overdue. (NR) B.R.M. Harvard Exit

15

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SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

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food&drink

Learning Charcuterie From the Pros

FoodNews

BY JASON PRICE

BOKA Restaurant + Bar chef Kerri Roach is on a mission to bring slowcooked, Southern-style comfort food to diners’ tables every Sunday starting January 11.

These suppers, $35/pp, will include roast chicken and dumplings, pot-roasted short ribs, barbcue pork shoulder, and (my personal favorite) breakfast for dinner.

My two-week internship at Napa’s The Fatted Calf.

BY JASON PRICE

PHOTOS BY JASON PRICE

round for jerky every morning. I endured the pain of sticking my double-gloved hands into 180-degree lard-laden pork shoulder and duck legs to make rillettes and ciccioli. I loaded, unloaded, and rearranged thousands of pounds of meat in too-tight walk-in coolers which never seem to have enough space. I struggled daily with attempting to efficiently bone lamb and pork legs, shoulders, and bellies without leaving meat on the bone. I cured pork jowls for guanciale, loins for lonza, and beef round for bresaola. And I started to bear the true marks of the kitchen: Like badges of honor, I wore nicks, cuts, and blisters from yards of salty butcher’s string rubbing against my finger joints.

Just when I was nearing the edges of self-doubt and mental anguish, while covered in all manner of blood, bone fragments, and fat, I had to learn how to completely debone a duck. I don’t just mean breaking a duck into breasts, legs, thighs, and wings; I did that too. I mean taking a whole duck and removing every single bone from it while keeping it in one piece—skin and all.

This became my own personal task of Sisyphus, and for several days my boulder rolled back down the hill. I couldn’t figure out the bone structure, and I realized that ducks have “shoulder blades” that are hard to navigate. Plus they’re covered in a thick layer of fat. I was slow, my knives became

dull, and the mental aspect of failing wasn’t doing any good for my ego. The fact that I couldn’t do what was demonstrated to me as a simple process wore on me more than I would have thought possible.

Alas, after repetition, a few deep breaths, and taking a break or two in the walk-in, I was finally able to conquer the duck. I also learned to stand for hours on end, hunch over tables too short for me, slide around the floor (without falling), say “Behind!” and “Sharp!” at the right times, and be generally helpful, albeit slower than the pros.

I have a newfound respect for everyone I know who works in a professional kitchen. That’s not to say I didn’t respect them before; but walking in their shoes for a short time, I began to learn more about myself and revere the people around me from a different perspective. While I was a food tourist of sorts, my amigos de la cocina were there day in and day out for 10, 12, 14 hours a day sometimes. And had been for years.

I also realized that unless you’re running the show, there’s little creativity involved in the everyday production of food. In most cases, you’re making someone else’s recipes over and over and over, the same way, every time—that’s what you do in assembly-line style. The rules are simple: Don’t screw up, be consistent, and don’t bitch and moan about your job. You signed up for it.

What I learned in a short two weeks is what I

never could have from reading books, playing around in my kitchen, or serving friends: Running a charcuterie—or any food business, for that matter—is incredibly hard work. The variety of products you can create is seemingly endless, and you need multiple sets of hands to keep the thing going.

Not all charcuteries are as diverse as The Fatted Calf, but they all typically carry a good number of products that require mostly manual labor—and much of it takes a long time to process, cure, and dry. Even glacially slow food is no joke.

The final question: Do I want to focus on charcuterie as a career? The short answer is “I don’t know.” It’s too early to tell; I still need to let this experience sink in. I know that most of what I’ve done at home has been received well. But again, I do it at my leisure and it’s not a day job. Do I want to do that all day every day? Probably not. Do I want to have a small neighborhood charcuterie place that serves in-house cured meats, wine, and antipasti? Maybe. Stay tuned . . . E

food@seattleweekly.com

Diners who love the Italian cuisine of chef Holly Smith will be happy to learn that Café Juanita will make a temporary home in the former Lark space on 12th Avenue on Capitol Hill while remodeling its original digs. From February 4 through early April, Smith will run dinner service Wednesday–Sunday for $135/ pp. Though Café Juanita’s extensive wine list won’t be available onsite, winers and diners can send the restaurant a note several days in advance if there’s a particular bottle they’d like.

Capitol Hill gains another restaurant in its continuing boom as the place to be in Seattle. Chavez will open just after Christmas in the 12th and Howell microhousing project. Head chef Gabriel Chavez, who most recently hailed from Cantinetta, will man the pass and feature traditional Mexican food, and offer patio seating when weather permits. E morningfoodnews@seattleweekly.com

TheWeeklyDish Boozy hot chocolate at Hot Cakes.

BY NICOLE SPRINKLE

Holiday parties, shopping, caroling, and general merriment lost out to the simple goodness of sipping hot chocolate at Hot Cakes this week. But being Hot Cakes, you know it’s not just any ol’ cocoa. This is the “Northwest” version—infused with smoked chocolate and Douglas fir, then spiked with scotch and Solerno. It’s woodsy and chocolaty, just the right amount of sweet and just the right amount of stiff. Little puffs of cream and a generous drizzle of oozing chocolate float atop it all. If, after the madness of the holidays and too much time with your lovely family members, you’re feeling a tad on edge, tell everyone you need to run to the grocery store and come here instead. Ten minutes of quiet and this drink should do wonders for your state of mind. E

nsprinkle@seattleweekly.com

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

For two weeks I learned how to trim, marinate, and lay out hundreds of pounds of beef bottom

The end result of a difficult process.

NICOLE SPRINKLE

S

tanding at the door of the walk-in curing chamber at The Fatted Calf in California’s famed Napa Valley is an exciting experience for an amateur charcutier like me, or even just an admirer of food.

The myriad of meaty confections is stunning. I feel like Augustus Gloop stepping into Willy Wonka’s factory for the first time—overwhelmed by the variety of salumi in front of me and by the array of smells from sweet to sour to piquant. It is here that I’ll spend two weeks learning the art of charcuterie from my new masters. My knives are sharpened, my mind focused, my will strengthened. I know my stuff, and can make some serious salumi at home.

No problem, right?

Wrong. Little did I know I’d get thoroughly schooled by a 20-something dynamo with three years’ experience in charcuterie production who’d run circles around me in the kitchen. It was on.

Whenever I interview chefs about advice on getting into the food business, they categorically recommend the same thing: go stage for someone for a few weeks. If at the end you find you still want to do it, then you might be onto something. What is staging? The term is derived from the French stagiaire, an apprentice or trainee who does a short unpaid internship for a chef in order to learn new techniques and cooking styles.

So I took the advice I’d been given repeatedly and asked to stage at The Fatted Calf. Founded in 2003 by Toponia Miller and Taylor Boetticher, it’s a veritable charcuterie mecca, focusing on using sustainably raised meats to create a vast array of products. To my surprise, I was accepted for a twoweek period in November. I was ready to roll—and had an added motivation: My sexagenarian dad had completed the same process just two weeks earlier.

For those of you at home who are routinely told “You are such a great cook!” or the eye-rolling comment “You should open a restaurant!”, here’s the news: There’s a huge fucking gap in reality between dinner parties and working in food service for a living. There’s no wine, no music, no complimentary drunken dinner guest, and no sitting in a chair musing over beautiful cookbooks written by today’s food heroes. It’s grueling, backbreaking work that can at times be Zen, maddening, or just plain oldfashioned hard work.

17

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ost of the great bars in Seattle are where you’d expect to find them: Capitol Hill, Ballard, and the city’s other trendy neighborhoods. But this week’s column is devoted to the great, or at least interesting, bars that pop up where you’d least expect them.

Targy’s Tavern, Queen Anne (600 W. Crockett St.): Of course, other neighborhood bars feel a bit out of place with their surroundings, but few do it with as much verve as Targy’s. Just a short stagger from some of

BY ZACH GEBALLE Seattle’s most expensive homes sits this Prohibitionera throwback, which until relatively recently didn’t even have a full liquor license. The clientele is eclectic, to say the least: locals who enjoy the no-nonsense vibe, as well as diehard regulars who may not be able to afford multimillion-dollar mortgages, but can at least belly up for a beer or two.

Commuter Comforts (Terminal at Pier 52, 801 Alaskan Way, Ste. E): Drinking on the Washington State Ferries remains a woefully limited proposition (unless of course you BYOB), but if you happen to find yourself with a bit of a wait to head to Bainbridge Island or Bremerton, Commuter Comforts offers a strong selection of local brews, a great view, and a chance to enjoy the curious people that make a commuter bar their regular hangout.

Teacher’s Lounge, Greenwood (8505 Greenwood Ave. N.): As the restaurant and bar scene continues to expand out from the city center, it’s only a matter of time before even the most staid neighborhoods have quality cocktail bars. Such is the case with Teacher’s Lounge, which is very much pushing the envelope in a neighborhood best known for dive bars like the Baranof and Yen Wor. Carefully crafted cocktails and a cohesive theme make it a solid destination for anyone stranded north of Fremont.

Company, White Center (9608 16th Ave. S.W.): While Greenwood might never be cool, White Center is getting hipster-ified at a breathtaking rate. Company is the place to spot many of those who have fled the increasing rents of Capitol Hill but still want to find a quality cocktail, at White Center prices. In a neighborhood that until recently was a destination only for Mexican food, Company could become a rallying point for cocktail nerds in search of the next great thing.

Orient Express, SoDo (2963 Fourth Ave. S.): I’m not sure I can quite recommend the Orient Express’ food or drinks, but the experience is well worth it. From the no-holds-barred karaoke to the regular drag shows to the sheer strangeness of eating and drinking in a bunch of old rail cars, it’s definitely unique. SoDo is actually rife with weird bars; from Monkey Loft to Aston Manor to Hooverville, it’s becoming an interesting neighborhood for more than pre-gaming. E Any other obscure or unexpected Seattle bars you love? Write me at thebarcode@seattleweekly.com.

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arts&culture

More Than a Game

ThisWeek’s PickList

A defense of the revolution lit too often dismissed as mere YA genre fiction.

BY ROGER DOWNEY

N

against its dominion (hint: That’s the plot of the final movie).

It’s a curious world by any standard. The technological level of the country of Panem seems to be arrested at about the mid-19th-century: after steam and electricity, but before oil and automobiles. The districts appear to operate on a sort of Dust Bowl/Appalachia subsistence economy, each defined by the raw material they produce to feed the appetites of the sybaritic Capitol.

So far, it’s not unfamiliar dystopian terrain: a little 1984, a little Brave New World. Collins’ big innovation in the formula is the role media plays in it. The games are not only televised; the unwilling contestants are also turned into glittering primped and prepped icons, lionized on a monstrously fatuous talk-show—the creepily genial host played in the films by Stanley Tucci—before being dumped into the arena to slaughter one another. Surely this dystopia is the first to feature as a principal character the personal stylist charged with turning the scruffy 16-year-old heroine into a diva worthy of Dancing With the Stars.

That heroine, Katniss Everdeen (played by Jennifer Lawrence in the movies), hails from the impoverished coal-mining District 12. She tells her own story in the Hunger Games books in a relentless first-person present tense that reflects her often painful and gruesome life. (The movies have had to elide much to maintain a PG-13 rating.)

The overall grimness is heightened rather than softened by the “romantic complications” of Katniss’ two male admirers; both become pawns, if not sacrifices, in the Games’ life-and-death machinations. The reader knows that Katniss isn’t going to die, since she’s the narrator. But that’s about the only concession Collins makes: The all-powerful Capitol has already crushed one rebellion, and there’s little hope for another in the second half of Mockingjay.

Hope, not faith. Collins’ books are remarkable for their complete absence of religion or any other form of spirituality. This is an iron world, where cruelty is the norm and death the only escape from it.

So why on Earth do people find it so compelling? Why have they bought over 30 million copies of the books (nearly half of those in ebook form)? Why are they on the way to spending $3-plus billion (to date) to see it realized in such faithfully disagreeable detail on film?

Every so often, a work of art strikes a note that resonates so clearly that it becomes part of the way a society thinks about itself. Sometimes, rarely, it incites demonstrable changes in the public realm. French historians trace the origins of the revolution of 1830 to performances of Auber’s 1828 grand opera La muette de Portici. Upton Sinclair wrote his 1906 novel The Jungle to expose the dire conditions of immigrant labor in early 20th-century industry. Within a year the Pure Food and Drug Act, the foundation of today’s public-health law, was passed by Congress.

Similarly, Collins’ baroque parable diagnoses a national mood of privation, class resentment, and anger. Forty years of growing income inequality have perfectly primed the ire of her readers, regardless of age. Baby boomers have seen their middleclass standing slip away; millennials never knew it.

Still, The Hunger Games’ implicit call to revolution has little chance of inspiring real-world rebellion. Its world is too simplistic, its allegory too diffuse to suggest even an outline for concrete dissent. But it has already become part of the mental furniture of diverse readers and filmgoers.

Some may find parallels with the supposedly corrupt and imperial presidency of Obama; others may point to the red states’ poor white electorate, tricked by a corporate elite into voting themselves poorer. Katniss can be a heroine for both camps.

Literature in the narrow sense the Hunger Games series is not. But a significant reflection of the zeitgeist? Unconditionally. Never mind rightwing or left-wing; don’t bother trying to identify either Bush or Obama with the Games’ villainous President Snow. Like the youths sacrificed to the Minotaur in the Greek story of Theseus and the labyrinth, the hapless children of Collins’ tale, plangent emblems of displacement and loss, stand outside mere time and place on the plane of myth. E

books@seattleweekly.com

MGM/UA

Lawrence as Katniss Everdeen in the penultimate Hunger Games movie.

THURSDAY, DEC. 25

Fiddler on the Roof Sing-Along Brunch

There is no better Christmas Day combo, so far as Jews, atheists, and Wiccans are concerned, than movies and Chinese food. So again SIFF is programming a buffet/matinee screening of Norman Jewison’s 1971 adaptation of the famous Broadway show, with songs by Jerry Bock and Sheldon Harnick, to which you are encouraged to add your own voice. (Those include “Tradition,” “If I Were a Rich Man,” “Sunrise, Sunset,” etc., layered atop Sholem Aleichem’s stories of shtetl life in Czarist Russia.) Topol stars as Tevye, a man with five daughters to marry off, which ought to put your own family pressures in perspective during the holiday season. Before the screening there will be kosher Chinese food served from Leah’s Gourmet Kosher Foods, with live music performed in the lobby by Orkestyr Farfeleh (playing tunes from the movie, no less). Fiddler is three hours long, so it includes an intermission for more noshing. And why not make a day of it, since parking is free? SIFF is also playing another musical, Into the Woods, at 5:15 p.m. with Wild following at 8:30 p.m. It’ll be a cinematic trinity if you see all three. SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996, siff. net. $20–$25. Noon brunch, 1 p.m. screening.

BRIAN MILLER

FRIDAY, DEC. 26

Blade Runner

Ridley Scott’s vanguard science-fiction epic from 1982 has been digitally tweaked in hundreds of ways, most of which will be noticed only by the most pious of fanboys. Mainly, the rerelease is a good excuse to indulge once more in Scott’s

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

I find this all the more surprising because Collins started in the entertainment business writing for children’s TV. Only after a subsequent decade of workmanlike success in the world of kid-lit did she take on the challenge of young-adult fiction, with absolutely unprecedented results.

If you are already familiar with the Hunger Games books and movies (and if you’ve read the books, you’ve almost certainly seen the movies, set to conclude next fall with Mockingjay Part 2), their popularity with audiences of all ages is self-explanatory. If you’ve not yet been exposed to Collins’ gritty fantasia on themes of poverty, oppression, and media exploitation, you may find it hard to understand why an audience ranging from bright 10-year-olds to their grandparents is reading such a sad, dispiriting, dystopian tale.

Set in an alternate (or future?) North America in which 12 “Districts” full of grinding poverty are ruled by a “Capitol” city of grandiose luxury and excess, the titular Games are in fact a televised battle to the death among children, one of each sex chosen by lot from each of the subject Districts. For the privileged citizens of the Capitol, the games function like those the later emperors mounted for plebes of Rome; for the Districts, they are an annual reminder of the Capitol’s power to destroy anyone moved to rebel

MURRAY CLOSE/LIONSGATE

ot long ago, a friend told me, he tried an online-dating service for the first time. His initial encounter with the lady computer-chosen for him was not going well until he mentioned that he was looking forward to seeing the first Hunger Games: Mockingjay film when it opened last month.

“As soon as I said that, the whole conversation took off. We’d both read all The Hunger Games books and seen the first two movies as soon as they came out; it was as if that gave us a kind of deep access to each other’s feelings that I for one had never experienced meeting someone for the first time.”

Nothing extraordinary about that? I found it so, because my friend is in his 50s and the lady in question is in her late 30s. And Suzanne Collins’ Hunger Games novels were labeled as “young adult” (or YA) fiction when they were published between 2008 and 2010 by Scholastic Press (of Harry Potter fame), coincidentally during the height of the Great Recession and its discontents.

These days it’s not unheard-of to see fictions bearing a narrow genre label—children’s literature, fantasy/sci-fi, and the like—break out of their ghettos into a broader market. But their authors rarely earn the mainstream respect that so-called “serious fiction” routinely gets. Despite their remarkable commercial success, Stephenie Meyer’s Twilight books remain firmly stuck in their vampire/romance genre. And nobody ruminates on the implications for modern society of the Harry Potter saga. But the Hunger Games books have received almost universal praise from reviewers from their first publication, as well as a readership that totally defies the demographic limits suggested by the YA rubric.

» CONTINUED ON PAGE 20 19

arts&culture» Stage OPENINGS & EVENTS

EPIPHANY Leslie Law and Richard Ziman curated this

WARNER BROS.

Rutger Hauer and Daryl Hannah as replicants.

» FROM PAGE 19 iconic and highly influential vision of a future Los Angeles choked by rain, neon, and cheap pleasure palaces, where Harrison Ford’s bounty hunter trolls the godforsaken urban landscape for those renegade “replicants.” Of course, there comes a steely-eyed brunette (Sean Young), who may be a replicant herself. It has always been difficult to discuss Blade Runner—one of the few genuine masterpieces of the forlorn 1980s— without focusing on its style, and yet it is a movie where style becomes content and vice versa, as the romantic fatalism of ’40s film noir freely intermingles with the visionary imagination of Philip K. Dick. And yes, a sequel is said to be planned with an actual script written, though those rumors have been circulating for years.

But if Ford can reprise Han Solo, why not Rick Deckard? (Through Tues.) Central Cinema, 1411

21st Ave., 686-6684, central-cinema.com. $7–$9.

9:30 p.m. BRIAN MILLER SUNDAY, DEC. 28

20

JEREMY DWYER-LINDGREN

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

Seahawks vs. Rams

Fans will be in full regalia for the Hawks’ last regular season game.

Few things are more satisfying than revenge.

And for the Seahawks—and their rabid fans— a chance to exact sweet gridiron vengeance arrives today, when coach Jeff Fisher, his stupid mustache, and his St. Louis Rams come to town to close the regular season. As you may recall, the Rams beat the Seahawks back in October, thanks to a fake punt, a ridiculous trick return, and some seriously questionable officiating. All of which negated an obvious Rams fumble and robbed our beloved team of a chance to come back. This time, in the home of the 12th Man, no comeback should be required. With playoff seeding on the line and Russell Wilson and company gearing up for a Super Bowl defense, expect the Rams to be sheep in Week 17 and the Hawks to soar. CenturyLink Field, 800 Occidental Ave. S., seahawks.com. $72 and up. 1:25 p.m. MATT DRISCOLL E

radio-theater/variety show. ACT, 700 Union St., 2927676, acttheatre.org. $15–$20. 8 p.m. Mon., Dec. 29.

HE SEES YOU WHEN YOU’RE SLEEPING... Horrorimprov troupe Blood Squad tells the truth about the fat guy who slips into your house on Xmas eve. Annex Theatre, 1100 E. Pike St., bloodsquad.org. $10. 8 p.m.

Fri., Dec. 26.

CURRENT RUNS

• ALL THE WAY Seattle playwright Robert Schenkkan’s

broad, bustling Tony winner reframes our view of the fairness-championing Lone Star magician/politician Lyndon B. Johnson (played by the excellent Jack Willis). Historians will tell you that LBJ plied all angles and snatched unlikely votes out of cantankerous retrograde cronies in order to pass the Civil Rights Act of 1964 during one scant year. But how did he do it, what did it mean to work the aisle, and why isn’t that kind of thing happening now?

These are questions a demoralized 2014 electorate hankers to chew on. With a cast of 17 playing up to six roles each, it’s a wonder these performers can master not only their lines but their identities and complex blocking during so many short scenes.

(Director Bill Rauch orginated the production in 2012 at the Oregon Shakespeare Festival, then took it to Broadway.) Schenkkan packs scads of information and backstory into chorus-like powwows among various factions. Unless you remember the ’60s and these political battles, close listening is required to keep track of who’s who. It’s dizzying, but it conveys the scramble that Johnson had to navigate for civil rights—all the while consolidating power for his passion project, the War on Poverty. That effort, and the Vietnam War, will fill LBJ’s tumultuous four-year term in Schenkkan’s The Great Society, which begins alternating with All the Way this week. MARGARET FRIEDMAN Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222. $17–$150. 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., 7819707. $20–$40. 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.

THE BEST CHRISTMAS PAGEANT EVER The 14th annual production by Seattle Public Theater.

Bathhouse Theater on Green Lake, 7312 W. Green Lake Dr. N., 524-1300, seattlepublictheater.org. $5–$32. 2 & 4 p.m. Sat.–Sun. plus Dec. 24. Ends Dec. 24.

A CHILD’S CHRISTMAS IN WALES/THE LONG CHRISTMAS DINNER A Dylan Thomas/Thornton

Wilder double feature. Stone Soup Theatre, 4029 Stone Way N., 633-1883. $20–$25. 7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus more performances Xmas week; see stonesouptheatre.org for exact schedule. Ends Dec. 24.

A CHRISTMAS CAROL He may be a miser onstage, but Scrooge’s been very generous to ACT over the years. ACT Theatre, 700 Union St., 292-7676. $27 and up. Runs Tues.–Sun.; see acttheatre.org for exact schedule. Ends Dec. 28.

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. 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.

CHRISTMASTOWN A new “holiday noir, ” complete with a hard-boiled gumshoe and a sexy elf, by Wayne Rawley. Seattle Public Theater, 7312 W. Greenlake Dr., N., 524-1300. $5–$32. Runs Fri.–Sun. plus more performances Xmas week; see seattle publictheater.org for exact schedule. Ends Dec. 24.

THE DINA MARTINA CHRISTMAS SHOW An allnew show from the adored, tireless, must-be-seento-be-believed entertaineress, with Chris Jeffries on keyboard. Re-bar, 1114 Howell St., 800-838-3006. $22–$25. Runs practically daily (incl. selected Sunday “Mimosa Matinees”); see brownpapertickets.com for exact schedule. Ends Dec. 31.

THE GREAT SOCIETY In the second of Robert Schenkkan’s two extraordinary history plays (alternating with All the Way), there’s nary a spare moment in its four-year span to notice the deep structure. The homework of who’s who and what’s what behind us, this second play is pure, breathtak-

•

ing entertainment. The newly elected president LBJ (Jack Willis) mocks any potential indignation about political means and ends: “‘Oh my God, he’s lying!’

Like that’s never happened before in the history of the Republic.” While the audience chuckles, the subject of lying ricochets past the growing tally of Vietnam War dead—projected above the incrementally crumbling set—and lands in Martin Luther King’s strategy room, where LBJ’s procrastination on voting rights feels like a lie. Expertly directed by Bill Rauch, at least a dozen stories interweave then converge at the pernicious maw of the Vietnam War (most actors perform multiple roles). This is a huge-cast, huge-cost, huge-theme, huge-talent, and huge-pleasure play that will not come around often.

The three hours pass speedily, fueled by myriad political and social parallels with today: police violence against blacks, the perfect as the enemy of the good, people voting against their interest (if at all), racial privilege, and the cost of a foreign war versus domestic spending. This is what theater was invented for. Don’t miss it. MARGARET FRIEDMAN Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222. $17–$150. 7:30 p.m. Tues.–Sun., plus Wed. and weekend matinees; see seattlerep.org for exact schedule. Ends Jan. 4.

HOMO FOR THE HOLIDAYS This burlesque ex-dragaganza stars BenDeLaCreme, Kitten LaRue, Lou Henry Hoover, and plenty more. (Idea for a nom de burlesque: Plenty Moore!) West Hall, OddFellows Building, 2nd Floor, 915 E. Pine St. $25–$35. Runs practically daily; see strangertickets.com for exact schedule. Ends Dec. 27.

A(N IMPROVISED) CHRISTMAS CAROL Dickens, rewritten by you. Unexpected Productions’ Market Theater, 1428 Post Alley, 587-2414, unexpectedproductions.org. $5–$15. 8:30 p.m. Thurs.–Sat., 7 p.m.

Sun. Ends Dec. 28.

JUDY’S SCARY LITTLE CHRISTMAS In this musical fantasy, Judy invites her Hollywood friends—from Lillian Hellman to Liberace— for a holiday TV special. (If you have to ask which Judy, this show is so not for you.) ArtsWest, 4711 California Ave. S.W., 9380339, artswest.org. $17–$36.50. 7:30 p.m. Wed.–Sat., 3 p.m. Sun., plus 5 p.m. Wed., Dec. 24. Ends Dec. 28.

THE BURLESQUE • LAND OF THE SWEETS: Lily Verlaine and Jasper McCann NUTCRACKER

return for the ninth annual staging of this festive and titillating tradition. The Triple Door, 216 Union St., 838-4333. $40–$65. Runs practically daily; see thetripledoor.net for exact schedule. Ends Dec. 27.

MARY POPPINS In this local production of the Disney/Cameron Mackintosh Broadway musical, 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. The script by Downton Abbey creator Julian Fellowes deepens the 1964 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. ALYSSA DYKSTERHOUSE Village Theatre, 303 Front St. N., Issaquah, 425-3922202. $40–$72. Runs Tues.–Sun.; see villagetheatre. org for exact schedule. Ends Jan 4. (Runs at the Everett PAC Jan. 9–Feb. 8.)

PRIDE AND PREJUDICE Richard Nguyen Sloniker, the Darcy in Book-It’s brisk and bubbling adaptation of the beloved Jane Austen novel, must balance likability (so we root for him and heroine Elizabeth Bennet to fall for each other) and imperiousness (to give that inevitable attraction a plausible obstacle to overcome). Sloniker masters just that balance, and carries off some splendid scenes with the sharp, subtle Elizabeth of Jen Taylor. As their passions rise, their diction gets crisper, their consonants sparking like clashing swords. The casting is just as ideal all the way through, the 15 actors—nine of whom take more than one role—adept at weighting and coloring every laugh line to make it land and deftly avoiding caricature even where it’s most tempting. Especially marvelous are those actresses in smaller roles who in memorableness surpass even what Austen put on the page: Jesica Avellone and Kate Sumpter become the Charlotte Lucas and Miss Bingley to beat, cast-

•

•

ing themselves in my brain-movie each time I pick up the novel from now on. Marcus Goodwin ably directs his Austen adaptation, previously staged in 2000 and 2004. GAVIN BORCHERT Center Theatre at the Armory (Seattle Center), 216-0833. $25–$60. Runs Wed.–Sun.; see book-it.org for exact schedule. Ends Dec. 28.

TEATRO ZINZANNI: HACIENDA HOLIDAY TZZ’s new show keeps its dinner-cabaret formula fresh with acts that mash up entertainment skills in pairs: aerial plus dance en pointe by PNB alumna Ariana Lallone; trapeze plus contortion with Duo Rose; juggling plus the speed and aesthetic of thrash metal

by Gamal David Garcia; and ballroom dance plus pole work by the astounding Vertical Tango. All this is organized by just the lightest spritz of storyline: Vivian Beaumount and Clifton Caswell (Christine Deaver and Kevin Kent) return to a swanky hotel to renew their vows. By the end, the gender-melding is complete—Beaumount and Caswell reconcile, each adopting at least two sexes, maybe more. It’s a romantic finale as spicy as the Southwest-inspired menu. GAVIN BORCHERT Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends Jan. 31.

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.

•

Dance

NORTHWEST BALLET: NUTCRACKER • PACIFIC While it’s not a going-out-of-business sale, there’s

a certain last-chance feeling to this year’s run of Nutcracker. Pacific Northwest Ballet premiered this production, choreographed by Kent Stowell and designed by Maurice Sendak, in 1983. PNB was just 11 years old at the time, and the goal was to create a world-class production. Thirty-one years later, I think we can say they succeeded. This time next year we’ll see George Balanchine’s iconic choreography set to new designs by Ian Falconer (of Olivia the Pig fame). What will I miss about this annual holiday production? The careful storytelling, with key elements of the drama laid out multiple times, so even the smallest audience members can follow the E.T.A. Hoffmann tale. The antique-store density of Sendak’s set design—I’ve seen it many times, and still find new things to marvel at in the details. The vintage quality of the theatrical tricks, especially the stagewithin-a-stage for the trip to the Pasha’s kingdom, with its unrolling panorama and old-fashioned waves (complete with leaping dolphins on the piccolo flourishes!). And the charming way that the Pasha’s court “applauds” using ASL, waving their hands above their heads. If you don’t already have tickets, try to get some. SANDRA KURTZ McCaw Hall, 321 Mercer St. (Seattle Center), 441-2424, $35–$136. See pnb.org for near-daily schedule. Ends Dec. 28.

Classical, Etc.

MESSIAH You are the choir and orchestra in this

sing- and play-along version. Or just listen. Karen P. Thomas conducts. University Unitarian Church, 6556 35th Ave. N.E., uuchurch.org/music/messiah, brown papertickets.com. $13–$18. 7 p.m. Fri., Dec. 26.

TUDOR CHOIR Getting an early start on next Christmas with an evening of Holst, Vaughan Williams, and traditional carols. Blessed Sacrament Church, 5041 Ninth Ave. N.E., 323-9415, tudorchoir. org. $20–$30. 7:30 p.m. Sat., Dec. 27.

BYRON SCHENKMAN AND FRIENDS Ignacio Prego joins Schenkman for Bach concertos for one or two harpsichords. Benaroya Recital Hall, Third Ave., and Union St., 215-4747, byronschenkman.com. $10–$42.

7 p.m. Sun., Dec. 28.

CANDLELIGHT CONCERTS “Jazzin’ With the Classics” swings your Xmas favorites. University Unitarian Church, 4731 15th Ave. N.E., 522-0169, candlelightseattle.org. Freewill offering. 7:30 p.m.

Sun., Dec. 28.

SEATTLE SYMPHONY The traditional Beethoven’s Ninth for the new year, with Mozart’s Symphony no. 31 as a rich hors-d’oeuvre. Benaroya Hall, Third Ave. & Union St., 215-4747, seattlesymphony.org. 9 p.m. Wed., Dec. 31 ($52 and up, with post-concert party); 8 p.m. Fri., Jan. 2 & Sat., Jan. 3; 2 p.m. Sun., Jan. 4 ($28 and up).

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

» Music

Reigning in the New Year Jordan Cook of Reignwolf reflects on the journey from Saskatoon to the Showbox.

BY DAVE LAKE

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

it was Cook alone—equipped with a guitar, bass ordan Cook was one of a few hundred drum, and fog machine—who launched this rellucky souls who packed the Showbox in atively quick rise; his first performance on KEXP, April 2010 for the last-minute booking a station he credits as fundamental in generating of a band called Nudedragons. Savvy much of his exposure, was solo. It surely helped music nerds quickly deciphered that Nudedragthat Reignwolf ’s sound was perfectly in sync ons was an anagram for Soundgarden, reuniting with the pulse of the city, which was gearing up that night for the first time since calling it quits for a reverb-drenched, hard-grooving blues-rock more than a decade earlier. Cook got the invite renaissance with bands like Hobosexual, The from his buddy Ben Shepherd, Soundgarden’s Grizzled Mighty, and others. bassist, whom he knew from a recording session, “There’s something about the way that Seattle and the gig proved magical not only because of is to their locals,” Cook, 30, says of the city’s the reunion: That evening he was introduced to his future bandmates David Rapaport and drum- allure to musicians. “People got behind me right away. All the musicians, as much as everybody’s mer Joseph Braley, who also were friends with doing their own thing, Shepherd. Cook didn’t everybody’s together. know it at the time, but doesn’t happen just a few years later, the “There’s something about That anywhere else. I’ve three of them would be asked to ring in 2015 the way that Seattle is to never felt that in my life. I love Saskatoon, on that very stage. their locals. People got but it was a place where The Nudedragons people do their own show proved significant behind me right away.” thing and they just do for a third reason, too. their own thing.”

Cook, a Canadian, Leveraging this supdecided that night port rather than focusing on making an album, Seattle should become his home. He’d been the band instead set its sights on becoming a forging a career as a musician in Saskatoon, fierce live act, with performances built around Saskatchewan, since he was a teenager, but after Cook—who frequently plays guitar and drums the reunion gig, Cook ended up back at Shepsimultaneously, accompanying himself someherd’s studio playing music until the wee hours. times on a vintage bass drum at the front of “Where else does that sort of thing happen?” the stage and other times from behind a full he wondered in a recent interview with Seattle drum kit, with one hand hammering out a Weekly. “You go to a show and then the rest of guitar riff while his other hand—and both the night you end up jamming? I knew instantly feet—keep time. It’s an impressive display. that’s where I wanted to be.”

Sometimes the gigs move off the stage altoThings began to take off once Cook settled gether and onto the floor. “You feed off the here, and he named his project Reignwolf, a audience so what they bring, you bring,” he moniker he says “describes the way he feels when says. “And if they’re not getting it, we’re going he plays.” Locals responded warmly to its bluesy to keep pushing harder until they do.” hard rock, especially the incendiary live shows where the act sometimes performed as a trio. Yet » CONTINUED ON PAGE 22

DANA (DISTORTION) YAVIN

J

Reigning over earth and sky: Jordan Cook.

21

a&c» Music Reignwolf » FROM PAGE 21

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

DEBI DEL GRANDE

Cook airborne.

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This live-focused approach seems decidedly retro in an era when fans discover new bands on streaming radio much more than in darkened nightclubs. As word-of-mouth spread, Reignwolf managed to do the seemingly impossible: book a number of major tours and festivals without having an album out. “When you’re getting asked out to play with Black Sabbath or the Pixies without a record,” Cook offers, “you know something’s happening.”

In addition to helping ring in the New Year at the Showbox, Cook promises that 2015 will finally deliver a full-length Reignwolf album, though he was reluctant to provide many details. “We have to do it our own way,” he says, “and we’re going to do that; we’re just getting the logistics down now.”

One of the particular challenges of this album, which the group has been recording between tours, is capturing the power of Reignwolf ’s live show. One session found the band heading to the studio late one night after a successful gig, still riding the adrenaline wave. “I won’t lie,” Cook says. “That was pretty amazing. We’re trying to do things a little differently to create moments. I think that so far was one of the most magical ones we’ve had yet.”

Hoping to make more memorable moments this New Year’s Eve, Cook is looking forward to playing a few new songs that haven’t been performed live before. He’s also reflective about how far he’s come in just a few years.

“Being at the Showbox for 2015 to me is just the right way to bring in the year, because that was the place where it kind of started for us.”

Is there a chance things might come full circle with Soundgarden showing up at his gig? “We’ll see about that,” Cook says. “I let them all know.” E

music@seattleweekly.com

REIGNWOLF With Thunderpussy, Rose Windows.

The Showbox, 1426 First Ave., 628-3151, showboxpresents.com. $27.50 adv./$30 DOS. 10 p.m. Wed., Dec. 31.

Resident Hoarder How Soundgarden’s guitarist, Kim Thayil, took charge of his band’s new three-disc collection.

BY DAVE LAKE

dinner & show

mainstage WED/DECEMBER 24 - SAT/DECEMBER 27 • TIMES VARY

land of the sweets: the burlesque nutcraker

SUN/DECEMBER 28 & MON/DECEMBER 29 • 7PM

MICHAEL LAVINE

Thayil, second from right: Soundgarden’s unofficial secretary.

S

because we thought it’d be funny if we did them.

Some songs had a good groove.” Others, he says, came about just because it’s “kind of a cool song.”

Yet for all the Soundgarden history Thayil brought to light, the band’s label and management were both apprehensive about putting together Echo, since most compilations aren’t as commercially viable as studio albums. Thayil enjoyed the process nonetheless; he says he’s always enjoyed exploring the outer reaches of a band’s catalog, from Hey Jude, a collection of Beatles singles and B-sides, to Attack of the Killer B’s by Anthrax and Nirvana’s Incesticide.

After considering ideas about how to format his findings, which included paring it down to a single disc or serializing it over multiple release dates, the band settled on a three-disc set. “Casual fans that might buy a record because they heard ‘Black Hole Sun’ on the radio 15 million times, [they] may not want this,” Thayil says. “But if you love the band, you’re going to love this record. There are people who buy albums because of the strength of a single, but...I think most rock fans are not that kind of consumer. I’m thinking about the fan.”

For those fans, there’s a lot to dive into. The first disc highlights opposite ends of the band’s spectrum: “Birth Ritual” from 1992’s Singles soundtrack is anchored by a raging riff in 7/8 time that finds Cornell hitting impossibly high notes, while 2012’s “Live to Rise” from The Avengers soundtrack is a mid-tempo rocker that showcases a restrained melody and acoustic guitars. The collection also contains a number of remixes, including one from Moby (“Dusty,” from 1996’s Down on the Upside), a reverb-heavy dub version of “Big Dumb Sex,” and a frenetic seven-minute “Spoonman” from Steve Fisk.

Though a single-disc version of the collection is available at Walmart and Target, Thayil is hoping fans will opt for the complete three-disc experience, which retails for around $60 and would make an excellent holiday stocking-stuffer.

What’s on his holiday wish list? “I have amps, I have guitars,” he says. “I’d like the health and well-being of everyone close to me.” Then he pauses for a moment and mentions he could use something more practical. “I need things for maintenance. Like a new furnace filter.” E

music@seattleweekly.com

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WED/DEC 31 • 7PM & 10:30PM A NEW YEAR’S EVE CELEBRATION!

leroy bell & his only friends FRI/JANUARY 2 • 8PM

hannah weeks w/ cassie correlle SAT/JANUARY 3 • 8PM - 91.3 KBCS WELCOMES

cahalen morrison & eli west WED/JANUARY 7 • 7:30PM

midge ure w/ angela sheik next • 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 w/ lauren shera • 1/15 tom paxton w/ kate power and steve einhorn • 1/16 curtis salgado • 1/17 joey jewell, a tribute to sinatra • 1/18 tomo nakayama w/ eric johnson of fruit bats • 1/21 jill cohn w/ hereward • 1/22 the kingston trio • 1/23 brazilian nights! tribute to tom jobim

happy hour every day • 12/26 supersones / the true romans • 12/27 brad gibson trio featuring: ari joshua and joe doria • 12/28 hwy 99 blues presents • 12/29 crossrhythm sessions • 12/30 the sunshine junkies • 12/31 new year’s eve party! w/ junior on the prowl • 1/1 red sun revue TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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216 UNION STREET, SEATTLE · 206.838.4333

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

oundgarden guitarist Kim Thayil is known for a lot of things—notably thick guitar riffs, a graying beard, and hats. Less known, however, is his role as band archivist. Since its formation in 1984, the Seattle quartet has undertaken as many duties internally as it can. Singer Chris Cornell, for example, has grown fond of sequencing the band’s albums, arranging song orders and transitions. And Thayil has become the group’s go-to liner-note writer and keeper of old songs, a role that led him to oversee the band’s just-released 50-song holiday release, Echo of Miles (A&M Records), which comprises B-sides, non-album tracks, remixes, and more.

“Primarily all these [songs] were published, but they haven’t made an album before,” Thayil told Seattle Weekly. “Everything is compiled from a list that I maintained,” he says of the three-disc set: one disc of original material, one of covers, and one featuring instrumentals, remixes, and oddities.

Thayil says he was aware of all he had to work with before sitting down to organize everything, though there were some songs he hadn’t heard in years, like the instrumental “Night Surf,” on which bassist Ben Shepherd plays all the instruments: “I hadn’t heard that since 1994, when we would play it and an accompanying film prior to taking the stage.”

Both the song and the film, he says, were shelved shortly thereafter.

Thayil says he didn’t find digging through the old tracks cringeworthy. “There were things that made me cringe about 20 or 30 years ago,” he says, “but not now. Over time...those selfconscious judgments get put aside.”

Perhaps better than any of its studio releases, Echo illuminates what has made Soundgarden such an enduring act. Beyond Cornell’s muscular riffs and primal wail, the band isn’t afraid to indulge its musical whims, barreling through heavy grooves, deep psychedelia, and slick pop hooks with equal aplomb. The band also isn’t beholden to any single member’s contributions, with songwriting credits spread across all four. Soundgarden’s versatility is particularly apparent on the disc of covers, which run the gamut from the Beatles to Black Sabbath, Sly Stone to Spinal Tap. “There are songs we do because we like [it] and some we’re doing because we like the band,” Thayil says of the covers. “Other songs we did

the bobs after christmas show!

23

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arts&culture» Music

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SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

PEOPLE IN GLASSHOUSES SHOULD THROW PARTIES.

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Ring in 2015 under Seattle’s most iconic fireworks display as Chihuly Garden and Glass transforms into the ultimate New Year’s Eve celebration.

DECEMBER 31, 2014 | 8 PM – 1:30 AM Party includes: • Dancing to the popular Michael Benson Band • A delicious array of appetizers and desserts from Collections Café Chef Thomas Kollasch • Party favors and a complimentary sparkling wine toast at midnight • Complimentary parking (must be reserved by Friday, December 26) TICKETS: $200 (inclusive of tax and gratuity)

NEWYEARSATCHIHULY.COM Call 206.905.2148 for more information No host bar – Limited seating

Concerts SEATTLE SYMPHONY ORCHESTRA: CONCERT, COUNTDOWN, & CELEBRATION End the year

in style with a performance of Beethoven’s Ninth Symphony, followed by an after-party with a live band, dancing, and countdown. Benaroya Hall, 200 University St., 215-4800, seattlesymphony.com. 9 p.m. $52–$153.

CELEBRATION LANE STREET SHOW Catch this tribute to all things glittery with light displays, dancing drummers, and music, “while festive bubbles fall from the sky.” The Bellevue Collection, 575 Bellevue Square, 454-8096, bellevuecollection.com. 7 p.m.

Free.

EMERALD CITY SOUL CLUB & DUG Normally hosted at the LoFi, the DJs of the ECSC and Dug take to Chop Suey to celebrate the new year with two rooms of soul and funk. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 9 p.m. $15. 21 and over.

ELDRIDGE GRAVY & THE COURT SUPREME The 14-member “funk juggernaut” will crowd the stage at Columbia City Theater. With Breaks and Swells.

Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacitytheater.com. 8 p.m. $20 adv./$25 DOS. ARTIST HOME NEW YEAR’S EVE PARTY Talking Heads cover band This Is Not My Beautiful Band will warm up one of the city’s oldest watering holes before an all-star band featuring members of Cumulus, OK Sweetheart, and Tea Cozies rings in the new year with hits ranging from LCD Soundsystem to Tom Petty. Conor Byrne, 5140 Ballard Ave. N.W., 7843640, conorbyrnepub.com. 9 p.m. $18. 21 and over.

PANCHO SANCHEZ Spend the evening with a legend as the Latin jazz singer and bandleader draws on 40 years of lively performance to usher in New Year’s Day. Dimitriou’s Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. 6:30 & 10:30 p.m. $50–$179.50.

MASSY FERGUSON AND STAXX BROTHERS Enjoy a hearty American meal followed by a concert by all-Americana rock band Massy Ferguson and soul group Staxx Brothers—complete with a midnight Champagne toast. Hard Rock Cafe, 116 Pike St., 204-2233, hardrock.com. 9 p.m. $20.

EVER SO ANDROID The Seattle-based rock duo rallies crowds at live shows with music described as “dark industrial electro-dance-rock.” With VibraGun, C-Leb & The Kettle Black, Dirty Dirty. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $10 adv./$12 DOS. THE DWARVES If shocking hardcore punk is your thing, this is your party, featuring a band notorious for its subversive stage show and for once faking the death of its guitarist. With Fang, the Derelicts.

Highline, 210 Broadway E., 328-7837, highlineseattle. com. 8 p.m. $20–$25. 21 and over.

SHABAZZ PALACES Greet the new year on a different

planet with Seattle’s top experimental hip-hop group.

The Neptune, 1303 N.E. 45th St., 682-1414, stgpresents.org. 9 p.m. $25.

JUNIOR ON THE PROWL Get down to your classic rock favs with fun and energetic covers from this trio.

Musiquarium at the Triple Door, 216 Union St., 8384333, thetripledoor.net. 9 p.m. Free. 21 and over.

NEON NEW YEAR’S EVE This is the perfect spot for the ‘80s music junkie with synth group Nite Wave, New Wave and post-punk devotees the West, and more. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 9 p.m. $20–$25. 21 and over.

BEAT CONNECTION The indie-electronic band closes out an impressive year with promises of more in 2015.

With Pillar Point, Manatee Commune, CUSTOMS Crew Neumos, k o m o n o. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $20 adv. 21 and over.

DONALD GLAUDE Making his Q debut, the Tacoma native brings 20-plus years of party-starting to the dance-floor. Q Nightclub, 1426 Broadway, 432-9306, qnightclub.com. 9 p.m. $30. 21 and over.

LENNY WILLIAMS LIVE The notable R&B and soul artist plays while you enjoy a buffet dinner and gift bag.

Royal Esquire Club, 5016 Rainier Ave. S., 723-2811, royalesquireclub.com. 7 p.m. $100–$175.

THE NINES This five-piece takes you through the evolution of music from the ‘70s to 2015, including Studio 54 funk, synth, and rock. Seattle Center, 684-7200, seattlecenter.com. 8 p.m. Free.

THE CAVE SINGERS This trance-inducing roots-rock outfit has some serious Seattle street cred, rising from the ashes of Pretty Girls Make Graves. With Gazebos, Corey J Brewer. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 8:30 p.m. 21 and over.

SOLD OUT.

The Cave Singers play the Tractor Tavern.

COURTESY OF JAGJAGUWAR

TUMBAO PLUS DJ CESAR

A.J. APUYA

LIVE SALSA WITH

REIGNWOLF Jordan Cook has earned comparisons to

Jack White and was deemed a “One-Man BluesRock Army” by Rolling Stone. With Rose Windows, Thunderpussy. The Showbox, 1426 First Ave., 628-

3151, showboxpresents.com. 10 p.m. $27.50 adv./$30 DOS. 21 and over.

COMMON KINGS This night is devoted to good vibes with a mix of rock, reggae, R&B, and classic soul influenced by acts such as D’Amgelo, Stevie Wonder, Led Zeppelin and Maroon 5. With Two Story Zori, Lions Ambition. Showbox SoDo, 1700 First Ave. S., 628-3151, showboxpresents.com. 8 p.m. $30 adv./$35 DOS. THE BEATNIKS Playing music of the ‘60s and ‘70s, this band will bring energy, charisma, and chemistry to the party. Skagit Valley Casino, 5984 Darrk Lane, Bow, 360-724-7777, theskagit.com. 7:30 p.m. $90.

YOUNG FRESH FELLOWS Celebrate the new and improved you at the new and improved Sunset Tavern with these veterans of the Seattle music scene. With the Fucking Eagles, Less Than Equals. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com.

9 p.m. $10. 21 and over.

LEROY BELL & HIS ONLY FRIENDS The onetime X Factor standout will deliver a night of deep soul that will likely earn him even more friends. Different packages are available, including concert, Champagne, and credit toward food/drink/tax/gratuity. Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7 p.m. (all ages) and 10:30 p.m. (21 and over). $70–$100.

Parties SHELLEY & THE CURVES NYE PARTY Begin the

evening with a prime rib and salmon dinner, then enjoy music by Seattle’s “favorite party & dance band.” Best Western Executive Inn, 200 Taylor Ave. N., 448-9444, bestwestern.com. 9 p.m. $110.

BALLARD ELKS NYE PARTY Dance in formal attire to Seattle’s Left Turn on Blue, a 10-piece horn band playing blues, funk, swing, and classic soul. Ballard Elks Lodge, 6411 Seaview Ave. N.W., 784-0827, ballardelks. org. 8 p.m. $15–$30.

DANCE YOURSELF CLEAN If you’re a dance-party minimalist, DYC claims to offer music lovers a nofrills atmosphere to dance and have fun instead of the typical swanky nightclub or warehouse rave.

Music inspired by LCD Soundsystem, Charli XCX, Cut Copy, and Icona Pop. Barboza, 925 E. Pike St., 709-9442, danceyourselfclean.com. 8 p.m. $15 adv.

21 and over.

CENTURY BALLROOM Enjoy a five-course dinner and live salsa dancing across two rooms in one of Seattle’s iconic spaces. Century Ballroom, 915 E. Pine St., 324-7263, centuryballroom.com. 6:30 p.m. $30–$125. 21 and over.

NEW YEAR’S EVE PARTY Party beneath an iconic fireworks display while dancing to the Michael Benson Band, and enjoy delicious appetizers and desserts from Collections Cafe. Chihuly Garden and Glass, 305 Harrison St., 753-4940, chihulygarden andglass.com. 8 p.m. $152.21. 21 and over.

BOLLYSUTRA’S BOLLYWOOD NYE EXTRAVAGANZA VIP guests get special dinner,

followed by the best music of Bollywood curated by DJ RDX, ending with a complimentary Champagne toast at midnight. China Harbor, 2040 Westlake Ave. N, 286-1688, chinaharborseattle.com. 7 p.m. $25–$50.

21 and over.

BOLLYGROOVES Seattle’s biggest and most reputable Bollywood night turns it up for true fans. Crocodile Cafe, 2200 Second Ave., 441-4618, thecrocodile.com.

9 p.m. $30 adv. 21 and over.

INDULGENCE This event will live up to its promise of excess, with 140,000 square feet of party space, 3,000 guests, three stages, and two VIP areas. EMP, 325 Fifth Ave. N., 770-2700, seattlebash.com. 8 p.m. $69–$350. 21 and over.

PARIS BLOHM Foundation Nightclub aims to welcome the new year with class, so please no athletic apparel, baseball hats or beanies, sandals/flip-flops, shorts, baggy clothing, or LED lights/glow products.

Foundation Nightclub, 2218 Western Ave., 535-7285, foundation-nightclub.com. 9 p.m. $30. 21 and over.

BONZA BASH NEW YEAR’S EVE 2014 GALA BALL

Indulge in glitz, glamour, and swank and enjoy music from KISS 106.1’s DJ Tamm and a live 18-piece band.

Fremont Studios, 155 N. 35th St., 838-9080, bonzabash. com. 8:30 p.m. $69–$3,000. 21 and over.

HELLO 2015 Embrace the evening’s motto—“New resolution: No regrets”—with music, prizes, food, and drink. Frolik, 1415 Fifth Ave., 971-8015, motifseattle. com. 8 p.m. $35. 21 and over.

FIREWORKS BOAT PARTY Cruise around Lake Union dancing to DJs the Muzik Junkies, stopping only to watch the fireworks at midnight. Islander Champagne Cruises, 1611 Fairview Ave. E., 425-623-7103, champagnecruises.com. 9 p.m. $70. 21 and over.

» CONTINUED ON PAGE 26 Seattle Weekly 12-23-14.indd 1

12/8/14 2:59 PM

arts&culture» Music NYE 2015 » FROM PAGE 25

featuring a magic show and a murder-mystery dinner event. Underground Tour, 608 First Ave., 682-4646, undergroundtour.com. 7:30 p.m. $95. 21 and over.

RESOLUTION NEW YEAR’S EVE Resolve to dance the night away with a lineup featuring Morgan Page, Cosmic Gate, Kill the Buzz, Bro Safari, Zomboy, and many others. WaMu Theater, 800 Occidental Ave. S., 381-7555, resolutionseattle.com. 18 and over.

KING’S HARDWARE NEW YEAR’S EVE Dance to

Comedy XTREME NEW YEAR’S THEATRESPORTS PARTY

BEN BOBZIEN

music by DJ Blazon Stone and toast with $20 bottles of bubbly all night. 5225 Ballard Ave. N.W., 782-0027, kingsballard.com. Free.

LINDA’S TAVERN NEW YEAR’S EVE The flyer claims this is your last chance to make 2014 weird. With DJ Money Ball$ and DJ Cuddlingus. Open 10 a.m. Jan. 1 for hangover brunch. 707 E. Pine St., 325-1220, lindastavern.com. Free.

BLACK TIE AND LITTLE BLACK DRESS Start the party in formal wear and relax with hot tubs, saunas, stripper poles, and a Christmas-tree burning at midnight. Little Red Day Spa, 3200 Airport Way S., 9630633, littlereddayspa.com. 9 p.m. $40 adv. $50 DOS. NYE SNAP! Party like it’s 1999—or any of the nine years prior—at this celebration soundtracked by seven “trashy trash” DJs playing hits from the first Clinton era. LoFi, 429 Eastlake Ave., 254-2824, thelofi. net. 9 p.m. $18 adv. 21 and over.

THE LOST PELICAN Looking for a traditional New Orleans New Year’s Eve? You will find it here. 2400 1st Ave., 441-5132, thelostpelican.com. 9 p.m.

DIEGO’S NYE ALTER EGO BASH Guests are encouraged to bring a mask and their alter ego to journey through decades of music and, best of all, enjoy comfort food! Lucid, 5241 University Way N.E., 402-3042, lucidseattle.com. 9:30 p.m. $50–$300. 21 and over.

CIRQUE ENSO Spend the night bowling, playing arcade games, eating, drinking, and dancing. There’ll also be live stunts and performances. Lucky Strike Bellevue, 700 Bellevue Way N.E., 425-453-5137, bowlluckystrike. com. 9 p.m. $35–$1,000. 21 and over.

NORM’S BLACK AND WHITE PARTY Dress up for a night of food and drink specials and a free Champagne toast at midnight. Norms Eatery & Ale House, 460 N. 36th St., 547-1417, normseatery.com. Free.

SPECTRA 2015 Drink Champagne from an aerialist, watch science demonstrations, and engage with the exhibits, planetarium, and laser dome. Pacific Science Center, 200 Second Ave. N., 443-2001, pacificscience center.org. 8:30 p.m. $90–$175.

Hope Simpson rings in the new year with Ever So Android at the High Dive.

VIEWING PARTY The Vista Room on the 28th floor of

the Renaissance Seattle Hotel offers great views of the Space Needle fireworks display at midnight. 515 Madison St., 583-0300, renaissance-hotels.marriott. com. 9 p.m. Free.

NEW YEAR’S DINNER CRUISE Departing from Lake Union Park, the cruise will include dinner, live music, a view of fireworks, and a Champagne toast. Royal Argosy, argosycruises.com. 8 p.m. $250. 21 and over.

NEW YEAR’S EVE JAUNGADA BALLE Enjoy dancing and a toast to this year’s theme of “When You Wish Upon a Star.” Seattle Latvian Evangelical Lutheran Church, 11710 Third Ave. N.E., 362-9894, seattlelatvianchurch.org. 8:30 p.m. $25 suggested donation.

SHORTY’S Avoid the pressure of dressing up and paying a lot of money. Instead, enjoy cocktails, hot dogs, beer, and the clack of pinball flippers. Shorty’s, 2222 Second Ave., 441-5449, shortydog.com.

NEW YEAR’S AT THE NEEDLE Dine at SkyCity Soiree, toast with Champagne at midnight, dance on the

Observation Deck, and watch the fireworks up close.

Space Needle, 400 Broad St., 905-2100, spaceneedle. com. 8 p.m. $115. 21 and over.

NEW YEAR’S EVE GALA Enjoy beautiful music by talented musicians trained in piano, guitar, violin, and organ.

Champagne and dessert to follow. St. Thomas Episcopal Church, 8398 N.E. 12th St., Medina, 425-454-9541, stthomasmedina.org. 7 p.m. $20 suggested donation.

THREE CROWNS NEW YEAR’S EVE BALL Party across three floors featuring the Spyrographs playing ABBA, the Fancy Lads, and the Moonspinners, with (best of all) a Swedish pancake toast at midnight. The Swedish Club, 1920 Dexter Ave. N., 283-1090, three crownsball.com. 8 p.m. $35–$50.

TRINITY NEW YEAR’S EVE Celebrate in all three of Trinity’s rooms with music, party favors, Champagne, and a dramatic video countdown. 111 Yesler Way, 6977702, trinitynightclub.com. 8 p.m. $25–$75. 21 and over.

CHAMPAGNE SHENANIGANS The people from the Seattle Underground Tour bring you an exciting night

Guaranteed to be a riotous party: 20 comedians face off in an improv battle scored by the audience. Market Theatre, 1428 Post Alley, 587-2414, unexpected productions.org. 9 p.m. $32 adv./$45 DOS. MIKE BIRBIGLIA The master of embarrassing stories weaves his painful and hilarious narratives into theater that will make you laugh, cry, cringe, and love.

The Moore, 1932 Second Ave., 467-5510, stgpresents. org. 9 p.m. $32.50–52.50.

PARLOR SEATTLE’S NYE COMEDY CLASSIC Enjoy comedy from Joe Torry of House Party, BET’s Def Comedy Jam, and Billy Sorrells from Funniest Wins.

Parlor Live Seattle, 1522 Sixth Ave., 602-1441, parlor live.com. 7:30 & 10 p.m. $50–$60.

JET CITY IMPROV NEW YEAR’S EXTRAVAGANZA

This all-ages comedy event includes an improv show, hors d’oeuvres, dessert, Champagne, and Space Needle fireworks on the big screen, followed by allnight dancing. Jet City Improv, 5510 University Way N.E., 352-8291, jetcityimprov.com. 8 p.m.

JARED LOGAN has been featured on VH1’s Best Week Ever, The Pete Holmes Show, and The Meltdown.

Comedy Underground, 109 S. Washington St., 6280303, comedyunderground.com. 8 p.m. $25–$55.

Film MOULIN ROUGE! NEW YEAR’S EVE SING-ALONG

Celebrate with free bling rings, liquid diamonds, and singing your heart out. SIFF Cinema Uptown, 511 Queen Anne Ave. N., 464-5830, siff.net. 9 p.m. $10–$15.

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Family-Friendly CHILDREN’S MUSEUM COUNTDOWN Welcome the

arrival of the new year with an apple-juice toast at midnight in each time zone, followed by an hour crafting something representative of that country. Rinse.

Raise. Repeat. Children’s Museum, Seattle Center, 441-1768, thechildrensmuseum.org. 10 a.m. Free.

ROCKIN’ NEW YEAR’S EVE PARTIES For children and adults who like to party during the day, here’s a fun event with musical guests Miho & Diago, caricature artists, noisemakers, and New Year’s Eve hats.

Noon. Free with museum admission. The Museum also offers a nighttime party with comedian and juggler Eric Haines, a variety show with Cowboy Buck and Elizabeth, balloon twisting, custom party-hat making, and a ceremonial ball drop as the grand finale.

6 p.m. $10–$15. Imagine Children’s Museum, 1502 Wall St., Everett, 425-258-1006, imaginecm.org.

FIRST NIGHT TACOMA Head south for this familyfriendly, community-building alternative to traditional year’s-end celebrations with live music (Owl Parliament, the Banner Days, Seattle Rock Orchestra, etc.) and spectacles. Pantages Theater, 901 Broadway, Tacoma, 591-5890, firstnighttacoma.org.

6:30 p.m. $10 adv./$14 DOS.

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Dinners BELL + WHETE Along with dishes like Porchini Potage,

Tails and Trogger’s Pork Chop, or Chocolate Pot de Creme, are complimentary hors d’oeuvres and a $35 tasting menu. 200 Bell St., 538-0180, bellandwhete.com.

HOMMAGE Enjoy a night of nine courses comprising mostly savory and one sweet dish, featuring uni/oyster; black truffle; foie gras; fall mushrooms; Dungeness crab; sole, lamb, or venison with fish option; and white chocolate. 198 Nickerson St., 283-2665, hommageseattle.com. $95/person, $55 wine pairing.

INTERMEZZO CARMINE Delicious Italian food is all over a special five-course tasting menu with spirit and wine pairing. 411 First Ave. S., 596-8940, intermezzocarmine.com. $100–$120/person.

Lark’s Rosti Potatoes with smoked Steelhead Caviar.

ZACK BENT

four-course meal featuring rosti potatoes, wagyu hanger steak, and a Bartlett pear tart. The restaurant will also celebrate with live music and plenty of bubbles. 952 E. Seneca St., 323-5275, larkseattle. com. $110/person.

MONSOON Sibling chefs Sophie and Eric Banh will offer special dishes alongside their regular menu, highlighting seasonal items in their lavish Vietnamese signature style. Also available at their Bellevue location. 615 19th Ave. E., 325-2111, monsoonrestaurants.com. 5 p.m. $48/person.

RN74 Dine from two menus that include roasted market beets with burrata, red kuri squash risotto with truffle spaghetti squash, and chestnut agnolotti with parmigiana reggiano, black trumpets, and matsutakes. 1433 Fourth Ave. (at Pike St.), 456-7474, michaelmina.net. $95–$150/person.

THE TIN TABLE An elegant five-course meal with meat, fish, or veg option includes coffee-cured duck breast, Champagne sorbet, and pomegranate-glazed lamb. 915 E. Pine St., 320-8458, thetintablecom.

7 p.m. $70.

VOLUNTEER PARK CAFE Close the year at this neighborhood spot that features a communal table that runs the length of the room. The special year’send menu includes pear-fennel salad, sea scallops, filet of beef, and chocolate molasses pudding. 1501 17th Ave. E., 328-3155, alwaysfreshgoodness.com.

7 p.m. $95/person or $130 with wine pairings. E

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

LARK Experience the new incarnation of Lark with a

27

arts&culture» Music

TheWeekAhead Thursday, Dec. 25

Sure it’s Christmas, but COUNTRY DAVE & THE PICKIN’ CREW aren’t taking the night off. The group, led by “Country” Dave Harmonson, whom we named best country artist earlier this year, is going to add twang to the holiday, likely with a few tunes from Harmonson’s latest, Alive & Pickin’, a collection of classic country covers. The front man has performed with nearly every local country artist, with a resume that includes gigs with Cahalen Morrison and Country Hammer, Zoe Muth, Ganges River Band, Country Lips, Annie Ford Band, and the Swearengens, just to name a few. Little Red Hen, 7115 Woodlawn Ave. N.E., 522-1168, littleredhen.com. 9 p.m. $3. 21 and over.

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

Friday, Dec. 26

28

For the Winter may be BRENDA XU’s second full-length, but it’s her first album as a Seattleite. The San Diego native relocated a few years ago and took some time off from making music to settle into the Pacific Northwest.

And it would seem that break (from performing and sunny California) helped Xu shift her musical direction. For the Winter has a true singer/songwriter feel, but not as much as its predecessor, A Little Illusion. Xu is still accompanied by acoustic guitar, but Winter is more ambient and subdued, with Xu’s smoky voice sometimes as quiet as a whisper. I guess those dreary days are good for something. With & Yet, Local Strangers, Vanessa Small, Leanne Wilkins. Conor Byrne Pub, 5140 Ballard Ave. N.W., 7843640, conorbyrnepub.com. 9 p.m. $8. 21 and over.

After all the holiday gluttony, you could use a chance to stretch your legs and shimmy. It’s lucky, then, that Portland-based Prince tribute band EROTIC CITY is in town. After 20 years of performing as the funk superstar, vocalist/multi-instrumentalist Julian Stefoni has the singer’s onstage presence down pat. The effortless guitar work, the oh-so-smooth dance moves, the iconic purple jacket: It’s all there. As are all of Prince’s biggest hits, including, of course, “Erotic City.” With the Fat Kids, DJ AC Lewis. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 9 p.m. $12 adv./$15 DOS. 21 and over.

Jazz singer SARA GAZAREK’s latest, Blossom & Bee, is a collection of covers (save for the title track and “Fly Away Birdie”), many by jazz singer and pianist Blossom Dearie.

While the album shows Dearie’s far-reaching talent, it also showcases Gazarek’s vocal diversity. In classics like “Tea for Two” (from the musical No, No, Nanette) and “Down with Love” (from Hooray for What) or in more modern songs like Ben Folds’ “The Luckiest,” Gazarek’s voice shines. She even makes album closer “Unpack Your Adjectives” (yes, from Schoolhouse Rock) sound mature.

The Seattle native, who now calls Los Angeles home, is an unassuming force to be reckoned with. Jazz Alley, 2033 Sixth Ave., 441-9729, jazzalley.com. Through Sunday. 7:30 p.m. (Also 9:30 p.m. on Fri. & Sat.) $30.50. All ages.

It’s a Christmas miracle! Both the over- and under-21 crowds will have a chance to check out the solid lineup of A HIP-HOP HOLIDAY SPECIAL. The early show features Thaddeus David, who will no doubt perform tracks from his very recently released Parallels EP, and Grayskul— the trio of JFK, Onry Ozzborn, and Rob Castro—which combines futuristic beats with more day-to-day topics on Zenith. Headlining is the KnowMads, the duo of Tom Pepe and Tom Wilson, which just released a new EP of its own, Dominoes. The late show features the same lineup, with the addition of Don Dishes. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 5 p.m.: $10 adv./$12 DOS, all ages. 9 p.m.: $10 adv./$12 DOS, 21 and over.

S is one of those names that’s nearly impossible to Google without adding keywords like “band,” “Seattle,” and/or “Jenn Ghetto,” the alt-rocker behind the moniker. Trying to find information about the project can be frustrating, but hearing Cool Choices, Ghetto’s latest release as S, makes all the effort worth it. The Chris Walla–produced album finds Ghetto, formerly of Carissa’s Wierd, recalling the minimalist recording style that marked her first solo release, Sadstyle, by focusing primarily on guitar and vocals. But on Choices, Ghetto has filled out her sound with percussion, bass, and synth. It’s a small change, but it adds a lot of weight to the album. With The Dutchess & the Duke, Ephrata. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599, tractortavern.com. 9 p.m. $10. 21 and over.

Saturday, Dec. 27

Seattle native SKERIK, aka Eric Walton, is the epitome of a workaholic. His website lists a dozen bands as current projects, and the saxophonist has toured and performed with at least twice as many, including, Sadhappy, SUNN O)))), Master Musicians of Bukkake, Pearl Jam, and Ani DiFranco. The latest addition to Walton’s extensive dis-

cography is Muti, a four-song release as part of Critters Buggin, a quartet that defies boundaries with a fusion of jazz, electronica, rock, funk, and psych. With Rene Hart, Dawn Clement, D’Vonne Lewis. The Royal Room, 5000 Rainier Ave. S., 906-9920, theroyalroomseattle.com. 8 p.m.

Donation. All ages until 10 p.m.

RULER is yet another band name that requires a certain amount of web-search specificity. Typing it in on iTunes, for instance, returns a handful of measurement apps.

Searching for “Matt Batey,” the man behind the music, brings up a single 2006 album, The Devil and the Deep Blue Sea. Yet based on “Unhindered Pace,” which Batey (also a member of Cataldo) released in October, Ruler (which also includes Cataldo’s Eric Anderson) pairs poppy vocal melodies with solid guitar hooks and a ton of percussion. With Chris Staples Band, Joseph Giant, Baron Carroll. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 9 p.m. $8. 21 and over.

Whether you’re looking for a drummer for a gig or someone to teach you a thing or two about percussion, BRAD GIBSON is your man. The freelance drummer has worked with singers, musicians, film composers, and worship leaders and given lessons on drumming fundamentals. This year, he added two releases to his lengthy discography: I Did It for the Money with jazzy Americana septet Blvd Park and a self-titled collection of originals with Poontet, a psychedelic smooth-jazz six-piece. He leads the Brad Gibson Trio, featuring guitarist Ari Joshua and Joe Doria on keys, all performing tonight. The Triple Door’s Musicquarium, 216 Union St., 838-4333, thetriple door.net. 10 p.m. Free. 21 and over.

Sunday, Dec. 28

Unconstructed Dream Space, the latest from Seattle rapper ASTRO KING PHOENIX, could not be more spot-on.

Using sparse synths (sometimes bordering on the psychedelic) and layered vocal effects, Phoenix creates an album that sounds as though it has one foot in reality and the other in an ambient dreamland. Phoenix, born Aubrey Rhodes, majored in English with minors in philosophy and writing—which no doubt helps him create rhymes that come across more as stories than as songs, about issues such as feeling like he’s being controlled by someone else (“On a String”). Phoenix’s is a fresh perspective that’s sure to turn heads. With ZZ Top’s Drummer’s Drum Machine’s Manager’s Band, Dex Dynamite Saga. The Crocodile’s Back Bar. 8 p.m. $5. All ages.

Monday, Dec. 29

Somehow, between hanging out with celebrities and helping with sketches like “Slow Jam the News” and “History of Rap” as Jimmy Fallon’s house band, Philadelphia-born neo-soul/hip-hop eight-piece THE ROOTS found time to release its 11th full-length, . . . And Then You Shoot Your Cousin. The concept album is a big departure from the more playful side of the band that’s seen on TV—an honest look at African-American stereotypes told through the eyes of various characters and the voices of multiple featured artists. With Lion Babe. The Showbox, 1426 First Ave., 628-3151, showboxonline.com. Through Monday.

8 p.m. $65 adv./$75 DOS. All ages.

After nearly 40 years in the business, Grammy-winning singer and conga player PONCHO SANCHEZ is a major figure in both the jazz and Latin-music communities. His latest with His Latin Jazz Band, Live in Hollywood, combines both sides of his musical background and his expertise as a bandleader. The ensemble’s performance is so on-point that if the audience applause and Sanchez’s moment of tribute to musician Clare Fischer were removed, Live in Hollywood could pass for a studio recording. This level of perfection doesn’t happen often, and is a testament to Sanchez’s command of the genre. Jazz Alley. Through Tuesday. 7:30 & 9:30 p.m. $32.50. All ages.

Tuesday, Dec. 30

If they can manage to leave the couch, this SOYAYA show is perfect for armchair travelers young and old. Ghanaianborn, Shoreline-based musician Mohammed Shaibu leads a quartet from Ghana, Colombia, Benin, and Senegal in tunes that capture the essence of his West African home. As Shaibu puts it on his website, Soyaya (which means “love and affection” in Hausa, his native language) combines elements of palm-wine and highlife music with indigenous R&B. The mostly instrumental acoustic songs feature a variety of percussion, with Shaibu on guitar, and practically dare listeners to resist dancing. It’s all the culture without the jet lag. With Rafael Tranquilina. The Royal Room. 8 p.m. Donation. All ages until 10 p.m.

BY A Z AR IA C . P O D P LE S K Y

Send events to music@seattleweekly.com.

See seattleweekly.com for more listings.

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

JAZZ ALLEY IS A SUPPER CLUB

SARA GAZAREK- HOME FOR THE HOLIDAYS FRI, DEC 26 - SUN, DEC 28

Seattle’s own impeccable jazz singer returns by popular demand!

PONCHO SANCHEZ LATIN JAZZ BAND MON, DEC 29 - NYE!!

Legendary Latin jazz master conguero and his 7-piece band ring in 2015 (4 package options available for NYE. Visit JazzAlley.com for details)

PEARL DJANGO WITH SPECIAL GUEST GAIL PETTIS (EARSHOT MAGAZINE’S 2010 NORTHWEST VOCALIST OF THE YEAR)

FRI, JAN 2 - SUN, JAN 4

“The gypsy jazz of Django Reinhardt done to perfection!” - Paul de Barros, The Seattle Times

Tuesday’s

Wednesday’s

MARTIN TAYLOR TUES, JAN 6 - WED, JAN 7

in This Bring T And ge n o p Cou Tizer e p p A one 2 oFF! For 1/

Multi-award winning guitarist. Acoustic Guitar Magazine calls him ‘THE Acoustic Guitarist of his Generation.’

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

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SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

12.30

seco

29

arts&culture» Music Aurelio Martinez keeps the Caribbean rhythms of paranda alive.

BY DEVON LEGER

T

he bass lines hit you first, rolling like waves. Then the vocals, calling over the horizon in the kind of piercing tone that can beckon a fisherman back to the shore. The music of the Garifuna people— descendants of 17th-century shipwrecked slaves and indigenous Caribbeans living along the coasts of Honduras and Belize—seems forever tied to the sea.

The style is known as paranda, an acoustic-based, guitar-heavy tradition rooted in percussive rhythms.

A while back it was nearly lost, poised to be the next Buena Vista Social Club as people sought out the very last of the old players. Yet with his new album, Landini, singer/songwriter Aurelio Martinez, who goes by Aurelio, keeps the Garifuna tradition alive.

“I used to be worried about the future of paranda music,” Aurelio says, “but not anymore.

It makes me happy to see young Garifuna artists playing the style again and composing new songs.”

It’s an optimistic notion, since Aurelio is still the main ambassador for paranda music—especially since his friend and collaborator, Belizean musician Andy Palacio, passed away in 2008. Yet it’s surely this grave reality that motivates Aurelio to write music that speaks to his community and introduces Garifuna music to the world at large.

Once a Honduran congressman, Aurelio traveled back to his roots to make the album,

El Corazon ING

W EE K LY

with Jenny’s Last Stand, Plus Guests Lounge Show. Doors at 7:30PM / Show at 8:00 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

SATURDAY, DECEMBER 27TH

30

M U SI C

with Words From Aztecs, Distinquisher, Further North, Twisted Heroes Lounge Show.

Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

WEDNESDAY, DECEMBER 31ST

THE NAUGHTY LIST II FEATURING:

NEW YEAR’S EVE WITH:

with Showtime, Vessels, Stories Away, Avoid The Void Doors at 6:30PM / Show at 7:00 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

Plus Special Guests Doors at 8:00PM / Show at 9:00 21+. $15 ADV / $20 DOS

LAKEVIEW DRIVE

SATURDAY, DECEMBER 27TH

THE LATE NIGHT SWING

with Run From Cover, The Naked Giants, Raven Zoe, Plus Guests Lounge Show. Doors at 7:30PM / Show at 8:00 ALL AGES/BAR W/ID. $8 ADV / $10 DOS

FTHEILSKY M RAINED HEROES

SUNDAY, DECEMBER 28TH

with The Deceptives, Play With Fire, Crackhouse Lounge Show. Doors at 8:00PM / Show at 8:30 21+. $5

AURELIO MARTINEZ The Triple Door. 216 Union St., 838-4333, thetripledoor.net. $20 adv./$25 DOS. All ages. 7:30 p.m. Tues., Dec. 30.

FOR OVER 40 YEARS!

MONDAY, DECEMBER 29TH

LOVE THE LOST

music@seattleweekly.com

The West Coast’s oldest and largest herbal apothecary and perfumery

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

SHIVER TWINS

drawing inspiration from the small village of Plaplaya, where he grew up.

With its voices raised in chorus and the drumbeats flowing like water, you can almost feel the heat of the Honduran sun.

For the Garifuna, people of a diaspora, music is one of the touchstones that bring them together.

Percussionist and bandleader Ricardo Guity Blanco, a visiting artist in the University of Washington Ethnomusicology program, can attest to the need for it. About 1,500 Garifuna live in the Seattle area, he says, some of whom gather to hear his band, Hagucha Garinagu. He signs e-mails with the phrase Heretimatiwa Uwara: “We Are Stronger United.” “Music is our voice,” he says. “It absolutely brings us together.”

Aurelio agrees that music unites Garifuna near and far. “For us Garifuna, music is like food,” he says. “It is essential to our survival.

Sometimes music is even more important for Garifunas living in the U.S., because music connects them to home, to their roots.” E

Bulk Herbs, Incense, Tinctures, Essential Oils

www.elcorazonseattle.com

FRIDAY, DECEMBER 26TH

COURTESY OF REAL WORLD RECORDS

Sea Sounds

In the heart of Pike Place Market

tenzingmomo.com | 93 Pike #203 | 206.623.9837

EV ENT S

PR O M O TI O NS

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

JEREMY ENIGK (Sunny Day Real Estate)

ARTS & ENTERTAINMENT NEWSLETTER

FRIDAY, JANUARY 2ND

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

I DECLARE WAR

with Prometheus, Autumn Tragedy, Hermosa, Isles Lounge Show. Doors at 7:00PM / Show at 7:30 ALL AGES/BAR W/ID. $10 ADV / $12 DOS

H A P P Y HO U R SATURDAY, JANUARY 3RD

COLOSSAL FEST 2015 DUAL STAGE MULTI GENRE MUSIC FEST FEATURING:

BROOKLYNN SHAYDES

with Transcendentalists, Beneath The Spin Light, Grand Arson, Ashes Of Existence, Onesimus, From The Future, Riley Thomas, Sprism, Hold Fast, AFTER-PARTY WITH CLIFFORD (DJ Set)

Doors at 6:00PM / Show at 6:30 ALL AGES/BAR W/ID. $10 ADV / $15 DOS

JUST ANNOUNCED 1/4 - CHAINBANGERS DISC GOLF SHOP PRESENTS IPL @ THE EL 1/17 - ZEKE / THE DERELICTS 1/29 - SKULL FIST 1/30 - THE FALL OF TROY 2/15 - CANCERSLUG 2/16 LOUNGE - CORINA CORINA 2/21 - REAGAN YOUTH 3/6 - DR. KNOW 3/11 - ENSLAVED / YOB 3/19 - MOD SUN 3/20 - THE DEVIL WEARS PRADA 4/19 - ENTER SHIKARI UP & COMING 1/4 LOUNGE - SURVIVAL 1/6 LOUNGE - THE FRAIDIES 1/9 - GERN BLANSTON 1/9 LOUNGE - NO BRAGGING RIGHTS 1/10 - PIG DESTROYER 1/15 LOUNGE - NEW PSYCHEDELICS 1/16 - SCHOOL OF ROCK PRESENTS: BLACK SABBATH 1/18 LOUNGE CONVEYER 1/20 LOUNGE - THE RAMONAS 1/22 LOUNGE - GRAYSON ERHARD 1/23 - DARK TRANQUILITY 1/24 - POWERMAN 5000 1/25 - SILVERSTEIN 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

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

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10AM - 9PM

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ADULT PHONE ENTERTAINMENT Free FORUMS & CHATROOM 206-753-CHAT 253-203-1643 425-405-4388 MAN to MAN Free chatrooms!

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WARNING HOT GUYS! Seattle

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FREE CODE : Seattle Weekly

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Employment General

Multi-Media Advertising Consultant SEATTLE

ART DIRECTOR Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. has an immediate opening for an experienced editorial art director. The art director is responsible for the overall design quality and integrity of the publication. He/she must be able to conceptualize and produce modern, sophisticated, and vibrant design for covers, features, and editorial pages.

This individual must be an exceptionally creative designer who has experience commissioning high-quality photography and illustration, negotiating fees, clearing rights and managing a budget. The art director will work with and manage other designers in a fast-paced, deadline-driven environment so will need the ability to balance strong leadership with strong collaboration in order to thrive in a team environment. Applicants must have a superior understanding of typography and expert-level skills in Photoshop, Illustrator, InDesign, and Acrobat. Editorial design experience is a plus. The successful candidate will possess excellent communication and organizational skills and the ability to juggle several projects at once.

Knowledge of PDF and postscript technology is beneficial.

Other talents such as illustration or photography are desirable, but not required.

Sound Publishing offers competitive salaries and benefits including healthcare, 401K, paid holidays, vacation and sick time.

Qualified applicants should send a resume, cover letter, and a few samples of your work to: hreast@soundpublishing.com Be sure to note ATTN: HR/ADSEA in your subject line.

Announcements

TM

24/7 Customer Care 1(888) 634.2628 18+ ©2013 PC LLC 2589

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

PROMOTIONS

PROMOTIONS NEWSLETTER

The inside scoop on free tickets, and event photos.

KING COUNTY DEPARTMENT OF NATURAL RESOURCES AND PARKS NOTICE OF INDUSTRIAL WASTE DISCHARGE PERMIT APPLICATION NO. 7915-01 TAKE NOTICE: That Sound Transit - Northgate Link Extension - University District Station located at 4300 Brooklyn Avenue NE, Seattle, WA 98105 has filed an application for an industrial waste discharge permit to discharge wastewater into the West Point Treatment Plant from its construction dewatering operation in the amount of 216,000 gallons per day following treatment and controls and in compliance with rules and regulations of the King County Department of Natural Resources and Parks; Washington State Department of Ecology; and the U.S. Environmental Protection Agency.

The approximate point of discharge is 4300 Brooklyn Avenue NE, Seattle, WA 98105.

Any person desiring to express their view, or to be notified of the King County Department of Natural Resources and Parks’ action on this application, should notify the King County Industrial Waste Program at 201 South Jackson Street, Room 513, Seattle, WA 98104, in writing, of their interest within 30 days of the last date of publication of this notice.

Publication dates of this notice are: December 17, 2014 December 24, 2014

KING COUNTY DEPARTMENT OF NATURAL RESOURCES AND PARKS NOTICE OF INDUSTRIAL WASTE DISCHARGE PERMIT APPLICATION NO. 7916-01 TAKE NOTICE: That Sound Transit -- Northgate Link Extension – N125 Cross Passage Dewatering located at Maple Leaf Portal to University of Washington Station, Seattle 98115 has filed an application for an industrial waste discharge permit to discharge industrial wastewater into West Point from its construction dewatering operation in the amount of two million gallons per day following treatment and in-plant control and in compliance with rules and regulations of the King County Department of Natural Resources and Parks; Washington State Department of Ecology; and the U.S. Environmental Protection Agency.

There are multiple proposed discharge points along the alignment of the future Sound Transit Northgate Link Extension tunnel running from the Maple Leaf Portal, located at 9560 First Avenue NE to the University of Washington station, located at 3720 Montlake Boulevard NE, Seattle, WA 98115.

Any person desiring to express their view, or to be notified of the King County Department of Natural Resources and Parks’ action on this application, should notify the King County Industrial Waste Program at 201 South Jackson Street, Seattle, WA 98104-3854, in writing, of their interest within 30 days of the last date of publication of this notice.

Publication dates of this notice are: 12.17.2014; 12.24.2014

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 hreast@soundpublishing.com

Dentist: perform general dentist duties such as removing decay, fill cavities, examine x-rays, and repair teeth. Applicant must have a DDS or DMD and a valid Washington state dental license. Mail your resume to John T Kim DDS PS at 18920 Bothell Way NE Ste 202, Bothell, WA 98011 Attn: Dr. Kim. DIRECTV is currently recruiting for the following position in Seattle: HR Business Partner If you are not able to access our website, DIRECTV.com, mail your resume and salary requirements to: DIRECTV, Attn: Talent Acquisition, 161 Inverness Drive West, Englewood, CO 80112.

To apply online, visit: www.directv.com/careers. EOE.

Sound Publishing, Inc. is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace. Visit our website at: www.soundpublishing.com to find out more about us!

DONT SETTLE FOR SEASONAL WORK YEAR-ROUND We are looking for motivated, independent, individuals who don’t mind talking to people.

No sales involved just short conversations face to face with home owners.

Work outdoors around your own schedule.

Earn $500-$750 per week/ top reps make $1200+ Allowances for Cell phone, travel, medical compensation can be earned Company provides all market areas, apparel & training.

Vehicle, DL, Cell phone & Internet access req.

Email resume to recruiting@evergreentlc.com or apply online at www.tlc4homesnw.com

Employment General

Employment Social Services

CALENDAR ASSISTANT Seattle Weekly

VISITING ANGELS Certified Caregivers needed. Minimum 3 years experience.

Must live in Seattle area.

Weekend & live-in positions available. Call 206-439-2458 • 877-271-2601

Seattle Weekly, one of Seattle’s most respected publications and a division of Sound Publishing, Inc. has an immediate opening for a calendar assistant. This is a Part-Time position, working approximately 16 hours over 3 days per week.

The calendar assistant will assist both the arts and music editors in the creation and upkeep of Seattle Weekly’s extensive events listings. He/she must be detail oriented, able to comb press releases and online calendars and manually transcribe mind-numbing information with great accuracy and gusto. A proven ability to write succinct, lively copy is a must, as is a working knowledge of most art forms and familiarity with Seattle’s arts and music scenes, from the high-art institutions to the thriving underground. Obsessive knowledge about one or two particular disciplines (Appalachian folk songs and Kabuki, say) is not required, but is definitely a plus. If you have trouble meeting deadlines, don’t apply. Applicants must have a working knowledge of Microsoft Office. The successful candidate will possess excellent communication and organizational skills and the ability to juggle several projects at once.

Qualified applicants should send a resume, cover letter, and a few samples of your writing to: hreast@soundpublishing.com Be sure to note ATTN: HR/CASEA in your subject line.

Sound Publishing, Inc. is an Equal Opportunity Employer (EOE) and strongly supports diversity in the workplace.

Visit our website at: www.soundpublishing.com to find out more about us!

Tree Climber/ Trimmers Experienced Tree Climbers Wanted Full Time/ Year Round Work.

Must have own Gear & Climb Saw Reliable Transportation & Driver’s License req.

Email Work Exp. to recruiting@evergreentlc.com 800-684-8733

Employment Volunteers Needed

SPEAK UP FOR A CHILD! Be a Volunteer Court Appointed Special Advocate Children in Dependency/CPS Cases.

Children in High Conflict Family Law Cases.

Real Estate for Sale Jefferson County Custom built home, $409,000 Master bd + 2 bonus rooms Pleasant Tides Community Deep water Marina, WF park Prudential NW Real Estate MLS # 634050, 360-250-3308

Real Estate for Sale San Juan County EASTSOUND, 98245.

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 AUBURN, 98049.

FULLY FURNISHED 1 Bedroom with all utilities and cable paid! Private entrance. Full kitchen.

One person only. Non smoker. No pets. $700 / month and $400 deposit.

Call Bob 253-906-0410 or 253-939-3199.

WA Misc. Rentals Rooms for Rent 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

WA Misc. Rentals Want to Rent

YOU can be a voice for a child!

GUARANTEED INTERVIEWS!!

The new Home2 Suites by Hilton is opening soon in Tukwila and needs Full Time and PT

Room Attendants, Front Desk Agents, House Persons/ Shuttle Drivers, Maintenance Techs, Sales Admins, Laundry Attendants, Night Auditors.

Job Fair on January 6th 2pm to 7pm and January 7th, 10am – 3pm at 1035 Andover Park West, Suite 200, in Tukwila.

Seasonal Job Ending? Now’s the time to start applying! RGIS Inventory takers needed! Starting pay $10.75/hr. Regular part time work. Paid Training. Promotion opportunities. Regular wage reviews. No Experience Needed. Must have access to reliable transportation. EEO Employer/Veteran/Disabled.

Apply online at www.rgis.com.

Job # INV00240

Volunteer * Donate Tell a Friend 206.296.1120 beacasa@kingcounty.gov 206.748.9700 admin@familylawcasa.org Employment Services COMPUTER PROBLEMS? First Choice Tech Support.

Get help with your PC today!

Mention this ad for free remote diagnostic.

1-844-868-9180 COMPUTER PROBLEMS? First Choice Tech Support.

Get help with your PC today!

Mention this ad for free remote diagnostic. 1-844-868-9180 WANTS TO purchase minerals and other oil & gas interests.

Send details to P.O. Box 13557, Denver, Co 80201

Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance.

Financial Aid avail for those who qualify 1.800.321.0298

SEEKING A ROOM Rental in South King county, within 10 miles of Burien. I’m Christian, a senior citizen male.

Please call with details 206-439-1485.

Announcements

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

2 CHIHUAHUA’S ARE seeking a new home together. Long haired, one year olds with current vaccinations. Male and female puppies can be registered. Health forces sale. Asking $500 for the pair. Call Anna 253-8785470.

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 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 NEW APPLIANCES UP TO 70% OFF All Manufacturer Small Ding’s, Dents, Scratches and Factory Imperfections *Under Warranty* For Inquiries, Call or Visit Appliance Distributors @ 14639 Tukwila Intl. Blvd.

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 STACK LAUNDRY Deluxe front loading washer & dryer. Energy efficient, 8 cycles.

Like new condition * Under Warranty * Over $1,200 new, now only $578 or make payments of $25 per month

%206-244-6966% 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

Flea Market

Cabinet sewing machine $125. 2 patio lounges $10 ea. 206-892-0288.

Dinette table w/ 2 leaves and 4 chairs $75. End table $25. Helm chair $50. 206-892-0288.

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

253.882.0882

FREE to listen and reply to ads!

EVENTS

20 FLAT ACRES. Tired of paying utility bills?

Water, sewer, garbage and electricity getting too expensive? Own your own Off-The-Grid Power Solar panel, well, septic all installed. 2 BR, 2 BA, fenced. 24’x56’ dbl wide mobile. Plumbed to propane. 15 min to Tonasket $35,000 (cash) 206.619.9674.

HADOPTION: H At-Home Mom, LOVE, FinanciallySecure Family, Laughter, Art, Music awaits 1st baby.

H Melanie H H Expenses paid H H1-866-757-5199 H

Tacoma

Employment General

Washington Real Estate For Sale

31

DINING

Home Furnishings

ENTERTAIN THIS YEAR W/ YOUR RETRO DINING ROOM

Classified

Call

@ 206-623-6231, to place an ad

HAPPYHAULER.com

Debris Removal • 206-784-0313 • Credit Cards Accepted!

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

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“Seattle Stu”

Jazz Trio or Quartet for Hire Available for Parties & Restaurants (TOPPS!) Please Call: (206) 223-1110 from 1pm -7pm E-mail: sinison@comcast.net Severe Allergies or Autoimmune Disease?

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

Do you have PTSD and alcohol problems?

Seeking free treatment?

Paid research opportunity.

Call the APT Study at

206-543-0584.

Singing Lessons

FreeTheVoiceWithin.com Janet Kidder 206-781-5062

$ TOP CASH $

PAID FOR UNWANTED CARS & TRUCKS

$100 TO $1000

7 Days * 24 Hours Licensed + Insured

ALL STAR TOWING

Solid Maple table, beautiful sideboard and 6 padded chairs.

Sleek design from the late 1960’s. Clean lines. Very good cond.! $450. Call for details.

Vashon Island

206-304-1451

WEEKLY

Auto Events/ Auctions

BIG D TOWING Abandoned Vehicle Auction Tuesday 12/30/14 @ 11AM. 2 Vehicles.

Preview 10-11am.

1540 Leary Way NW, Seattle 98107

FILM

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

SEATTLE WEEKLY • DECEMBER 24 — 30, 2014

AR T S AND ENT

HAPPY HOUR

HAPPY HOUR NEWSLETTER

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

facebook.com/seattleweekly

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

CAREER TRAINING

425-870-2899

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

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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.

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MEDICINE MAN WELLNESS CENTER Walk-ins Welcome

On-Line Verification Available Providing Authorizations in Accordance with RCW 69.51A

$99 includes Authorization and Card Doctors available Tuesday 2 - 6 • Thursday 11 - 3, Friday 11 - 6

Also Open Sunday 12 - 4

4021 Aurora Ave N. Seattle, WA 98103 • 206-632-4021 www.medicinemanwellness.com Now accepting all major credit/debit cards!

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