Seattle Weekly, October 28, 2015

META! COMIC ARTISTS MAKE A COMIC ABOUT THE SHORT RUN COMIX & ARTS FESTIVAL PAGE 17

Doppelburger

Will lovers of In-N-Out embrace Chinese-owned CaliBurger?

By Chason Gordon Page 13 OCTOBER 28-NOVEMBER 3, 2015 | VOLUME 40 | NUMBER 43

Berning Up the Dance Floor

Tapping into the political power of Seattle’s dance-music scene.

By Cate McGehee Page 15 SEATTLEWEEKLY.COM | FREE

EARSHOT

JAZZ FESTIVAL

Seattle’s Jazz Festival October 9 – November 18

REGISTRATION OPENS AT 7:00AM ON OCTOBER 29TH

BIG CLIMB

EVENTS THIS WEEK:

THURSDAY, OCTOBER 29 BENAROYA HALL, S. MARK TAPER FOUNDATION AUDITORIUM, 7:30PM

Sonic Evolution: Seattle Symphony Orchestra w/ Bill Frisell, Shaprece, & Derek Bermel w/ Roosevelt High School Jazz Band

A not-to-miss collaboration: The Seattle Symphony Orchestra, with director Ludovic Morlot, premieres a new work by Wayne Horvitz with soloist Bill Frisell. Plus: Derek Bermel’s riveting Migration Suite featuring the Roosevelt Jazz Band, and a set of soulful jazz/R&B/electronica from Shaprece.

(Presented by the Seattle Symphony Orchestra.)

FRIDAY, OCTOBER 30 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM SATURDAY, OCTOBER 31 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Joel M. Ross Quartet

Edgy, surprising, and hugely likable jazz vibes with band mates Jeremy Corren, Jalon Archie, and Ben Tiberio.

FRIDAY, OCTOBER 30 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

MARCH 20, 2016 CLIMB. CONQUER. CURE.

Jacob Zimmerman Sextet

At 788 feet of vertical elevation, the Columbia Center in

SUNDAY, NOVEMBER 1 SEATTLE ART MUSEUM, PLESTCHEEFF AUDITORIUM, 8PM

of the Mississippi. It takes 69 floors, or 1,311 steps, to reach

Solid and burning, with Raymond Larsen, Jake Svendsen, Nate Parker, Evan Woodle, and Katie Jacobson.

Andy Clausen’s Shutter Project

New music inspired by photography, with Riley Mulherkar, Gregg Belisle- Chi, Mitch Lyon, and Gregory Uhlmann.

MONDAY, NOVEMBER 2 CHAPEL PERFORMANCE SPACE, 8PM

Brad Linde’s straightHORN / Brockman & Halberstadt Duo: Strayhorn Favorites

In tribute to Billy Strayhorn, Kate Olson and Jessica Lurie join Brad Linde and Patrick Booth in a soprano sax quartet. Michael Brockman and Randy Halberstadt open.

TUESDAY, NOVEMBER 3 TRIPLE DOOR, 7:30PM

Garfield High School Jazz Band

One of the region’s finest school jazz programs has raised the bar for the whole country.

downtown Seattle stands as the second tallest building west the highly acclaimed observation deck with breathtaking views of the entire Puget Sound region. The Big Climb supports the mission of The Leukemia & Lymphoma Society, raising money through sponsorships, individual and team fundraising, and entry fees. In 2014, the event sold out in 13 hours and raised $2.42 million for blood cancer research and patient services.

Registration for the 2015 Big Climb sold out in 9 hours and raised a record breaking $2.92 Million!

WEDNESDAY, NOVEMBER 4 TRIPLE DOOR, 8PM

Seattle Women’s Jazz Orchestra w/ Mimi Fox

SWOJO welcomes guitarist Mimi Fox and winners of its composing competition. (Presented by SWOJO.) SEATTLE WEEKLY • OCTOBER 28 — NOVEM BER 3, 2015

THURSDAY, NOVEMBER 5 PANAMA HOTEL, 6PM

2

Paul Kikuchi: Songs of Nihonmachi

Reimagined popular songs of Seattle’s Nihonmachi (pre-WW2) Japantown.

THURSDAY, NOVEMBER 5 & FRIDAY, NOVEMBER 6 ROYAL ROOM, 8PM

Jacob Fred Jazz Odyssey & Skerik

JFJO’s Battle For Earth psychedelic musical comic book is just out.

THURSDAY, NOVEMBER 5 NECTAR LOUNGE, 8PM

Blades / Ciotti / Coe w/ DJ Logic / Industrial Revelation

A burning B3 organ group and a band of Seattle geniuses. Hellofa night of music. (Presented by Nectar Lounge.)

COMING UP...

Art Lande Quartet, Ed Reed & Anton Schwartz play Hartman and Coltrane, SRJO presents Lush Life: Celebrating Billy Strayhorn’s 100th Birthday, Torsten Mueller & Phil Minton, Jay Clayton, James McBride and The Good Lord Bird Band, Anat Cohen Quartet, Wayne Horvitz @ 60, and many more...

More than 50 events in venues all around Seattle Buy tickets at www.earshot.org & 206-547-6763 WWW.BIGCLIMB.ORG 123 NW 36TH ST. #100 | SEATTLE, WA 98107 | (206) 628-0777 BigClimbSeattle

BigClimb

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VOLUME 40 | NUMBER 43

SEATTLEWEEKLY.COM

October 28-November 3, 2015

news&comment 5

BY SARA BERNARD | How a new wave

7

of activism is tying together environmental and racial issues. Plus: the library rebrand and CIA espionage.

SECOND-HAND ROWS

BY FRANCESCA LYMAN/ INVESTIGATEWEST | The truth behind

Value Village’s purported charitable giving.

food&drink

13 DOPPELBURGER

BY CHASON GORDON | Yeah,

CaliBurger’s a blatant In-N-Out ripoff.

But until the real thing comes along . . .

13 | THE WEEKLY DISH 14 | THE BEER HUNTER

arts&culture

15 SANDERNISTAS

17 | COMIX 20 | ELECTRIC EYE

Our monthly album roundup; Redford as Rather; Coates as Camus; mythmaking aerial dance.

27 CALENDAR 27 28 29 30 31 32

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SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

BY CATE MCGEHEE | Among the electronic-music community, Bernie Sanders has inspired a new political consciousness.

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A CLIMATE OF CHANGE

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“Did Seattle ever have a soul? When I moved here in the mid-1980s I sometimes felt like a character in a horror movie.”

MARC PALM

COMPOSED BY

BILL WHELAN

TECH-NO BEAT

In our sketchy new weekly feature Comix in the City, cartoonist Marc Palm poked some fun at all the Amazon angst (Ama-angst?) and asked, “What can we hope to save from the tech-pocalypse!?” Readers shared their own thoughts on the changing face of the city (and offered some solutions).

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I’m holding onto Seattle’s past very much. I’m 65 and grew up when it was idyllic. Except for the traffic, apartments/condos going up everywhere, and the high housing costs, I still like it. I am proud to be a native Seattleite.

Linda Leiren Plancich, via Facebook

10/18/15 6:58 PM

I think it’s naive to believe that an employee who pursued fraud and left the company is an unbiased source. That the NYT didn’t mention the relevant fact exposes some of their bias, too. The NYT should have reported the employee’s mitigating circumstance, but it didn’t because it wants to sell papers and speak a message.

Barry Ocanto, via seattleweekly.com

I know I’ve only been here for 30 years, but As Carney told The New York Times in a followwhat IS Seattle’s soul? Shit always changes. up article, if the Times had asked Amazon directly Souls of places change too, I about Olson, Amazon “might” guess. If Seattle loses all the have provided the alleged fraud Send your thoughts on stuff you like, then you have to detail. There is apparently no this week’s issue to admit that you don’t like Seattle criminal or civil complaint against letters@seattleweekly.com Olson, who is not commenting anymore. Then you’d have to

face what I’m facing, which is whether I can still call this place home. Claiming that it lost its “soul” is just an excuse that keeps you from having to admit you should move on because your home became something you don’t like.

Michael Duggan, via Facebook

beyond what he told the Times in response to their asking. Amazon’s evidence hasn’t been presented, but it’s appalling they would air it publicly without there being a civil or criminal basis on which to make the allegation or having said they have a signed statement.

Glenn Fleishman, via seattleweekly.com

I’m mystified by these endless articles about Seattle supposedly struggling to keep its soul.

Did it ever have a soul? When I moved here in the mid-1980s and began working for the Seattle School District, I sometimes felt like a character in a horror movie. The way this city screwed children even back then was unbelievable—and things get worse every year under St. Bill Gates’ “philanthropy.” Boeing was never a class act, Microshaft has never been more than a social disease, and now Amazon is taking all the flak?

David Blomstrom, via Facebook

COPS ON TRIAL

CARNEY BARKERS

Speaking of Amazon taking flak, our report on the company’s response to a critical New York Times piece published two months ago stirred some conversation. Amazon claimed that one source for the piece, Bo Olson, shouldn’t have been quoted, because he left the company after being caught defrauding vendors (Olson denies it). We thought that calling out a critical former employee seemed a bit vindictive. Readers had their own takes.

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Just refuse service to anyone wearing cargo shorts and a polo and they’ll get the message.

Skye Martin, via Facebook

Journalists do not have access to confidential employee records. The fact that [Amazon spokesman Jay] Carney disclosed that information in publication puts the company at risk for a lawsuit. Whether or not those are facts related to the employee’s separation from the company is in no way related to that employee’s observation that some fellow employees were driven to tears.

Lynne, via seattleweekly.com

And an excerpt we printed from former King County Prosecutor Christopher T. Bayley’s new memoir recounting his effort to prosecute a police officer in 1971 who shot and killed an unarmed black man had some readers reflecting on what’s changed in Seattle and what hasn’t.

I did not reside in Seattle at the time, but I remember all of the principles involved in the incidents and murders. I do recall the corruption by and through the King County Sheriff ’s Department, and its relationship with the State Board of Prison Terms and Paroles. It is not easy to forget the OK Corral-like aptitude and attitudes of Seattle policemen, who as I recall did a lot of shooting of black citizens of Seattle. In all candor, although there are opines to the contrary, I do not see much difference in then and now as far as blacks’ plight indicates. boxero1, via seattleweekly.com E Comments have been edited for length, clarity, and gratuitously sick burns of Amazon employees.

news&comment ENVIRONMENT

CO² and You

Race, identity politics, and Washington’s competing climate initiatives.

BY SARA BERNARD

SARA BERNARD

What does climate justice mean to you?

T

Washington’s energy-efficiency rebate programs; Seattle residents who won’t have the resources to relocate or rebuild in the event of a superstorm.

“What we’ve seen in the disasters that are happening is it’s the most impoverished, the people who have less access, who are harmed the most,” says Jill Mangaliman, executive director of Got Green and member of the Alliance’s Steering Committee. Hurricane Katrina made that very clear. And policy, when led by politicians and policymakers, has a way of leaving people of color behind. “Most policies never include racial equity,” says Peter Bloch-Garcia, executive director of the Latino Community Fund and also a member of the Alliance’s Steering Committee. For climate policy and all policies, he says: “It’s about time.”

“Climate change is not just an environmental issue anymore,” adds Aiko Schaefer, coordinator of Communities of Color for Climate Justice.

The Alliance’s announcement comes about six months after Carbon Washington, also a carbontax initiative, began gathering hundreds of thousands of signatures to send to the legislature by January. (If the legislature does nothing, it will get punted to the November ballot.) Much of the rhetoric at the Oct. 14 climate march could be seen as aimed directly at Carbon Washington’s effort, speaking to an important divide that has formed among Washington climate activists.

Carbon Washington’s approach is revenueneutral, specially designed to appeal to a broad political spectrum. “A revenue-neutral approach, where you drop other taxes as much as you raise the tax on carbon, is just more likely to pass in Washington, and nearly everywhere else,” wrote economist and Carbon Washington executive committee member Ramez Naam via e-mail,

citing polls that found nearly 70 percent of Americans support a carbon tax in exchange for lowering other taxes.

In short, Carbon Washington is attempting to appease conservatives who might otherwise be skeptical of a carbon tax—let alone talk of righting the wrongs of patriarchy. “My theory of change here is: finesse the left/right divide,” says Carbon Washington executive committee member Joe Ryan. “Create an incentive to use less carbon, but don’t [increase revenue] to the general fund. There are many people who are uncomfortable with that.”

This ideological and political schism has led to some serious tension. Members of the Alliance published several op-eds this summer opposing Carbon Washington (arguing that the proposal “carefully preserves our state’s regressive revenue system” and “justice should be the main meal, not a side dish”). In response, a New York Times op-ed made the case for a bipartisan approach to climate policy. Its author quoted Carbon Washington founder Yoram Bauman, who characterized this kind of opposition from the left as “an unyielding desire to tie everything to bigger government, and a willingness to use race and class as political weapons in order to pursue that desire.”

Members of the Alliance sent Bauman a stern letter in reply: “We call on you to publicly recognize that (1) racial and economic justice are critical issues for any effective climate policy, and (2) communities of color and people of lower incomes have experience, expertise, and leadership essential to the climate movement.”

This second point, in fact, is one Alliance members consider crucial: making sure communi-

» CONTINUED ON PAGE 6

Fast takes from the news desk Library Blues

Seattle has its share of problems, as any city has that is practically bursting at the seams. Fixing the transportation mess, building affordable housing, and dealing with the homeless—all big priorities that demand immediate attention. Changing the name of the library? Maybe not so much.

In case you haven’t heard, the library—through its chief fundraising arm, the Seattle Public Library Foundation, which gets its money from generous donors—is paying Hornall Anderson, a global branddesign firm with offices in Seattle, $365,000 for a rebranding effort. Here’s what they’ve come up with: changing the name from The Seattle Public Library to Seattle Public Libraries. Yes, wow.

But it doesn’t end there. It will, if the library board goes along with the deal, cost another arm and leg to implement the rebrand: not only to change the signage on the downtown Central Library and the 26 branch libraries, but also to buy new business cards and pamphlets and put together an educational campaign to explain what this is all about.

Library marketing director Stephen Halsey estimates it may cost more than $700,000 above and beyond Hornall Anderson’s take. It’s still unclear whether, if adopted, any taxpayer dollars would be used, or whether the entire bill will be footed by the library’s private fundraising arms.

Joanna Ward, executive director of the Library Foundation, takes a rather blasé stance on the matter. “Well, it’s kind of like books,” she says. “We don’t tell them which books to buy. We just give them the money, and it’s up to the library to decide how to spend it.” As far the rebrand goes, “It’s the library’s call.” Or, as it may be, the libraries’ call.

The proposal goes before the board today, Wednesday, Oct. 28. ELLIS E. CONKLIN

Umbrage of Spies

Early this month, the UW Center for Human Rights sued the Central Intelligence Agency over withholding documents related to massacres that occurred during the 12-year civil war in El Salvador. Two weeks later, a computer and hard drive belonging to Professor Angelina Godoy containing copies of the files, testimonies, and personal information of Salvadoran survivors was stolen from her office under highly suspicious circumstances.

As reported last week in The Stranger, a CIA spokesperson responded to reporter Ansel Herz’s inquiries about whether the agency was involved in the burglary by calling such inquiries “offensive, insulting, and patently false.”

We’re not sure how a question can be true or false, but to suggest that it’s implausible for the CIA to have burgled a professor’s office is patently ridiculous. This is an agency that for nearly 70 years has drugged, kidnapped, tortured, assassinated, burgled, and bungled its way through history, banking heavily on the fact that clandestine operations, by definition, lack strong oversight.

Sometimes everything has gone hunky-dory (for the CIA). Other times have been complete clusterfucks. To wit: Bay of Pigs. Saddam’s WMDs. The Shah of Iran. “Enhanced interrogations.”

And we quote: “The possibility of using bats taken from concentrations in Western caves to destroy Tokyo.”

So, yeah, maybe they didn’t steal the hard drives.

But don’t go acting all better than that, CIA. CASEY JAYWORK E

news@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

he march from City Hall to Occidental Park on October 14 marked a new era in the climate movement. As hundreds strode, sang, and shouted their truths to the world, lifting signs like “No Gentrification” and “Campesino Power” and “Climate Justice Means No Deportation, ” the message came through loud and clear: The climate movement is grassroots, it’s diverse, and it’s as concerned with the health of communities and racial inequities as with the health of the planet.

“Indigenous people and people of color reject any carbon solutions that are revenue-neutral and don’t prioritize the most marginalized,” said activist Sarra Tekola from the stage in Occidental Park. She argued that taking climate change seriously means more than staving off environmental disaster; it is also “the opportunity to right the wrongs of capitalism, white supremacy, and patriarchy.”

Tekola wasn’t speaking as a representative of the Alliance for Jobs and Clean Energy—a new coalition of community-of-color organizations, labor unions, faith groups, and businesses—during that speech. But her words resonate with many of its members. On October 6, the Alliance officially announced its plans to put a carbontax initiative on the ballot in 2016, one that will explicitly take justice into account.

Details have yet to be released, but it’s clear that the proposal is not revenue-neutral. Rather, it would raise a still-undetermined amount in new revenue for the state, which would be invested in both renewable energy and poor communities most impacted by climate change: for instance, Yakima Valley farm workers out of a job because of drought and wildfire; families without the up-front capital to benefit from

SeattleBriefly

5

CO² and You » FROM PAGE 5

SEATTLE WEEKLY • OCTOBER 28 — NOVEM BER 3, 2015

ties of color are involved every step of the way, including the policy-crafting process. “It is as much in the process as it is in the policy,” says Dionne Foster, research and policy analyst for Alliance member Puget Sound Sage. “It’s about engaging the people as well as creating something that actually solves the problem.”

Organizations such as Fuse and the Washington Council of Machinists have sided with the Alliance, citing Bauman’s comments in The New York Times article as a reason to withdraw their support from Carbon Washington. The splinter, some argue, could make it tough to pass any carbon policy at all.

“The conventional wisdom is that having two similar ballot measures on the same topic hurts them both,” says Carbon Washington’s Joe Ryan. “I have heard some stray opinions that they would help each other,” but overall, “that’s not the weight of opinion.”

Amid the blowback, Carbon Washington supporters say they’re thinking about social justice, too: One of their proposal’s key tenets is to fund the Working Families Rebate, a state boost to the federal Earned Income Tax Credit, which would be the first step away from the state’s regressive tax code since the 1970s. That, they say, is where justice comes in—that, and in cutting carbon in the first place.

“To the extent that communities of color are disproportionately impacted by climate, reducing carbon emissions disproportionately benefits communities of color,” Ryan says. “We feel like our policy is good for social justice.”

6

ETC.

Things have cooled since the summer; the

Alliance for Jobs and Clean Energy and Carbon Washington are now meeting regularly.

They’ve released a joint statement—a public olive branch, if you will—assuring everyone that the two groups are batting for the same team, and that anyone who wants to put eggs in both baskets should do so (though the recent climate march suggested some feelings are still raw).

“These [two initiatives] are not necessarily exclusive,” says 350 Seattle’s Patrick Mazza.

“Both could pass and be harmonized.” While 350 Seattle has officially endorsed Carbon Washington, he says, it intends to endorse the Alliance’s initiative, too. “We don’t regard endorsement of one initiative or one policy design as precluding the other. We’re kind of in an all-of-the-above category.” (The 350 network, he adds, is very explicitly not a climate group: “It’s a climate-justice group.”)

In any case, putting a price on carbon is just one small part of what climate activists say will save us. Here’s another thing everyone agrees on: We should have done something major about climate change years ago.

“I know the urgency, I understand,” says Got Green’s Jill Mangaliman. “Some of my colleagues are also working on the [Carbon Washington] campaign. We’ve had conversations; we’ve had debates. At the end of the day, we just need to create more spaces of dialogue.”

Or, as Yoram Bauman puts it—something that, in spirit, anyway, no one in the movement seems likely to disagree with: “This fight is big, and it needs all of us.” E

No longer able to afford Fremont, The Troll relocates south.

sbernard@seattleweekly.com

October

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very used item in this store was PURCHASED from our nonprofit partners.”

Emblazoned on the wall behind cash registers at a Value Village thrift store in Bellingham, the meaning of the feelgood message in bold lettering couldn’t be missed by shoppers at the store’s grand opening in 2011: The purchase of slightl y used pants, a vintage jacket, and other thrift-store treasures is an act of charity.

The black T-shirts worn by cashiers carried a match ing message for bargain-hunters with hearts of gold: “Good deeds . Great deals.”

The ubiquitous promotion of charitable activity is a big reason why Value Village’s corporate parent, Savers, Inc., does more than $1.2 billion in business annually. Based in Bellevue, for years it has been the single largest player in the prosperous and growing industry of forprofit thrift stores. And thrift has proved lucrative for the firms’ executives. Board Chairman Tom Ellison, for example, owns a waterfront mansion in the same suburb as Bill Gates.

But Savers’ claims about doing good for charities appear to be vastly overblown. Behind many a great deal at Value Villag e is a pretty meager good deed. Behind others there appear to be none, InvestigateWest found.

Sometimes Savers’ charity partners have received less than 5 percent of sales revenue on goods donated on their behalf, InvestigateWest found. Overall, it appears that between 8 and 17 percen t of the firm’s revenue ends up with charities.

Meanwhile, Savers does not routinely tell donors how much of their used-goods donation actually goes to charity. That may mislead donors to overestimate their good deed—and, according to tax experts and charity-watchers, take a tax deduction that is far too high.

»CONTINUED ON PAGE 9

Join us for the 1st annual Seattle Friends & Family Warehouse Sale

SEATTLE WEEKLY • OCTOBER 28 — NOVEM BER 3, 2015

Saturday, November 7th: 10am – 7pm Sunday, November 8th: 9am – 2pm

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Seattle Design Center 5701 6th Ave S Seattle, WA 98108

Complimentary beer will be provided!

Mislabeled » FROM PAGE 7

T

In 2012, Macklemore made the Capitol Hill

Value Village famous by filming part of the video for his monster hit “Thrift Shop” in its aisles. But decades before Macklemore spotlighted the latest evolution in trendy American shopping habits, Savers had perfected a “community service” marketing veneer that suggests its main goal is to help charities.

“A lot of people coming in here think we are a charity,” Sean Macrae, a floor worker at one of Seattle’s Value Village stores, told InvestigateWest in June 2014—even though Savers is registered as a for-profit business in Washington state and elsewhere. And why wouldn’t consumers walking into one of Savers’ roomy, brightly lit stores think that when they see the prominent logo of a local nonprofit?

Founded by the son of a Salvation Army executive in San Francisco’s Mission District in 1954, Savers created a business model that today is growing increasingly widespread: the for-profit thrift store.

Although most states do not require for-profit thrift stores to disclose how much they pay charities, InvestigateWest obtained contracts between Savers and charities filed with state officials in Washington and documents from Minnesota describing prices Savers paid charities there. InvestigateWest also analyzed information gathered by California for Savers stores doing business with two Silicon Valley charities. Taken together, these show that Savers’ partners are receiving only a small fraction of the sale price of the donated merchandise. Interviews with more than a dozen former and current employees corroborate these records.

The smallest percentages of revenue paid to charities over the past 15 years by Savers, according to the California records Savers filed, came in 2001 when Big Brothers Big Sisters of East Bay, in Oakland, received .02 percent of the revenue from the sale of items donated in its name. The same year Hope Rehabilitation Services in Santa Clara received just .87 percent of revenues from its donations, California public records state.

The most recent California records, from 2013, state that Savers is sending between 4 and 17 percent of its revenue to charities.

Overall, Savers says it paid $200 million to charities in 2014. If the $1.2 billion in annual revenue that Moody’s estimates Savers made

Donation center and profit center.

Goods sold in Savers’ stores come from charities’ collection bins; at-home pickups scheduled by telemarketers paid by Savers or a nonprofit partner; and special fundraising drives. Plus, of course, the in-store drop-offs Savers now favors. Potential donors are targeted with radio and TV ads, direct-mail appeals, postcards, and brochures.

Charity-watchers say Savers and stores like it are quietly reaping a bonanza on donated goods, giving back minimally to charities while spouting slogans like “Donating to Value Village is a great way to Donate to Charity.”

Savers’ for-profit status “needs to be disclosed at the point of donation,” says Daniel Borochoff, president of the American Institute of Philanthropy and charitywatch.org.

Savers’ nonprofit competitors are pointed in their criticism. “It would not be deceptive if Savers stated clearly on its doors that they were collecting on behalf of certain charities and let you know whatever percentage that amounted to,” says Michael Meyer, a vice president of Goodwill Industries International. “Now . . . the presentation is creating enough grayness that it’s not clear to the consumer.”

for the year ending April 2015 is accurate, that works out to Savers keeping roughly 84 cents of every dollar it takes in, with charities getting 16 percent. Savers’ largest nonprofit competitors, which are required by federal law to report their finances to the public, spend a large majority of revenue on helping people in need. For example, even though Goodwill Industries International has been criticized for extravagant executive salaries, its 2014 audited financial statement reports that it devoted 95 percent of its revenue to programs that help the disabled and others who have difficulty securing work.

Calling itself “the thrift superstore with a community conscience,” Savers defends itself against supporters of nonprofit thrift-store operators by stating that it offers medium-sized nonprofits a way to earn money even if they can’t open their own thrift stores as have the behemoths of the industry, Goodwill and The Salvation Army.

Indeed, some of Savers’ charity partners have done business with the chain for decades.

Although Savers would not respond to InvestigateWest’s questions, public records show how the firm has defended itself to government officials.

In a letter InvestigateWest obtained through the Washington Open Public Records Act, the Washington State Charities Division asked Value Village in 2002 about whether it solicits, and is therefore required to register as a commercial fundraiser. Savers general counsel Bradley Whiting responded in part: “We do not solicit for donations or contributions on behalf of any organization, nor do we donate ourselves to any organization. All merchandise obtained from the local not-for-profit entities is purchased from the entities at a commercially negotiated price, and is not tied to any subsequent sale to the public. Our relationship with the entities is strictly one of purchaser and supplier.”

Yet the price discrepancies between what Savers pays the charities and how much items earn on the sales floor are stark: A tie that Value Village might pay a nickel to buy from a charity sells for $4.99. A vintage women’s top that costs Value Village a dime sells for $9.99.

A purse that Value Village gets for about a quarter retails for $12.99. A vase, which Value Village doesn’t pay anything for under the contracts InvestigateWest reviewed, goes on the sales floor for $14.99. Those figures, based on one typical contract and purchases made by InvestigateWest at a Seattle Value Village, vary from store to store and nonprofit to nonprofit, but across its operations, Savers’ business model is based on paying a few dimes per pound for clothing it sells at secondhand-retail prices.

It is a considerable margin, even taking into account the fact that, according to a 2013 letter from Savers spokeswoman Sara Gaugl to Washington state officials, nearly three-quarters of donations are not suitable for resale. Those that don’t end up in stores are “responsibly recycled,” she wrote. Much of that involves selling merchandise in developing countries.

Gaugl’s letter came in response to a complaint filed with the Washington State Attorney General’s Office by a consumer upset at what she considered false and deceptive “fundraising representations.” The consumer’s complaint cited numerous in-store fundraising appeals, and asked why the company had not registered as a commercial fundraiser. “Inside the store, there are more signs, in addition to canned announcements every few minutes plus bookmarks scattered everywhere,” the consumer wrote. She also urged the state’s attorney general to undertake an investigation of Savers. However, the Attorney General’s Office responded by passing on the complaint to Savers and closing the matter in March 2013.

Minnesota’s Attorney General took a very different approach prompted by “many complaints from consumers,” according to spokesman Ben Wogsland. Following a year-long investigation, Minnesota Attorney General Lori Swanson sued Savers in May 2015, accusing the company of deceit by “convincing people to shop at Savers stores under the guise that Savers is or has the aura of a nonprofit or benevolent organization, such that their purchases will benefit a charity . . . This masks Savers’ actual status as a for-profit entity that receives the lion’s share of the value of donations people make to benefit charitable organizations,” says the suit, which sought among other things to compel the company to be more forthcoming with consumers and donors. Also: “Examples abound of Savers’ attempts to blur its mission and identity with that of charities.”

The lawsuit was settled in June, with Savers agreeing to pay $1.8 million to charities and provide more transparency to donors and shoppers.

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

oday—despite recent news that the Capitol Hill Value Village location will soon close—Savers is aggressively expanding. From 2009 to 2014, the company grew at a rate of about 5 percent each year and opened or acquired as many as 20 stores each year, according to industry-research firm IBISWorld. The company now reports that it runs more than 330 stores and employs 22,000 workers. The chain increasingly competes with long-standing nonprofit thrift stores that devote most of their revenue to those in need.

And Savers, after decades of relying heavily on its partner charities to gather goods for sale at its stores, has embraced a new strategy: asking donors to drop off merchandise at Savers stores instead of donating it directly to charities that then bring the goods to Savers. Savers “purchases” this merchandise by donating money to charities in the donors’ name, but at a price far less per pound than merchandise brought in by the charities themselves.

The collection strategy—which runs counter to the bold claim on display at the Bellingham store’s 2011 opening—was employed by Savers at least since 2005 and was highlighted in Standard & Poor’s 2012 corporate rating of the company, which projected that Savers’ gross profit margin would increase, “reflecting an increase in highermargin onsite donations.”

And it has paid off. From 2005 to 2010 Savers was the nation’s fifth-fastest-growing discount retailer, according to the trade journal Chain Store Guide. And since 2006 its revenue has more than doubled, according to Moody’s Investor’s Service, to $1.2 billion, although Savers, privately owned, does not disclose its financial performance to the public.

Meanwhile, at least six of the more than 100 charities associated with Savers stores have severed ties with the company over the past six years, at least two of them citing terms that were too unfavorable to the charities.

One of the charities that pulled the plug was the Boston-area Big Brother Big Sister Foundation. By operating its own thrift store, it’s now netting three to four times the revenue it received under the Savers deal, according to director Steven Beck. “If a charity is making 4 to 6 percent, that’s pretty unbalanced,” Beck says. “If you’re making a million and we’re making $40,000, how is that helping charities?

“It may be legal, but it’s not right.”

Savers refused to be interviewed or provide responses to written questions for this story.

There’s no question that charities make money they wouldn’t otherwise have. Big Brothers Big Sisters of Puget Sound, for example, realizes 10 percent of its revenue from the arrangement, says Amy Mack, president and CEO of the group.

“The steady revenue through our partnership with Savers/Value Village held true during the recent recession, as other sources of revenues dried up or were reduced drastically,” Mack told InvestigateWest in an e-mail. “The steady revenues helped us maintain our momentum in the youth-mentoring market.”

But critics say Savers’ consumers and donors are being deceived because so little of the stores’ revenue actually reaches the charities.

Consumer advocate Sylvia Kronstadt, formerly a fraud investigator with New York City’s Department of Consumer Affairs, argues that consumers and donors should shun Savers because of its business model.

The company, she told InvestigateWest in an e-mail, “preys on donors’ good intentions to create fabulous wealth for itself.” To her, “the charities who ‘partner’ with Savers are guilty as well, for allowing their names to be used in exchange for a few pennies on the dollar.”

»CONTINUED ON PAGE 10 9

Mislabeled » FROM PAGE 9 “Savers is holding themselves out as a ‘do good’ organization. But they should not be soliciting for goods that charities aren’t benefitting from,” Wogsland says, adding: “We have no reason to believe that they’re operating any differently in other states.”

In May, Swanson notified other states’ attorneys general of her findings.

So far none has taken action.

SEATTLE WEEKLY • OCTOBER 28 — NOVEM BER 3, 2015

PHOTOS: ANDREW ECCLES

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10

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Some who have worked at Value Village understand the criticisms.

“You see some big poster with a big Guatemalan baby face on it, and think that’s what it is about,” says Catherine Brophy, who worked her way up from cashier to assistant manager at a Value Village outside Seattle. In reality, says Brophy, who now works for Habitat for Humanity’s ReStore, “The main focus of Value Village is about making a profit. It’s all about ‘What are the numbers?’ ” Just across the parking lot from the 24,000-square-foot Value Village where Brophy worked sits a tiny thrift shop called Eastside Community Aid. Virtually all the earnings produced by the 60 volunteers who take shifts at the nonprofit secondhand store support its mission and programs, including causes such as low-income housing, food banks, and fighting domestic violence. The small store competes for donors and shoppers with the big-box commercial competitor next door and its huge directional signage, crafty marketing, and voluminous share of parking spots.

“People think they’re giving to the community, but it’s unclear how much,” says Jody Orbits, manager at Eastside Community Aid. “They just don’t know the full story of where those donations are going.”

One major accusation leveled by the Minnesota attorney general is that Savers pays its partners nothing for household appliances, recreational equipment, bric-a-brac, and other so-called “hard goods.”

An InvestigateWest review of eight contracts between Savers and Washington charities found that Savers appears to pay nothing for certain donated items. The charities’ donations are required by the contracts to be weighed and paid for, but housewares and so forth are “included in the cloth price.” Translation: Charities are required by their contract with Savers to bring in the hard goods. They just don’t get paid extra for them. Several former Savers employees and an executive at a former Savers charity partner confirmed this information to InvestigateWest.

“My understanding was that we got paid per pound for the clothing; ‘miscel’ we didn’t get paid for,” says Brian Holloway, director of advocacy and family support at the charity Arc of Spokane, because its value is supposed to be covered by the price paid for clothing. Arc of Spokane severed its relationship with Savers in 2013 to open its own thrift store.

Yet Savers’ marketing frequently blurs the distinction.

On the “Donate” page of the Savers website: “Every donation of gently used clothing and items you make supports a nonprofit in your community.”

On brochures distributed at retail stores: “We partner with local nonprofits and pay them for all the goods donated at our stores.”

On a promotional bookmark: “Value Village pays local nonprofits every time you donate.”

And sometimes the same message can be found on charities’ websites too, like this passage from Clothes for Kids’ Sake: “We collect

donations of gently used clothing, housewares, books, toys, etc. from members of our local community and deliver these items to our neighborhood Savers store. The revenue from the items sold go directly to your local Big Brothers Big Sisters agencies.”

Savers’ practices are well-known among charity watchers and others in the resale business.

“Savers and other for-profit stores should be clearly articulating the amount that is actually going to the charity and clearly telling donors where the rest is going,” says Kris Kewitsch, director of the Minnesota-based Charities Review Council.

“It’s not clear to the public who’s benefiting,” says Adele Meyer, president of the Association of Resale Professionals (NARTS), the main trade group for thrift stores. “They’re privately held but they don’t post it; everything above operating costs goes into the hands of a private company.”

“The true issue lies at the core of the industry: Who benefits from me donating my stuff to a charity?” says Beck of the Boston-area Big Brother Big Sister Foundation. “Why should I give if the charity only gets a small share of the money?”

Charity-watchers say donors and shoppers shouldn’t be left to guess how much money makes its way from the sales floor to Savers’ charity partners. But the company has resisted a legal requirement to do that in its home state.

At least six times since 1987, Washington authorities told the company to register as a commercial fundraiser under a state law meant to protect the public from deceptive fundraising. Commercial fundraisers must report how much they raise for charity and what percentage they keep for themselves.

Finally, in early November 2014, Savers, under pressure from a Washington state assistant attorney general, at last conceded. It is now registered as a commercial fundraiser in Washington, and by next year is required to report how much it is giving to charities—a result sought for decades by officials in the Washington Secretary of State’s Office Charities Program.

In Minnesota, it took the attorney general’s lawsuit to get Savers to promise to disclose the percentage of a donation’s value that reaches the charity, including differences for in-store donations. Under the settlement, Savers will also file annual reports with the state outlining the value of donations, expenses, and payments to charities; certify that donations solicited on behalf of a particular charity actually benefit that charity; and, for the first time, be prohibited from not paying for non-clothing goods collected by charities.

For Savers’ donors elsewhere, however, an equal level of transparency may still be hard to come by. Critics charge that the way Savers collects donations encourages donors to overestimate the value of their charitable contribution.

InvestigateWest documented several instances in which Savers stores gave donors the impression that the entire value of donated goods is deductible. “Please insert what you feel is fair market value of the merchandise,” says a receipt for Savers’ donors in Kansas City. A Seattle-area store distributes receipts with similar wording.

In a report that predates its suit against Savers, the Minnesota Attorney General’s Office criticized Savers for misleading donors, resulting in their “claiming tax deductions for donated goods for which the charities receive no payment.”

Rebecca Sherrell advises consumers who get a phone call asking for donations for charity to ask what percentage actually goes to the charity.

“I hope this Minnesota lawsuit opens the eyes of the donating public,” she says. E

news@seattleweekly.com

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food&drink

WEEKLY DISH

The Humble Tea Egg

Chinese CaliBurger Hits Seattle

By Nicole Sprinkle

BY CHASON GORDON

I

The first U.S. location.

H

COURTESY OF CALIBURGER

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

Sandwich with Bacon ardcore In-N-Out fans may not be ($6.99). That stands all by happy with the existence of Caliitself. The word “chipotle” has Burger, which opened in China in that kind of power. (What 2012 and borrows heavily from their you won’t find is yet another muse, who sued the company and later settled.

Seattle burger joint jumping It’s an understandable grievance. If someone imitated Dick’s and opened a Richard’s in China, on the brioche-bun trend.

Just a normal bun here.)

Seattleites might not take it well. But CaliBurger Burger and fries (hold the Cali sauce).

The burger can be ordered is here now, and we have to deal with that. with regular fries ($1.99) or The chain opened its first U.S. location “Cali Style” fries ($3.75), containing cheese, at 4509 University Way N.E. last week, and Since we live in an age of incessant remakes, grilled sweet onions, and Cali sauce (that though similarities to In-N-Out abound, one must ask the preposterous underlying mayo/ketchup concoction that tastes there are striking differences. Besides question: Will CaliBurger marginalize the like Thousand Island dressing) atop the boozy milkshakes, which I’ll original In-N-Out? The burgers are a little it all. As a side note—and I may discuss later, CaliBurger is rife thicker, the shakes boozier, the technology lose the state of California on with somewhat new technology. certainly newer. Still, the comparison is unfair.

CALIBURGER this—but in the pantheon of fries If there’s a line, you can use the It’s like when people say that Lebron James 4509 University Way N.E. with shit on them, including pou- could beat Michael Jordan at one-on-one in automated ordering station at American tine, plain cheese fries, and carne the door; if that has a line, you his prime (just go with this). That may or may asada fries, California fries are at can order on your phone. not be true; nevertheless, you have to rememthe bottom (not that there’s any Your phone’s dead, you say? Then ber that James was able to learn from Jordan’s shame in that). charge it at the wireless charging beacareer, to benefit from all his innovations. So What’s remarkable is the plethora of cons on each table. While you’re waiting, CaliBurger has an unearned advantage, if that beverages to wash them down with. Along you can play Minecraft with other networked ridiculous analogy makes sense. with Rachel’s Ginger Beer, Stumptown drinks, customers on a giant screen. It’s like Minority “Seattleites are very picky,” says local franand over a hundred types of soda from a magic Report with burgers. chise partner Reyaz Kassamali, “so if we can machine, CaliBurger offers milkshakes made “When I was a kid and went to McDonald’s, make it here, we could make it anywhere, with Full Tilt ice cream, featuring go-to standthere was a physical playground,” says founder and I know that’s a line from a song about bys like chocolate, strawberry, and vanilla. They John Miller. “Today’s kids needed a virtual playanother city.” even give you the option of having your shake ground.” Well, that’s debatable . . .

It will be interesting to see how the upcomspiked with Evan Williams bourbon, and recPutting aside all the hoopla about technology ing burger wars are going to play out, as further ommend spiking the vanilla shake. and copyright infringement, the menu and taste CaliBurgers are planned for Los Angeles, Of course, if you want to be weird and booze pretty much resemble In-N-Out’s. One may Toronto, and Washington, D.C., among others. up your strawberry shake with bourbon, feel free. order a hamburger ($3.99), which includes an Perhaps In-N-Out could fight back by opening Keep in mind that you’ll need at least four or all-beef patty, lettuce, tomatoes, and “Cali Style” in Seattle already, because I’m not driving seven five milkshakes to get a buzz. You’ll also need the sauce, or a Cali Double ($4.99). You’ll notice hours to the nearest location in Oregon. Not code to the bathroom, which is 57014. They’ve that many items have the prefix “Cali” in front anymore, that is. E probably changed that by now, though. of them, except the Chipotle BBQ Chicken food@seattleweekly.com

’m about to embark on a serious Chinese cooking endeavor. My inspiration is being fueled, in part, by the publication of two new cookbooks—at opposite ends of the spectrum. One of them, Phoenix Claws and Jade Trees: Essential Techniques of Authentic Chinese Cooking (Clarkson Potter, $35), is a gorgeous trove; if you owned it, you’d feel as though you’d never need another Chinese cookbook for your entire culinary life. Like Julia Child’s Mastering the Art of French Cooking, it’s a foundation-laying book that rewards patience and rigor and encompasses all the nuances of the cuisine.

Meanwhile, there’s also Lucky Peach Presents 101 Easy Asian Recipes (also Clarkson Potter, $35), which irreverently boasts being “100 percent inauthentic” on the back cover and promises to dumb down even the toughest recipes. The arrival of these two books caused an epiphany for me; while I lived in Taiwan and China for nearly a year and ate some of the best food of my life there, I’d never really tried to replicate anything. That seems like a shame.

So to start the experiment this week, I decided to make tea eggs—perhaps one of the humblest of Chinese foods. A hard-boiled egg steeped in a fragrant braising liquid of soy sauce, Shaoxing wine, Chinese green or red tea leaves, cassia bark (aka cinnamon), star anise, and dried tangerine peel, you’ll find it in any “deli” or small grocer in Taiwan, an everyman’s quick, belly-filling, high-protein snack. It’s like the equivalent of an egg sandwich or an empanada from a New York City bodega. While they seemed very odd to me at first, I came, if not to love them entirely, at least to expect and appreciate their presence in a big vat of the darkbrown broth, waiting to be scooped out, often by a hungry, busy college student on the run.

As I let the eggs, after cracking but not peeling off their shells (to let the broth create a marbling effect; see picture), simmer in the liquid for 40 minutes, I marveled at the layers of fragrance that met my expectant olfactory sense. First is a blatant hit of soy sauce. Then, slowly, the smoky smell of roasted tea leaves emerges, followed by the complexity of the star anise, which becomes the snack’s dominant top note—and filled my house with its singular scent.

After that, the eggs sat in the liquid and cooled in the fridge overnight. The next morning I ate one for breakfast, with some of the liquid spooned over it. It was, just as I remembered, strange and delicious, and, I realized, vaguely autumnal with the cinnamon and orange peel and star anise. It’s my personal ode to the season, and it served as a lovely first step into a month full of Chinese cooking. E

REPRINTED FROM PHOENIX CLAWS AND JADE TREES. © 2015 BY KIAN LAM KHO. PHOTOS BY JODY HORTON.

And the In-N-Out doppelganger is like Minority Report with burgers.

nsprinkle@seattleweekly.com 13

Six Breweries for Fall Road Trips

BEER HUNTER

From Redmond to Bellingham.

BY JACOB UITTI

14

Beers from Chuckanut Brewery.

menu and times are subject to constant change.

While in Redmond, check out one of the original microbreweries, Mac & Jack’s, and their retail store for a growler.

Icicle Brewing (135 miles): In the middle of little Bavaria, this all-wood taproom makes you feel like you’re around a fireplace at all times. If it’s sunny out, try the outdoor patio, but if it’s cold and snowy, curl up with a loved one on a long wooden bench. Icicle Brewing, as their name suggests, brews crisp beer, like the floral Bootjack IPA made with waters from Washington’s Icicle Creek. Savory snacks include rootvegetable chips with roasted Peruvian corn nuts, and Bootjack IPA chocolate truffles: ganachefilled chocolate with a touch of the brewery’s beer notes.

Chuckanut Brewery (89 miles): An unassuming home for expertly crafted pilsners and lagers, Chuckanut is half a mile from the city center of Bellingham (home of another outstanding brewery, Boundary Bay). Not many breweries focus only on lighter beers—many promote their IPAs, ales, or darker stuff—but Chuckanut has held strong to its ethic, and as a result leads the pack for the sort of beer you can see right through.

Their Vienna Lager is a copper-colored dream, and their signature pilsner is as clean as it comes.

Their menu is vast, ranging from shrimp and pesto pizza to bangers and mash to oven-roasted yam fries. E

thebeerhunter@seattleweekly.com

“Brewed in the Northwest with Imagination!” Since 1990

SPOOKY Good Beer!

COURTESY OF CHUCKANUT BREWERY

SEATTLE WEEKLY • OCTOBER 28 — NOVEM BER 3, 2015

W

hen fall hits, it’s best to make plans to avoid being housebound all season. Here’s one: Call four friends, get each to pitch in $10, then hire a fifth to drive you all to a brewpub outside Seattle—after all, little is as calming and rewarding as finding a good hole-in-the-woods brewpub, sipping a pint or four of housemade beers, chatting about their flavor profiles, ABV, and hoppy qualities (or lack thereof ), and enjoying some delicious grub to boot.

A looooooong list of breweries, from tiny to huge, dot the Washington landscape—but to whittle that down, here are a handful to visit via your designated-driver excursion.

Dru Bru Tap Room (52 miles from Seattle): Sitting tall in Snoqualmie Pass, this cozy taproom with 15 handles welcomes skiers, snowboarders, and hikers (and their kids for a soda pop). Beers include the fan favorite Hop Session, a lighter ale with the flavors of an IPA but the body of a session ale (all sessions are less than 5 percent ABV), and Dru Bru’s Kolsch, a Germanstyle brew with a bit of yeast flavor that hits the nose. Snacks here includes handmade Sriracha pretzels and super rope licorice.

The Rockfish Grill & Anacortes Brewery (81 miles): The town of Anacortes is just so cute— from the beloved A’Town Bistro to the whalewatching boats parked in the harbor. The grill and the brewery, joined by a wall, serve complementary fare. Pair the calamari with the bright Czech pilsner, or the mussels and fries with the hopped Day of the Dead red ale, or the woodfired Thai chicken pizza with the Nut Brown ale.

In this fishing town, the quaint is king and the feasting robust.

Black Raven Brewing (16 miles): If you have only a short time for a jaunt, check out this Redmond location (the only one on this list that’s 21 and over). The beers here have big body, from the Gunpowder Nitro Porter to the Birdserker triple IPA—but they all go down easy in this darkwood-chic watering hole. If you’re looking for a bite while you stop in for a pint, Black Raven is serviced by food trucks, from Bread and Circuses to El Cabrito, though it should be noted that

arts&culture

COMIX17 ELECTRIC EYE20 REVIEWS21 CALENDAR27

Berning Down the House Seattle’s electronic underground is tuning in, not dropping out, for Bernie Sanders— and making a case for its untapped political power in the process.

I

t started almost on a whim. Cody Morrison, cherished Seattle promoter and founder of dance night High+Tight, had been talking to a friend one afternoon about the campaign of 2016 Democratic presidential candidate Bernie Sanders, and they started throwing around the idea of hosting a benefit. Morrison’s High+Tight collaborators were away in Europe, and Morrison had never done any kind of political fundraiser before, but he decided he’d throw one anyway. After all, they had a fantastic event name: Bernie Man, punning on the Burning Man arts festival in the Nevada desert that celebrates radical community living, annually incinerating a monolithic effigy of “The Man.” What could be more appropriate an allusion for Bernie Sanders, who has spent his 44-year career lighting a fire under the feet of big business and the poles of the broken political system propping it up?

Morrison planned to hold the event on Wednesday, Oct. 28, at Re-Bar, a theater-turnednightclub in Seattle’s Denny Triangle that has a standing capacity of 300 at most, but—like most fires—it quickly spread.

“I posted it to Facebook and invited a couple hundred people,” says Morrison, “and within

a day or two there’s, like, 1,500 people invited.

Within a few weeks it was 6,000 invited.”

At press time, 7,800 people were invited and 2,300 marked as attending. Many of these RSVPs are just demonstrations of solidarity; people from all over the world have said they’re “attending,” and the event’s Facebook wall is littered with people asking what city the event is in, wishing they could attend, or wanting to bring this kind of thing to their hometown. After the explosion in interest, the event was expanded to run on three consecutive Wednesdays. Starting with the planned Oct. 28 event, Bernie Man now includes live bands and a hip-hop night and incorporates both Re-Bar and its neighboring venue Kremwerk, suddenly morphing into an immersive block party.

Previous Morrison events have been completely off the grid. High+Tight hosts private parties at secret locations with zero publicity for a niche, devoted following. But now, this strictly underground techno and house promoter has planned a three-week public festival spanning several genres of music for thousands of people.

The dance community in Seattle hasn’t taken public, politically driven action like this in recent

memory—and if Bernie Man is any evidence, it clearly has untapped political clout.

“The dance/club community is a little different from the music community at large in that, culturally at least, the dance community is much less politicized,” says groove-authority Riz Rollins, KEXP DJ for 25 years and headliner of Bernie Man’s Oct. 28 party. “We vote and many are active politically, but we’ve been slower to organize and hold functions as a public community . . . [We] haven’t mobilized as a force until this event.”

Rollins says he remembers very few recent dance fundraisers for candidates, and none on a national level, even for Obama. Yet this year, he’s been asked to play seven or eight political fundraisers, “quadruple the invitations I’ve gotten in the last few years.” It’s indicative that, perhaps, there is a sea change of sorts happening within the local dance scene, of which Sanders is either a catalyst or a beneficiary.

Music and political advocacy aren’t new to Seattle; those who were around in the grunge era might recall the JAMPAC ( Joint Artists’ and Music Promotions PAC) created in 1995

by Mudhoney singer Mark Arm and Nirvana bassist Krist Novoselic, which found supporters in local business and music mogul Dave Meinert, Pearl Jam, and Kurt B. Reighley (KEXP DJ El Toro). JAMPAC raised hundreds of thousands of dollars to support local nightlife-conscious candidates like Mayor Greg Nickels, Councilman Nick Licata, and Senator Maria Cantwell.

Through these efforts, JAMPAC eventually played a major role in overturning the draconian Teen Dance Ordinance, which from 1985 to 2002 had effectively ended live music access for people age 20 and under.

But since JAMPAC helped end the TDO, music-driven fundraisers for political candidates in Seattle have been few and far between, save for a concert that indie rocker John Roderick held for his failed City Council campaign.

Political actions specifically within the local electronic scene have largely been directed inward, focused closer on strengthening its own community and creating safer, more inclusive spaces within it. Decibel Festival printed 6,000 “Consent Is Sexy” business cards last September to combat the deplorable reality of sexual

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

DAVID BURKE VIA CREATIVE COMMONS/BRENNAN MORING

BY CATE MCGEHEE

» CONTINUED ON PAGE 16 15

assault on the dance floor, and in 2011 Kevin Kauer (DJ Nark and founder of the queer DJ collective Bottom 40) was credited by Vice with “saving Seattle’s nightlife” when his party Dickslap at Capitol Hill bar The Eagle fought and defeated a Liquor Control Board ordinance that blatantly targeted queer nightclubs. TUF, a new local collective of more than 50 women and non-binary individuals, recently emerged to defend the rights and representation of marginalized groups in electronic music. Virtually every promoter and space in Seattle is sincerely trying to create a zero-tolerance-for-assholes environment, but it wasn’t until Bernie Man that these progressive ambitions turned outward, extending to the larger political process.

“A lot of electronic music is about tuning out the B.S. of the mainstream culture and just dancing and having fun,” says Wesley Irwin, a member of Seattle’s house-music community who quit his job to work full-time on the unofficial Washington state Sanders campaign. “But you can now go to a place like Seattle’s [dance club] Monkey Loft and get into a dozen conversations about progressive issues in one night just by wearing a Bernie shirt. I know because I’ve done it. You couldn’t do that a year ago.”

“The one thing I have noticed of late is the excitement that Bernie Sanders’ campaign has created in and outside of the scene,” says Eddie Cuscavage, better known as Kadeejah Streets, co-founder of the long-standing dance collective Innerflight and one of the first DJs to sign on with Bernie Man. The longtime collabora-

and music, which take tor and friend of Morrison says “the fact that up a lot more space in it was a fundraiser for Bernie Sanders made it most people’s hearts than impossible to say no.” politics.

“I would somewhat agree [that] the dance scene is pretty liberal while also being somewhat inactive in being involved with politics, Sharlese Metcalf, host of or even caring, for that matter,” Cuscavage KEXP’s locals-only show says. “Part of why I think this has become the Audioasis and curator of norm with the dance scene and young people the cold-wave synth night in general is because of the feeling that no False Prophet, is playing matter what we do, it doesn’t seem to make a at Bernie Man and also difference regarding our government, elected curating most of the live officials, and policies.” acts for the second Morrison understands the reasons and third day. for and danger of this apathy. “If She’s a perfect BERNIE MAN you look at how disengaged and example of Re-bar and Kremwerk Admission with $20 (or disaffected a large portion of the someone more) donation receipt young people in this country who isn’t passionate about polito berniesanders.com have been,” he says, “they’re sick tics, but is now working tirelessly made within three days of the event. 21 and up. of being told all this rhetoric for a political fundraiser because 5–11 p.m. Wed., Oct. 28, and bullshit that doesn’t jive with she cares enormously about local Nov. 4, Nov. 11. what we see in our lives. But Bermusic. nie, he tells the truth.”

“My number-one thing is com“More than raising money,” continues munity,” Metcalf says. “Though I’m not that Morrison, “this event is about generating interest political a person, I believe in people having a and energy. That’ll be the most valuable thing we voice and coming together to say things. . . . I can do for the campaign here—keep the energy feel like people are looking for change in the and momentum going, because the success of world, and I just want to help out and give them this campaign comes down to voting.” Morrison a way to voice those feelings through their music, notes that the voting turnout for people aged which is what they do best. Sometimes getting 18–29 is abysmally low. 2014 saw the lowest up in front of people and talking about things turnout rate for that bracket ever recorded in a isn’t as effective as playing a cool show.” federal election—19.9 percent.

Metcalf ’s interests span electronic music, hipIf Morrison wants to engage both the youth hop, and rock, and tapping her for booking is vote and the dance scene for a political cause, indicative of how the Bernie Man series aims to he’s found the perfect way: through community bring together disparate communities. Morrison

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The Bernie Man organizers comprise DJs and activists alike.

says that his favorite thing about events like this is that they “transcend crews and scenes” and allow High+Tight to branch out and work with people they usually don’t.

There have been a few notable times in Seattle’s recent history where everyone united under one banner to celebrate a momentous event— Obama’s first election to office, the passage of gay marriage, and the Seahawks Super Bowl victory all ended in multi-block impromptu bacchanals around Pike Street with champagne, confetti, and strangers falling into one another’s arms. Those are the best parties Seattle has ever thrown—pure, transcendent accidents. But with luck, Bernie Man will be the first of many events that harnesses the power of those communal moments to effect positive change rather than reflect upon it. E

music@seattleweekly.com

CATE MCGEHEE

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arts&culture

» FROM PAGE 15

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Nightclub celebrated its third birthday in proper partyanimal style last weekend. The Capitol Hill club’s usual rotating cast of characters was out in force for this special edition of the Saturday-night event series Madness, dancing on the floor and swinging from the ceiling as the music played.

The evening’s main event was Polaris, a special headlining set from the club’s creative director Sean Majors and resident Justin Hartinger, doing a back-to-back house set that included original production and remixes. PHOTOS AND TEXT BY BROOKLYN BENJESTORF

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reviews

MUSIC

Gentrification, Sadness, A-holes, and More Gentrification A few topics covered by our favorite local records from October.

COURTESY OF HELP YOURSELF RECORDS

BY KELTON SEARS

Nail Polish

H

The Heard Herd

some infinite sadness in its maker after its completion, leaving him feeling purposeless and adrift.

Playing off their shared malaise, Perils moves at a fittingly languid pace, drifting out of time and space in a gorgeous amniotic haze that serves as a near-constant sonic bedrock on the 10-track record. Out of this bubbling, primordial ambience emerge beautiful, haunted, dust-strewn melodies. The wraithlike “(Dead in the) Creekbed Blues” layers distant, muffled guitar over what might be a liturgical hymn or a magical invocation. Standout track “Flaw” sounds like a druidic funeral on a fog-shrouded beach, complete with guitar screeches that mimic spectral seagulls.

Fans of Ô Paon, Wyrd Visions, and Mount Eerie take note: This is some old-growth forest music. (pioulard.bandcamp.com) Mommy Long Legs

Assholes EP “Assholes” might be the catchiest song Seattle party-punx Mommy Long Legs have written yet, which is saying something given the hooks on hooks on hooks they delivered on their debut tape Life Rips. Kicking off the revved-up tune with the group’s trademark bratty gang-vox, the band proclaim that “You can take your money and put it in your asshole!” before getting a little more philosophical at the end—musing that “you can take your asshole and put it in your new car and drive into a wormhole, because in the end we’re all alone.”

The crushing existential weight of existence has never sounded as fun as this.

Mommy Long Legs’ alchemical punk power enables them to transmute the turds life hands them into base material for catchy punk gold (as they do on “Cat Callers”). The scrappy, sing-along basement jammers the band has built a fledgling DIY empire on are still here (“Weird Girl”), but the Assholes EP also finds the group exploring some new tonal territory on “Haunted Housewives,” which descends into a sweet desert-rock guitar solo and psyched-out minimalist fuzz bass bridge, a welcome departure. If listening to Perils bums you out, follow it up with this new one from Mommy Long Legs and you’ll feel good as new.

The only bummer about this EP is that it ends. (mommylonglegs.bandcamp.com)

Beat Connection

Product 3 This album is smooth as Jif fresh out of the jar.

After three years of toiling over the follow up to its acclaimed sophomore album The Palace Garden, Beat Connection has crafted its masterpiece—a sublimely danceable but demure contemporary pop record packed full of supple rhythms and sticky melodies.

The tricky cut-and-paste funk of “Hesitation” and feather-light tabla disco of “Another Go Round” feature some of the group’s most sophisticated songwriting yet. But the real reason I love this record is what lies beneath its glistening surface sheen—a trippy subliminal critique of its own existence. As its title suggests, Product 3 is a self-aware examination of what it means to be a commercially viable pop band. According to producer Reed Juenger, the album is a meditation on “industrial condo sadness,” a phrase the group tossed around during writing and recording to put a name to their feelings of loss and confusion in reaction to Seattle’s rapid overdevelopment.

“We wrote a lot of the songs to be easily consumable—on the surface they masquerade as love songs,” Juenger told Seattle Weekly last month. In reality, upon closer examination, the songs have slightly more nefarious subtextual meanings. “Ad Space” is the most overt bait-and-switch—a glossy tune that lyrically could be about a spurned lover, but in actuality addresses the band’s nervousness over sacrificing artistic integrity for an advertising paycheck. “You can be in a really nice condo, have everything, and still be sad,” Juenger said. “This album is us trying to soundtrack that feeling.”

The band’s critique extends to Product 3’s visuals as well—the cover art is decked out with sterile all-white showroom furniture sporting gaudy blue price tags, and the band’s merch and live show prominently feature emoji-esque icons inspired by the trendy marketing imagery that, Juenger noticed, corporations are using to target millennials. But hey, even if you’re an unrepentant capitalist pig, you can still totally dance to Product 3 blissfully unaware of its hidden message, and that’s completely by design.

Kudos to Beat Connection for making an ouroboros pop album—a record that’s actively trying to eat itself. (Anti-Records) E

ksears@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

was fine/I walked to work, and everything was alloween is supposed to be a happy OK, OK/AND THEN SOMETHING HAPoccasion. Free candy! Titillating cosPENED!/AND NOW I’M FREAKED OUT!” tumes! Probable drunkenness! But To punctuate the feeling, the plunky, solid Halloween in Seattle this year will rhythm driving the song shifts suddenly into likely be remembered for a much sadder reamanic overdrive—skittering and shambling in son—the closing of Capitol Hill’s cheap clothan epileptic fit. These herky-jerky convulsions ing/costume mecca Value Village. That potently are the bedrock of Nail Polish’s nascent sound, fragrant monolith of thrift has long stood as a a screechy, updated take on Gang of Four’s geographical signpost for the neighborhood, a deconstructed, art-damaged post-punk applied paradoxical paradise of frugality in a sea of overto Seattle’s modern-day ills. On “Poor Excuse,” priced cocktails and condominiums. a kinetic, noisy dirge against male But as our cover story this week idiocy, singer/drummer James D. will tell you, the company that chastises, “Isn’t it pathetic to hear runs the beloved shop isn’t all that what grown men say? Do you kiss it seems. It just goes to show that your mother with that mouth?” The in this rapidly shifting Seattle THE MONTH’S BEST most direct potshot the group takes is landscape, things are rarely as LOCAL RELEASES in “Chophouse Row,” named after the black and white as they sometimes glitzy new multi-property developappear. ment on 11th and Pike that houses an upscale Coincidentally, our favorite local music from this gardening shop, a ritzy artisan creamery, and a month all meditates on the sadness and anger that doggie day care. “I’m here—to do business/I’m sudden change can induce—and fittingly, all do so here—pushing six figures a week/And I’m movwith varying degrees of nuance. Let’s get to it. ing to your neighborhood/’Cause I always take what’s mine” the group deadpans before launchNail Polish ing into another spasm-spiral.

Abrupt In contentious climates like these, it’s easy to You’re probably keenly aware that Seattle is in resort to escapism—the onslaught of throwaway, the midst of an identity crisis, thanks to the daily simplistic punk songs about pizza and getting onslaught of web headlines asking some iterahigh can attest to this—but it’s nice to see a local tion of the same question: IS TECH KILLING group really digging its heels into the dirt and SEATTLE’S SOUL? Childbirth has emerged as one of the leading voices in Seattle’s punk landscape genuinely pushing back with music that sounds as complex and messy as the issue being conby engaging this question with a wink and a nudge, fronted. (nailpolishseattle.bandcamp.com) chugging out chunky riffs and crooning coyly about “Tech Bros” and general white male douchery. The jokey approach is incredibly effective—by numbPerils ing the sharp edge of the problem with the veil of Perils humor, it’s suddenly easier to swallow—fun even!

There’s something evocative and ancient about One of Seattle’s newest punk groups earnestly Perils, a peculiar offshoot project from Benoît Pioattempting to engage with this is Nail Polish, whose ulard, the operating name for local ambient folk debut cassette Abrupt takes the complete opposite musician Thomas Meluch. Recorded between 2012 approach—all this changing-Seattle shit is stressing and 2013 (but released just last week), the record them the hell out, and the music sounds just as anxdocuments a troubled transitional period for Meluch ious as they feel. The waves of unease hit right from as he packed up everything and moved to Seattle the get-go with “Daily Basis,” a song that dryly nar- from the UK. His Perils partner, Ontario guitar rates the circuitous nervous breakdowns this condroner Kyle Bobby Dunn, had just finished a masstant stream of bad news is causing. “I woke up, and sive triple-LP album called Infinite Sadness, which, everything was fine/I got dressed, and everything if the name didn’t tip you off, proceeded to induce

21

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Fade to Black

In Truth, Dan Rather gets scalped by the partisan Internet, with the whole MSM soon to follow.

BY BRIAN MILLER

W

bmiller@seattleweekly.com

Don’t believe the picture?

Ryder and Sarsgaard.

P Experimenter

Regarding the Pain of Others

If you become fixated on Peter Sarsgaard’s obviously fake beard in Experimenter, that’s all right.

This is a movie that wants you to notice the artifice: It occasionally includes patently false backdrops, an otherwise unexplained elephant, and a protagonist speaking nonchalantly about his own death as he addresses the camera.

Writer/director Michael Almereyda has been nothing if not an experimenter himself—his work includes the Gen-X Hamlet (2000) and a vampire film partly shot with a toy video camera, Nadja (1994). His approach works beautifully in Experimenter, an unexpectedly haunting account of the man who concocted a famous 20th-century psychology study.

If you don’t know the name Stanley Milgram, you know the obedience experiment: At Yale in 1961, Professor Milgram found that two-thirds of his subjects continued administering electric shocks to another participant until they reached the maximum level. (The shocks were fake, but the subjects could hear the other person pretending to yelp in pain in the adjacent room.)

Milgram’s experiment made his name—and was seized on as an explanation of how the Holocaust could have happened—but it was also criticized for its ethically queasy design. Later in life Milgram came up with the six-degreesof-separation theory, usually credited to Professor Kevin Bacon.

The movie’s Milgram is sincere and selfsatisfied—a good role for Peter Sarsgaard, who brings just the right touch of smugness.

Winona Ryder plays Sarsgaard’s loyal but subtly uneasy wife, and Jim Gaffigan plays a colleague. Almereyda deploys his distancing devices liberally, and likes the idea of a movie commenting on itself; at one point Milgram visits the set of a 1970s TV movie starring William Shatner and Ossie Davis (played by Kellan Lutz and Dennis Haysbert)—a setup that might make an easy target, but it turns into something more interesting.

Why tell the story this way? Almereyda might be fretting about how blind belief in the movies could be as dangerous as blind obedience to authority, so he never lets us forget that an experiment is going on. That’s fair. What’s interesting is that Experimenter becomes a compelling experience, a film of ideas that is almost a tone poem, too (thanks in part to Bryan Senti’s music). The seriousness and self-reflection of the mid-20th century come to life in a really engaging way—all the more so for including William Shatner and beatnik beards. (Seven Gables. Rated PG-13. 98 min.) ROBERT HORTON

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

and hair styles of a distant era, the Vietnam e’re in a golden age of mourning era; another to analogize the abuses of power the golden age of journalism. to our Snowden present. Redford, of course, On Friday we have Truth, about was a crusading liberal who played a crusadthe 2004 scandal that brought ing reporter in President’s Men; now he’s down Dan Rather; two weeks later folplaying the crusty old newsroom lows Spotlight, about the scandal that lion—rather like Jason Robards’ brought down the Catholic church TRUTH Ben Bradlee in that film. The in Boston. The latter unfolded Opens Fri., Oct. 30 young guns in Truth live in awe during 2001–02, earning The at Meridian, Sundance, of Rather and crave his approval Boston Globe a Pulitzer. During & Thornton Place. (none more so than Mapes, for the middle of its reporting comes Rated R. reasons to be revealed).

9/11, which put America on a 121 minutes.

As in any profession, however, course to war. Truth repeats news passion can lead you astray. Mapes reports showing Bush and Kerry comes on strong, a high-strung careerist near-tied in the polls. We also see the who leaves behind her husband and young same Swift Boat ads—among many screensson in Dallas for weeks at a time. (Raised in within-screens here—that so damaged the Burlington, she attended the UW and started Vietnam War veteran and Massachusetts senaher career at KIRO, where she worked alongtor; also watching is 60 Minutes producer Mary side John Carlson—whose KVI show her father Mapes (Cate Blanchett).

Don would later call to defame her.) She’s Her story, she believes, is even bigger: how all about the story, 24/7, pushy in getting her the sitting wartime president ducked the way, which will later lead to predictable antidraft in the Texas Air National Guard from feminist epithets from the Internet enemies of 1968–73. Via her paper trail, the White House CBS. She’s convinced of the righteousness of hawk will be revealed a dishonest chicken her cause, as is her gung-ho team (Elisabeth hawk, with the election only two months away.

Moss, Topher Grace, and Dennis Quaid). Her Fresh off the success of their Abu Ghraib revvarious sources—Stacy Keach prime among elations, Mapes and her team are rushing to them—are a little squishy about photocopied supply Rather (Robert Redford) with a juicy documents that are a (small) piece of the case scoop. And to deliver the huge, profitable TV against the president. Their story seems solid, ratings desired by CBS. while the evidence devolves into the superscript We know how badly that story turned out, fonts of vintage typewriters on which young and the challenge for these two journalistic Bush’s damning TANG evaluations were supaccounts—Robert Horton will review the posedly written. And 3 . . . 2 . . . 1, you’re on superior Spotlight in our November 11 issue— the air, Mr. Rather! is to dramatize past events, to convince us a First-time director James Vanderbilt—yes, dozen years later that they still matter. It’s from that family—based this account on Mapes’ one thing to stream All the President’s Men on 2005 book. Previously the writer of Zodiac and Netflix to appreciate the past craftsmanship

LISA TOMASETTI/SONY PICTURES CLASSICS

Redford’s Rather is a father figure to Blanchett’s Mapes.

But what does any of this matter today? Watching Blanchett’s fine and fiercely committed performance, Mapes swilling Chardonnay and Xanax to assuage her pain, I thought less about the crash-dive of journalism (a given) than the glass ceiling in a sexist trade (no less true today at Yahoo, Amazon, Google, etc.). Rather may be her surrogate Daddy, and Mapes may have an enlightened husband back home, but here is a woman alone against the tyranny of a male cyber-mob. (This is the kind of movie where someone despairs, “The bloggers are having a field day!”) In one of Truth’s more effective scenes, Mapes ill-advisedly Googles her name—yielding the toxic new normal of Internet misogyny. First those anonymous citizen commentators criticized her fonts; then they mobilized a hate-wave that humbled the Tiffany Network. (The FOX News demo’s most damning charge against Rather and CBS, as you may recall, was liberal bias.)

So while I want to sympathize and cluck my tongue at the degradation of my trade, that’s not the same thing as a compelling movie. Mapes’ and Rather’s downfall is sad, but less dramatically interesting than, say, the case of disgraced Daily Mail phone hacker/editor Rebekah Brooks, who was protected and rehabilitated by her corporate patron, Rupert Murdoch.

(Something of a Lear figure here, Rather has prestige, not power.) What Truth gets right, when Rather calls Mapes from his Park Avenue terrace before resigning, is that quality TV journalism was never meant to be profitable; it was only subsidized during a brief golden era by FCC fairness rules that the Web (and government deregulation) have demolished. Brooks and Murdoch understand the new hyper-partisan media market; Mapes and Rather come to the same realization too late.

Even as it celebrates, like Spotlight, the oldfashioned process of journalism, the self-validating Truth asks us to pity Mapes in a way that Shattered Glass and True Story never did their discredited heroes. (Note that I say hero, not heroine.) And no one will make a movie about The New York Times’ Jill Abramson, whose flawed reporting helped justify a war in which tens of thousands died. Mapes merely made aggressive mistakes about a war then 30 years past, its damage done. Or so we thought.

What sticks with you in Truth is the ongoing cultural war between the establishment— once embodied by Nixon, here Rather—and an angry public. What drove the events in All the President’s Men? The sense that we were being lied to, that the official story wasn’t true.

Mapes and Rather were following that same sound instinct until it was turned against them, a thousandfold and more. We live by the pen, die by the cursor. E

Opening Friday JASON ROBINETTE/MAGNOLIA PICTURES

The Amazing Spider-Man (both with newspapermen heroes), he’s obviously aiming to vindicate his proud, flawed heroine. And given all we now know about Vietnam, 9/11, W, and Iraq, we outside the Red States will be on his side.

Mapes, while cutting a few corners, was clearly right in her overall narrative, while her CBS bosses were clearly wrong in their nitpicking and ass-covering. (With no Texas accent, Redford’s Rather exists like Yoda, a principled, scotchswilling icon who accepts adulation as his due, then nobly falls on his sword; his grubby CBS lawsuit is confined to the postscripts.)

» CONTINUED ON PAGE 24 23

GEORGE KRAYCHYK/A24 FILMS

Jack (Tremblay) is entirely home-schooled.

» FROM PAGE 23

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7 Years a Slave

In an uncomfortable sense, this adaptation of Emma Donoghue’s 2010 novel teaches you both how to be a sex-slave kidnapper and a sexslave escapee. Joy (the excellent Brie Larson, from Short Term 12), we shall learn, was abducted as a 17-year-old. We meet her as the young mother of Jack (Jacob Tremblay, an emotionally pure lodestar), both of them confined to a garden shed/prison that forms the 5-year-old boy’s entire known universe.

A skylight above, a few books, and TV cartoons blur into a magical realm for Jack; notions of what’s real and imaginary are just beginning to settle into his head. Joy has taught him to read; they do yoga to stay fit; and their captor brings them provisions regularly if grudgingly. (Joy hides Jack in a cupboard during her weekly rape sessions.)

Wait, don’t turn the page! I know how awful this sounds; I, too, had an overwhelming desire not to watch Room. But the sexual violence is relatively discreet; and better days will come for Joy and Jack, I promise.

The challenge for director Lenny Abrahamson, whose Frank was such an oddly endearing and funny band movie, is to balance the horror and resilience of what we might ordinarily call a survival tale. For those who haven’t read the novel, let’s stipulate that Joy has parents ( Joan Allen and William H. Macy) who are anything but perfect. And while Joy proves a tough, shrewd character (on exhausting parenting duty 24-7), she’s also subject to regular attacks of doubt that I suspect many mothers will know. Is this all my fault? In very different situations, too many women routinely ask the same question, cast the same self-judgment and blame.

Adapted by the author, Room is marked by Jack’s long, lyrical passages of description, taken directly from the book. Objects are like friends for Jack, who’s been kept in a paradoxical state of enchantment, since Joy needs to hold reality at bay.

She’s read him the childhood classics, and he correctly discerns that “I’m like Alice”—meaning Alice in Wonderland. To be vague about the plot, which takes a big turn after an hour, Jack’s task, like Alice’s, is to understand the rules—or their absence—in two different realms. He’s like a refugee, an almost alien visitor. (One thinks of Saint-Exupéry’s Little Prince, and Donoghue has embedded many such literary cues in her claustrophobic story.)

Hollywood insists on healing and closure, but Room is more interested in the wonder of child-

hood, regardless of circumstances. Does Jack survive? He has his imagination, his mother’s love, and that’s enough. (Guild 45th, Pacific Place, Lincoln Square. Rated R. 118 min.) BRIAN MILLER

P Rosenwald

When the 1 Percent Gave Back

The wonderful true story told in Rosenwald is a terrific history lesson, and an inspirational portrait of how one person can make a difference. And in a sly way, it’s also a rebuke—or maybe a challenge—to the new generation of freakishly rich people. The story of Julius Rosenwald stands in violent contrast to the profile of, say, the loathsome millionaire who hiked the price of the AIDS drug he now owns, or the pumpkin-haired TV star who has enchanted this country’s Republicans. The wealthy people of olden times weren’t all peaches and cream, but Rosenwald’s attitude—seen in vintage clips—was that any rich person is enormously lucky, and has a responsibility to give back.

The film, directed by expert chronicler of Jewish-American history Aviva Kempner (The Life and Times of Hank Greenberg), is not so much a bio of Rosenwald as a chronicle of his effect on African-American life. Rosenwald, born in 1862 to a German immigrant family, became chief of Sears, Roebuck & Co., the Amazon.com of its era.

His interest in social disparity was keen, and— after some artful nudging from Booker T. Washington—Rosenwald began a program that built thousands of bright new elementary schools in the Jim Crow South. The Rosenwald schools were also supported by donations from the impoverished communities, which meant locals were invested in their success. Kempner’s interviews with former Rosenwald-school students are a moving tribute to how much these places meant: The roster includes poet Maya Angelou, Congressman John Lewis, newspaper columnist Eugene Robinson, and director George C. Wolfe. They speak warmly and with amazing clarity about their experiences.

The film gets overextended, but only because the story continues in ways too fascinating to resist recounting. For instance, in 1928 Rosenwald founded a fellowship to support Southern artists and scholars. The recipients of this fund read like a pantheon of African-American achievement: Jacob Lawrence, Langston Hughes, Zora Neale Hurston, Marian Anderson, Ralph Ellison, and James Baldwin are among them. Kempner has rightly added to a philanthropist’s legacy with this film. Time for the new super-rich to consider their legacies as well as their priorities, and spread the wealth around— there may be a documentary profile in it. (Sundance.

Not rated. 100 min.) ROBERT HORTON E

film@seattleweekly.com

DANCE

Death From Above The Cabiri’s holiday show has roots deeper than Halloween.

BY SANDRA KURTZ

S

KRISTIN PILJAY

eattle audiences have been watching artists hang from the ceiling for years now. Since Pat Graney’s 1985 Childrenz Museum (and likely before), choreographers have been using ropes, trapezes, silks, and more to get up in the air and stay for a while. Many of these exploits have been in the service of a narrative or a metaphor, but the artists of The Cabiri take it a step beyond, telling ancient stories from mythology, full of gods and demons. Artistic director John Murphy, whose expertise bridges dance and comparative anthropology, has been mining the history of preChristian civilizations and presenting it to local audiences, using theatrical tricks and circus skills to bring the ancients to life.

It often takes a full-sized theater to support this kind of stage trickery, but for several years the Cabiri have also been presenting an autumn cabaret-style show, complete with dessert and cocktail service, in the repurposed school cafeteria at the Youngstown Cultural Arts Center.

Twilight of the gods?

Ghost Games is usually a highlights show, combining stories from several different cultures with themes that match the season (not tion between worlds—or act as a landing pad for so coincidentally Halloween). The ninth such some of the more spectacular aerial maneuvers. installment, Dead Gods, lives up to the title, Alongside Murphy and his producing partner Charly McCreary, the company’s core leaving several corpses on the floor. members have been developing their circus The show opens with the bloody story of skills—this is one of the strongest groups Cybele and Attis, but my dying car got me they’ve presented. In a talkback at the there too late. Next is the equally grim end of the evening, most of the cast tale of the Sumerian Inanna, who Youngstown described themselves as gymnasts traveled to the underworld after Cultural or aerialists. Only a few were the death of a favorite tree. There Arts Center primarily “dancers.” Joshua she loses a battle with Ereshkigal, 4408 Delridge Crouch, who also choreographed Queen of the Great Below, and Way S.W., cabiri.org the dance sequences, was a paris “hung like a rotting piece of $45–$100. ticularly effective Pan, springing meat for three days.” Like all the 8 p.m Sat. & up from the floor to a low-flying work created by the Cabiri, Inanna’s 7 p.m. Sun. trapeze like the goat he is. Dana Orr, journey from youthful joy to death is as Telepinu, skillfully incorporated marenacted both in the air and on the ground. tial arts, gymnastics, and rope work during her As Inanna, Marissa Smith works on a hanging battle with Kai Tindal’s sea god Aruna—the pole and a low-hanging trapeze before she’s two of them had phenomenal timing. finally displayed in a cargo net, swinging above These myths may seem a bit hyperbolic, our heads. but they are the tales that our ancestors used The other stories in the program have a simito understand their world, easily remembered lar trajectory. In Syrinx and Pan, the nymph is and relayed in oral traditions. Such broad transformed into a reed to avoid being molested archetypes recur from era to era, culture to culby the satyr, only to have him make her into his ture. Telepinu may be a Hittite god, but as an signature flute. And in a complex myth from impulsive young man straining to be free, he’s the Hittites that works to explain the change of also the Prodigal Son, or a college kid learning seasons, Telepinu, the god of spring, vanquishes from hard experiences. a sea god that has stolen the sun, only to be It may seem odd to describe a battle to the seduced by the sea god’s daughter and then death between the Queen of Heaven and Earth defeated by the frost. The acting style through and the Queen of the Great Below as cozy. Yet all of this is quite mannered, which blends with the second small platform in the middle well with the force needed for the gymnastics of the audience and trapezes hanging close and aerial skills. In many ways, the performers overhead, the Youngstown space has a kind of resemble silent film actors, with their iconic, intimacy that makes these outlandish old tales larger-than-life poses. more believable. (The cocktails may also help suspend disbelief.) As the characters enter and Murphy and his designers take advantage of exit through the crowd, you start to wonder if the the relatively tiny stage by extending the perforbreeze you feel on the back of your neck is just a mance space into the rest of the room, setting up draft, or a breath from the underworld. E a path of tumbling mats ending in a small platform. This satellite stage can give a clear separadance@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

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aloof, privileged whites “Dreamers” who believe uch has been made of the that “they are beyond the design flaws of humansupposed similarity between ity.” Instead, he asks whites to acknowledge that Ta-Nehisi Coates and James their privilege is a construct, an empire “built Baldwin. Coates’ acclaimed new on the destruction of the body.” The opposite of Between the World and Me (Spiegel & Grau, ersatz godhood is humility: to recognize the lin$24) is, in various ways, self-consciously modgering connection between the slavery that once eled on Baldwin’s Civil Rights-era manifesto was and the racial disparities that still are.

The Fire Next Time. Framed like Baldwin’s 1963 classic as a letter to a young relative (here Coates’ 4. The damned can become demons. Coates teenage son), World is in fact an extended essay recalls a day during his Baltimore childhood on the condition, causes, and responses to living when a fellow sixth-grader pointed a gun at black in modern America. Like Baldwin, Coates him. “The boy did not shoot. He did not need to rails against white forgetfulness, complacency, and shoot. He had affirmed my place in the order of supremacy. He also dissects both Christian hypocthings. He had let it be known how easily I could risy and black liberationist mythology. be selected.”

Also like Baldwin, Coates’ writing shows Elsewhere, he describes how “the crews, clear parallels with French existentialist the young men who’d transmuted philosopher Albert Camus. Here are their fear into rage, were the greatest McCaw Hall five key points of correspondence danger. The crews walked the blocks 321 Mercer St., Seattle between Camus and Coates (whose of their neighborhood, loud and Center, lectures.org.

Seattle Arts & Lectures appearance rude, because it was only through 7:30 p.m. Thurs., Oct. 29.

Thursday is sold out). their loud rudeness that they might feel any sense of security and power.

1. Life is absurd. It’s a short leap They would break your jaw, stomp from Camus’ The Myth of Sisyphus to your face, and shoot you down to feel World. There’s a similar regard for the that power.” world as fundamentally arbitrary and nonsenIn both cases, these young men are trapped sical, built on ontological sand. Coates finds himin the same inner-city prison as Coates, and self caught in “the chaos of history,” a purposeless deal with it by asserting themselves over other whirlwind that can easily be misinterpreted as a prisoners. Finding themselves at the bottom, coherent process. “The enslaved were not bricks in they proclaim themselves at the top. This mirrors your road, and their lives were not chapters in your Camus’ analysis of the jailed Marquis de Sade redemptive history,” he writes. “They were people in The Rebel: “Twenty-seven years in prison do turned to fuel for the American machine.” not, in fact, produce a very conciliatory form 2. There is no God. “When the assembled of intelligence. Such a long period of confinemourners bowed their heads in prayer,” writes ment produces either weaklings or killers and Coates, “I was divided from them because I sometimes a combination of both. If the mind believed that the void would not answer back.” is strong enough to construct in a prison cell a Thus, in light of the world’s absurdity, he cautions moral philosophy that is not one of submission, his son to “resist the urge toward the comforting narrative of divine law, toward fairy tales that imply it will generally be one of domination.”

Does damnation scar all its victims? Yes. some irrepressible justice.”

Doom them? No. Because . . .

Camus and Coates both stare into the abyss, choosing to reject any refuge in comforting but 5. If you can’t win, try to lose well. Again, self-deceptive mythology. (Camus calls this a from The Rebel, Camus writes, “Only two poschoice to “live in front of a mirror.”) Both seek sible worlds can exist for the human mind: the what feels like a morally honest way to live in a sacred . . . and the world of rebellion.” Which is world full of random suffering—e.g., police vioto say you can accept the world as good enough, lence against young black men—for which there or you can fight to improve it—however uneven is no divine moral or historical purpose. It’s better the contest. Thus the example of Dr. Rieux in The to face this, Coates writes: “You have to make your Plague, who resists the gales of uncaring reality peace with the chaos.” even though it amounts to “a never-ending defeat.”

Coates certainly understands such tragic, 3. We cannot be our own gods. “In order to even futile, heroism. “The struggle, in and of be a man,” Camus writes in The Rebel, “refuse to itself, has meaning,” he writes. “Perhaps strugbe a god.” He’s referring to the totalitarian hubris of the past century’s gulags, concentration camps, gle is all we have.” E and police states. In today’s terms, Coates calls cjaywork@seattleweekly.com

SW ARCHIVES

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BOOKS

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PICKLIST

Pollan. She’s both a top-shelf academic (with a Ph.D. in molecular biology) and an investigative journalist who’s been a source in many recent food documentaries (Food Fight, Super Size Me, etc.). Fast food, obesity, sugar, and Big Agriculture are among her frequent targets, and all four figure in Soda Politics: Taking on Big Soda (and Winning) (Oxford University Press, $30), a book that we could call classic Nestle.

She addresses not only the inherent health issues but also the history and politics of how soda came to dominate our food system—and how it’s now ebbing in educated, health-conscious enclaves like Seattle. “There will always be soda,” she recently told The New York Times, “but I think the era of it being acceptable for kids to drink soda all day long is passing, slowly.

In some socioeconomic groups, it’s over.” Town

Hall, 1119 Eighth Ave., 652-4255, townhall seattle.org. $5. 7:30 p.m. NICOLE SPRINKLE

If/Then

OCTOBER 28

Wednesday Festen

Avenue Arts, 1620 12th Ave., wearenctc.org. $15–$35. 7:30 p.m. BRIAN MILLER

OCTOBER 30

Friday

A Glimmer of Hope or Skin or Light

Local choreographer KT Niehoff is really something of a party girl—she wants to create events that bring groups together. Dance is the vehicle

St., 292-7676, acttheatre.org. $20–$35. 8 p.m.

SANDRA KURTZ

OCTOBER 31

Saturday North Corner Chamber Orchestra

No one ever made a plain minor chord—or a major one, for that matter—sound creepier than Alfred Schnittke did in his 1979 piano concerto. How did he confect such icy, hallucinatory ravishment out of the simplest possible material? By playing those plain chords against each other; or against crunching palmed handfuls of notes; or against bleak droplets of melody at the very top of the keyboard; or against gong-like growls at the very bottom; or against hazy, dissonant curtains of tone in the strings-only orchestra. (Danny Elfman, I bet, learned a trick or two from Schnittke for some of his Tim Burton film scores.) Cristina Valdés performs it with the conductorless North Corner Chamber Orchestra on their seasonopening concerts alongside music by Mozart, Jacques Ibert, and Dorothy Chang. (And watch for Valdés’ Meany Hall solo recital on Tuesday: Messiaen, Reich, and much more.) University Christian Church, 4731 15th Ave. N.E., nocco. org. $15–$25. 2 p.m. (and 7:30 p.m. Sun.)

GAVIN BORCHERT

Of Montreal

Given his penchant for resplendent costume changes and elaborate makeup, I assume that every day is Halloween in the world of Kevin Barnes. The guy once rode onstage at a show in New York wearing nothing but short shorts atop a white horse. But since today is actually Halloween, it’s safe to say Of Montreal will trick the hell out of your treats by ratcheting up its already-legendary live performances for the occasion. Way back in 2007, when “mp3,” blog,” and “indie” still meant something, Of Montreal ruled the land with its glam-pop freak-funk masterpiece Hissing Fauna, Are You the Destroyer?

On the album, Barnes transformed into his Ziggy Stardust alter-ego Georgie Fruit, whom he described as a 40-year-old African-American man who had undergone multiple sex changes and used to perform in an imaginary funk band from the ’70s named Arousal. Barnes assumed the role of Fruit on his following two albums, Skeletal Lamping and False Priest, and claims that he now no longer knows which stage identity is his own. Live performances from this tour, supporting Aureate Gloom, are rumored to include buxom boxing poodles and a sexy Abe Lincoln.

With Diane Coffee, Aqueduct, Holy Komodo.

The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. $17–$21 (all ages). 9 p.m.

KELTON SEARS

NOVEMBER 3

Tuesday

Marion Nestle

The list of Nestle’s accomplishments and awards could fill pages, but suffice it to say that this NYU professor, food activist, and author (Food Politics) is beloved by just about everyone who matters in the foodie sphere—including Mark Bittman, Alice Waters, and Michael

4849, stgpresents.org. $25 and up. 7:30 p.m.

BRIAN MILLER

NOVEMBER 4

Wednesday The Dogist

Man’s best friend just got a whole lot cuter in Elias Weiss Friedman’s collection of canine photos, The Dogist (Artisan, $25). The volume comes from his very popular website, and “The Dogist” is also how he’s known and recognized while roaming New York (and beyond) to frame his four-legged portraits. To sort so many images, Friedman groups his subjects into sections, e.g.

Heavyweights (dogs on the larger side), Seniors (aged but still friendly old-timers), and beyond.

Think of the book as Humans of New York, but with dogs. As in HONY, stories are included— some touching, some heartbreaking, and some that will leave cat lovers unmoved. The photographs are crisp and memorable; more than a few will make you want to steal (well, adopt) a puppy or two. Framing his furry subjects at their eye level, Friedman captures each animal’s unique spirit. These pooches look remarkably happy. You may not consider yourself a dog person, but The Dogist might just change that.

Go fetch a copy. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com.

Free. 7 p.m. SCOTT JOHNSON E

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

As a movie, the Danish The Celebration caused a sensation back in 1998; the family brawl of a drama was arguably the best of the no-gimmicks Dogme crop. Then, working against the usual stage-to-screen path, English playwright David Eldridge wrote a hit adaptation that debuted in 2004. (Festen reached Broadway two years later.) If you’ve seen the movie, you know the long-buried family secret, which emerages during a large, loud, cheerful 60th birthday celebration for Helge (Bradford Farwell, in New Century Theatre Company’s production opening tonight). His son Christian (Connor Toms) delivers some damaging charges and, later, a recriminatory letter from his long-dead twin sister, a suicide. Yet somehow the jolly celebration rolls on despite the angry accusations and denials. Festen is still a party, after all, where that festive dissonance drives proceedings into horrific black comedy. Striking the right tone will be a challenge for the Bellevue-raised, UK-based director Wilson Milam. He’s got a large cast full of prominent local talent, including Amy Thone as the family matriarch, and MJ Sieber and Betsy Schwartz as Christian’s disbelieving siblings. (Through Nov. 21.) 12th

she uses, but the goals extend beyond a pretty plié or a dynamic leap. In the past, the venue has been a dance studio or a city street, but more recently she’s been using spaces that have that kind of social component in their DNA. In 2010, she created Glimmer as a multipart event that popped up all over town. For this revival, she’s bringing back the finale, an elaborate cabaret show where spectacular showgirls usher you into an environment full of glamorous potential.

(Through Nov. 14). ACT Theatre, 700 Union

JOAN MARCUS

Menzel and Rapp in If/Then.

The big selling point to this short-run touring show is star Idina Menzel (“Let It Gooooooo!”), who originated the role on Broadway last year.

The musical has college professor Elizabeth (Menzel) contemplating all the alternate life paths she might’ve taken; new to New York and newly divorced, she’s got to reinvent herself somehow. What’s a girl to do? Split herself in two! Elizabeth becomes both careerist Beth and amorous Liz. In alternating songs and scenarios, Menzel plays both roles and sends her castmates (including fellow Rent alum Anthony Rapp) into dizzying new permutations of choice and determinism. It’s a family-friendly show that offers tuneful uplift for any woman contemplating change (or regretting past life decisions). Your daughters will know Menzel for that Frozen ditty, of course, while grown-up theatergoers will recall Wicked (and more lately Glee). The book and lyrics come from Issaquah’s own Village Theatre-trained Brian Yorkey, with songs by his Next to Normal collaborator Tom Kitt. (Through Sun.) The Paramount, 911 Pine St., 877-784-

27

Calendar

■ BUYER AND CELLAR In Jonathan Tolins’ acclaimed one-man show, an aspiring actor is hired to run the private mall in Barbra Streisand’s Malibu basement. Scott Drummond plays all the roles, including Babs.

Seattle Repertory Theatre, Seattle Center. $34 and up. Opens Oct. 28. 7:30 p.m. Wed.–Sun. plus some weekend & Wed. matinees; see seattlerep.org for exact schedule. Ends Nov. 22.

CABARET MACABRE Music and burlesque with the Bad Things, Baby Gramps, Sinner Saint Burlesque, and more. Columbia City Theater, 4916 Rainier Ave. S., columbiacitytheater. com. $17–$40. 8 p.m. Sat., Oct. 31.

THE CRADLE WILL ROCK Marc Blitzstein’s fiercely pro-labor musical opened in 1937 under a stormcloud of controversy. Jones Playhouse, 4045 University Way N.E., drama.washington.edu. $12–$20. Previews Oct. 28–29, opens Oct. 30. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Nov. 8.

THE DEATH OF BRIAN Ricky Coates’ one-man zombie tale promises “puppets, philosophy, sci-fi references, fights, blood, sex, and dark laughs.”

Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, bainbridgeperformingarts.org. $25. 7:30 p.m. Fri., Oct. 30.

■ FESTEN SEE THE PICK LIST, PAGE 27.

■ IF/THEN SEE THE PICK LIST, PAGE 27.

THE INTERVIEW A dark satire of the job world. Bellevue Youth Theatre, 16661 Northup Way, Bellevue. $10.

Opens Oct. 31. 3 p.m. Sat.–Sun, plus 6 p.m. Sun., Nov. 8. Ends Nov. 8.

JUNGALBOOK Edward Mast’s retelling of Kipling’s tale. Cornish Playhouse at Seattle Center, cornish.edu. $5–$12.

8 p.m. Wed., Oct. 28–Sat., Oct. 31, 2 p.m.

Sat., Oct. 31–Sun., Nov. 1.

MAD SCIENTIST CABARET A theatrical spectacle of clowning, dance, puppetry, and more. Annex Theatre, 1100 E. Pike St., annextheatre.org. $5–$10. Opens Oct. 30. 11 p.m. Fri.–Sat. plus 7:30 p.m. Mon., Nov. 9–Tues., Nov. 10. Ends Nov. 13.

SEATTLE WEEKLY • OCTOBER 28 — NOVEM BER 3, 2015

■ MOTHER COURAGE AND HER CHILDREN Brecht’s dark satire on

28

war profiteering. Center Theatre at Seattle Center. $27–$50. Previews Oct. 28–29, opens Oct. 30. 7:30 p.m. Wed.– Sat. plus some matinees; see seattle shakespeare.org for exact schedule.

Ends Nov. 22.

MY MAÑANA COMES Elizabeth Irwin set her dramedy in the kitchen of a posh New York restaurant, where the staff dreams of better tomorrows.

ArtsWest, 4711 California Ave. S.W., artswest.org. $17–$37.50. Opens Oct. 29. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends Nov. 22.

OPERADISIAC “Seattle’s operatic burlesque troupe” presents Little Bear the Bearded Lady, Rattlesnake Dick, Trixie Paprika, and more. Darrell’s Tavern, 18041 Aurora Ave. N., darrells tavern.com. $8. 4 p.m. Sun., Nov. 1.

THINGS THAT GO BUMP (& GRIND) IN THE NIGHT A Halloween-

themed burlesque revue starring Bolt Action, Lady Drew Blood, Miz Melancholy, and many others. Ballard Underground, 2220 N.W. Market St., $15–$35. 6 p.m. Fri., Oct. 30.

Current Runs

MR. BURNS, A POST-ELECTRIC PLAY SEE REVIEW AT

SEATTLEWEEKLY.COM. ACT Theatre, 700 Union St. $15–$20. Runs Tues.–Sun.; see acttheatre.org for exact schedule.

Ends Nov. 15.

■ SAUCED Directed by Paul Budraitis, this noir-inspired tale is

filled with surprising double-crosses, a steamy love triangle, and dialogue so pulpy you might need a strainer to drink it in. The 1937 setting is the Diamond Club, a Seattle gin joint owned by a slightly drunk and dyspeptic Mike (Mark Siano), unsatisfied with his station in life and on the hunt for a singer. Hostess Valerie Rush (Opal Peachey) is Mike’s long-suffering girlfriend; femme fatale Charlotte (Billie Wildrick) is the bombshell bartender Saul (Ray Tagavilla) has hired to croon.

Written by Terry Podgorski, with songs

by Annastasia Workman that carry you through the sometimes spotty story. MARK BAUMGARTEN Nordo’s Culinarium, 109 S. Main St., cafenordo. com. $65–$99. 7:30 p.m. Thurs. & Sun., 8 p.m. Fri.–Sat. Ends Dec. 20.

For more Current Runs, see seattleweekly.com.

Dance

SHAPING SOUND A mashup of

dance and music genres by the crew from So You Think You Can Dance and All the Right Moves. The Paramount, 911 Pine St., stgpresents.org. $31.25– $61.25. 7:30 p.m. Thurs., Oct. 29.

DRACULA If ballet companies can monetize Christmas with Nutcracker, why not Halloween too? Meydenbauer Theatre, Bellevue, ibtbellevue.org. $25–$45. 7:30 p.m. Fri., Oct. 30 & 2 p.m.

Sat., Oct. 31–Sun., Nov. 1.

RIVERDANCE The traditional Irish dance-turned-global phenomenon returns. The Paramount, 911 Pine St., stgpresents.org. $35 and up. 8 p.m.

Fri., Oct. 30; 2 & 8 p.m. Sat., Oct. 31; 1 & 6:30 p.m. Sun., Nov. 1.

■ KT NIEHOFF SEE THE PICK LIST, PAGE 27.

■ GHOST GAME IX: DEAD GODS SEE REVIEW, PAGE 25.

TEATRO DE LA PSYCHOMACHIA

A dance/music performance with Vanessa Skantze, Tatsuya Nakatani, Eyvind Kang, Jessika Kenney, and many others. 1534 First Ave. S. $5–$15.

8 p.m. Sat., Oct. 31.

Classical, Etc.

■ SEATTLE OPERA has found an excellent cast for its blazingly colorful production of Bizet’s 1863 The Pearl Fishers, devised by British designer Zandra Rhodes, and Emmanuel JoelHornak conducts so as to give the young Bizet’s instrumental imagination its due. McCaw Hall, Seattle Center, seattleopera.org. $25 and up. 7:30 p.m.

Wed., Oct. 28, Fri., Oct. 30, Sat., Oct. 31. (A Halloween bash follows the closing-night performance; see website for details.)

■ WAYNE HORVITZ discusses his recent Richard Hugo-inspired music: his CD Some Places Are Forever Afternoon and the Oct. 29 SSO premiere of his Those Who Remain for guitarist Bill Frisell. Jack Straw Studios, 4261 Roosevelt Way N.E., jack straw.org. Free. 7 p.m. Wed., Oct. 28.

■ SEATTLE SYMPHONY SEE THE MUSIC CALENDAR, PAGE 31.

■ MELIA WATRAS A CD-release event for this new-music-friendly violist’s disc Ispirare. Brechemin Auditorium, School of Music, UW campus, music.washington.edu. Free.

7:30 p.m. Thurs., Oct. 29.

NAKATANI GONG ORCHESTRA

The instrument’s more versatile than you might think, and Tatsuya Nakatani’s gathering a dozen or so local percussionists to prove it. Chapel Performance Space, 4649 Sunnyside Ave. N. $5–$15. 8 p.m. Thurs., Oct. 29.

AVE RENAISSANCE WOMEN’S CHOIR Music by Palestrina, Perotin,

Hildegard von Bingen, and others.

Trinity Lutheran Church, 6215 196th St. S.W., Lynnwood, earlymusicguild.org.

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

HALLOWEEN ORGAN CONCERT

A tradition from the UW organ studio.

Count on hearing Bach’s Toccata & Fugue in D minor. Walker-Ames Room, Kane Hall, UW campus, music.washington.edu. Free. 7:30 p.m. Fri., Oct. 30.

■ NORTHWEST SYMPHONY A Halloween-themed concert with— instead of the usual Danse macabre, et al.—music by several local composers. Highline Performing Arts Center, 401 S. 152nd St., Burien, northwest symphonyorchestra.org. $12–$15. 7:30 p.m. Fri., Oct. 30.

■ ENSEMBLE DAL NIENTE From this Chicago-based group, music by UW faculty composers. Meany Hall, UW campus, music.washington.edu. $10–$15. 7:30 p.m. Fri., Oct. 30.

SEATTLE WOMEN’S CHORUS

Moody music for Halloween. St. Mark’s Cathedral, 1245 10th Ave. E., flying house.org. $25–$45. 8 p.m. Fri., Oct. 30, 2 & 8 p.m. Sat., Oct. 31.

SEATTLE SYMPHONY Psycho with Bernard Herrmann’s iconic score played live. Benaroya Hall, Third Ave. & Union St., seattlesymphony.org. $31– $112. 8 p.m. Fri., Oct. 30–Sat., Oct. 31.

THE MET: LIVE IN HD Wagner’s Tannhäuser. Various venues, metopera. org. 9 a.m. Sat., Oct. 31.

SEATTLE SYMPHONY “Phantoms of the Orchestra” is their Halloween family concert. Benaroya Hall, Third Ave. & Union St., seattlesymphony.org. $15–$20. 11 a.m. Sat., Oct. 31.

■ NORTH CORNER CHAMBER ORCHESTRA SEE THE PICK LIST, PAGE 27.

SEATTLE FESTIVAL ORCHESTRA

Brahms’ Piano Concerto no. 1 and Shostakovich’s Symphony no. 12 makes for a lotta D minor. First Evangelical Presbyterian Church, 19800 108th Ave. S.E., Kent, 2 p.m. Sat., Oct. 31; Town Hall, 1119 Eighth Ave., 2 p.m. Sun., Nov. 1. $12–$20. seattlefestivalorchestra.org.

COMMUNITY CHOIR CONCERT

Various ensembles gather for a benefit for North Helpline Emergency Services and Food Bank. Prince of Peace Lutheran Church, 14514 20th Ave. N.E., northhelpline.org. Donation.

3 p.m. Sun., Nov. 1.

■ BYRON SCHENKMAN & FRIENDS Telemann’s “Paris”

Quartets, written for three virtuosi in that city. Benaroya Recital Hall, Third Ave & Union St., byronschenkman.com. $10–$42. 7 p.m. Sun., Nov. 1.

■ GAMELAN PACIFICA This Javanese percussion orchestra collaborates with a string quartet. PONCHO Concert Hall, Cornish College, cornish. edu. $5–$20. 7 p.m. Sun., Nov. 1.

ST. JAMES CATHEDRAL CHOIR

Duruflé’s Requiem for the Feast of All Souls. St. James Cathedral, 804 Ninth Ave., stjames-cathedral.org. Freewill offering. 7:30 p.m. Mon., Nov. 2.

EARLY MUSIC UNDERGROUND

Vocal chamber music from 18th-century Scandinavia. Naked City Brewery, 8564 Greenwood Ave. N., emuseattle. com. $20. 7 p.m. Tues., Nov. 3.

■ CRISTINA VALDES Seattle’s busiest, and probably best, contemporarymusic pianist plays Webern, Reich, John Luther Adams, and more. Meany Hall, UW campus, music.washington. edu. $10–$20. 7:30 p.m. Tues., Nov. 3.

■ DANISH STRING QUARTET

Beethoven’s Grosse fuge, plus a piece

by Alfred Schnittke based on it, plus one by the quartet’s countryman Per Nørgaard. Meany Hall, UW campus, uwworldseries.org. $38–$43. 7:30 p.m.

Wed., Nov. 4.

■ TOWN MUSIC Composer/ vocalist Lisa Bielawa performs with French new-music group Ensemble Variances. Town Hall, 1119 Eighth Ave., townhallseattle.org. $5–$25.

7:30 p.m. Wed., Nov. 4.

S.J. MCCORMACK Night Witch

■ SARAH VOWELL Early American

history has a way of skulking to the back of one’s mind, stale and slightly crunchy, rarely gaining any sort of dynamism or flavor. Thankfully, the brilliant Vowell has a way of not only preserving history, but making it rise from the textbook grave. In Lafayette in the Somewhat United States, she follows the unique and dedicated path of the young Marquis de Lafayette. Her enthusiasm for the characters of America’s history is contagious, as she decodes letters and documents from the pens of Lafayette, Washington, Jefferson, and others. Reassessing these familiar heroes, Vowell finds details often brushed under the academic’s musty rug. MARA SILVERS The Neptune, 1303 N.E. 45th St., 877-784-4849, stg presents.org. $35 and up. 8 p.m.

■ TAVI GEVINSON Rookie Yearbook Four collects writings from this popular online mag for teenage girls. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. 7 p.m.

Wed., Oct. 28. SEE CONVERSATION AT SEATTLEWEEKLY.COM. ■ PETER NABOKOV The UCLA professor will discuss his How the World Moves: The Odyssey of an American Indian Family. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbay book.com. 7 p.m. Wed., Oct. 28.

CATHERINE MADISON The War Came Home With Him is her memoir of the long-term effects of her father’s time as a Korean War POW. Third Place Books, 17171 Bothell Way N.E., 366-3333, thirdplacebooks.com.

7 p.m. Wed., Oct. 28.

BOB SUREN Crate Digger: An Obsession With Punk Records is this audiophile’s memoir. Singles Going Steady, 2219 Second Ave. 7 p.m.

Wed., Oct. 28.

SHERRY TURKLE Having trouble putting down your smartphone?

Reclaiming Conversation may help.

Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m.

Wed., Oct. 28.

■ KRISTIN HERSH SEE THE MUSIC CALENDAR, PAGE 31. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbay book.com. 7 p.m. Thurs., Oct. 29.

■ TA-NEHISI COATES SEE REVIEW, PAGE 26.

■ ANNE LAMOTT Small Victories is her new essay collection. St. Mark’s Cathedral, 1245 10th Ave. E. $50. 7 p.m. Thurs., Oct. 29.

ANA MARIA SPAGNA Reclaimers tells the stories of women who fought to reclaim indigenous lands. Third Place, 7 p.m. Thurs., Oct. 29.

OLIVIA DRESHER & DAVID SHIELDS Short Flights collects

modern-day aphorisms. University Book Store, 7 p.m. Thurs., Oct. 29.

ROGER LOWENSTEIN looks back at our fiduciary history in America’s Bank: The Epic Struggle to Create the Federal Reserve. Town Hall. $5. 7:30 p.m. Thurs., Oct. 29.

DON MIGUEL RUIZ More life advice from the author of The Four Agreements in The Toltec Art of Life and Death. Third Place. $26 (includes book). 7 p.m. Fri., Oct. 30.

LISA SCOTTOLINE Corrupted is the 14th in her “Rosato & DiNunzio” series of legal novels; she’ll discuss it with Nancy Pearl. University Book Store, 7 p.m. Fri., Oct. 30.

MELANNE VERVEER & KIM K. AZZARELLI Fast Forward offers

advice for women in the workplace, based on interviews with more than 70 successful examples. Town Hall. $5. 7:30 p.m. Fri., Oct. 30.

ROXANE DUNBAR-ORTIZ An Indigenous Peoples’ History of the United States is a valuable historical corrective. Elliott Bay. 7 p.m. Fri., Oct. 30.

is the true story of Soviet women fighter pilots in WWII. Museum of Flight, 9404 E. Marginal Way S., museumofflight.org. $12–$20. 12:30 p.m. Sat., Oct. 31.

YASMINE GALENORN Like Gitche Gumee, Galenorn’s Whisper Hollow “never gives up her dead” in Autumn Thorns. Seattle Mystery Bookshop, 117 Cherry St., 587-5737, seattlemystery.com. Noon, Sat., Oct. 31.

BEFORE PASSING Readings from this new poetry and short-fiction anthology. Richard Hugo House, 1634 11th Ave., 322-7030, hugohouse.org.

Free. 4 p.m. Sun., Nov. 1.

NINA ANGELA MCKISSOCK & ANN HEDREEN Advice on caregiv-

ing in Sun to Sun: A Hospice Nurse Reflects on the Art of Dying and Her Beautiful Brain. Elliott Bay, 3 p.m.

Sun., Nov. 1.

ANDREA KLEINE & MATTILDA BERNSTEIN SYCAMORE Kleine’s

Calf is a fictionalized account of a murder and an attempted murder (Reagan’s); Sycamore’s latest is The

CAITLIN MITCHELL

THEATER Openings & Events

AUTHOR EVENTS

MEERA SUBRAMANIAN A River Runs Again: India’s Natural World in Crisis, From the Barren Cliffs of Rajasthan to the Farmlands of Karnataka outlines the environmental state of the world’s most populous democracy. Elliott Bay, 7 p.m.

Tues., Nov. 3.

LARRY CORREIA Son of the Black Sword is his new fantasy novel.

University Book Store. 7 p.m. Tues., Nov. 3.

SHANNON MESSENGER

Neverseen is the fourth book in her “Keeper of the Lost Cities” series.

University Book Store. 7 p.m. Tues., Nov. 3.

■ SIMON WINCHESTER

Everyone’s favorite disaster-ologist talks about his new Pacific. Town Hall. $5. 7:30 p.m. Wed., Nov. 4.

■ ORHAN PAMUK The Nobel Prize-winning Turkish author’s new A Strangeness in My Mind is a comingof-age novel set in an Istanbul partly of his imagination. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. Free. 7 p.m. Wed., Nov. 4.

Sloane Crosley comes to Elliott Bay. End of San Francisco. Elliott Bay, 7 p.m. Mon., Nov. 2.

DANIEL BYMAN This Georgetown U. prof’s book is Al Qaeda: The Islamic State, The Global Jihadist Movement—What Everyone Needs to Know. City University, 521 Wall St., bookstore.washington.edu. $15–$25.

6 p.m. Mon., Nov. 2.

AMIE KAUFMAN, JAY KRISTOFF, KENDARE BLAKE, & SHAWN SPEAKMAN Four YA

novelists read. University Book Store, 7 p.m. Mon., Nov. 2.

LISA RANDALL Dark Matter and the Dinosaurs explores what really killed them off. Town Hall. $5. 7:30 p.m. Mon., Nov. 2.

MICHAEL MARMOT Apparently not being sick is only for the rich anymore: The Health Gap explores the correlation between wealth and well-being. Town Hall. $5. 7:30 p.m.

Mon., Nov. 2.

■ MARION NESTLE SEE THE PICK LIST, PAGE 27.

TIMOTHY HALLINAN & JEFFERY SIGER are the authors of

The Hot Countries (set in Thailand) and Devil of Delphi (in Greece), respectively. Seattle Mystery Bookshop, 3 p.m. Tues., Nov. 3.

■ SLOANE CROSLEY One of our

favorite essayists, her new novel The Clasp sends its protagonists on an international treasure hunt. Elliott Bay, 7 p.m. Wed., Nov. 4.

BENJAMIN PERCY & TARA CONKLIN Percy, the author of

the Lewis-&-Clark-inspired The Dead Lands, talks with Conklin on “Blending Genre.” Hugo House, 7 p.m. Wed., Nov. 4.

JERRY KAPLAN Soon you will be superfluous: Find out how in Humans Need Not Apply: A Guide to Wealth and Work in the Age of Artificial Intelligence. University Book Store.

7 p.m. Wed., Nov. 4.

HARRIET MCDOUGAL, MARIA SIMONS, ALAN ROMANCZUK, & JASON DENZEL will discuss The

Wheel of Time Companion, for fans of Robert Jordan’s 15-novel fantasy series. University Temple United Methodist Church, 1415 N.E. 43rd St., bookstore.washington.edu. $40 (incl. book). 7 p.m. Wed., Nov. 4.

SANDRA CISNEROS Her reading from her memoir A House of My Own: Stories of My Life will include a tribute to author Eduardo Galeano, who died in April. Elliot, 7 p.m.

Thurs., Nov. 5.

AC 2 AN INTIMATE EVENING WITH

VISUAL ARTS Openings & Events ■ THE ATOMIC FRONTIER:

BLACK LIFE AT HANFORD

KITSCH AND CONTEMPORARY ART Bollywood and “bad taste”

are considered in this talk by Savita Krishnamoorthy. Kirkland Arts Center, 620 Market St., 425-822-7161, kirklandartscenter.org. $10. 6:30 p.m. Thurs.

■ PARADOX OF PLACE

Contemporary Korean art is the focus to this group show, which features six artists: Jung Yeondoo, Lim Minouk, Yee Sookyung, Lee Yongbaek, Noh Suntag, and Yang Haegue. Their work spans video to photography, painting to new media. Opens Sat. Seattle Asian Art Museum, 1400 E. Prospect St. (Volunteer Park), 654-3100, seattleartmuseum.org. $5-$9. 10 a.m.-5 p.m. Wed., Fri.-Sun. 10 a.m.-9 p.m.

Thurs. Ends March 13.

PILCHUCK GLASS SCHOOL AUCTION TOUR This all-inclusive

visit to the school includes chats with David Willis, Morgan Madison, and others. It all leads up to Saturday’s annual gala acution at Chihuly Boathouse. 1201-316th St. N.W., 6218422, pilchuck.com. $500. Wed.-Thurs.

Ongoing JAMIE ADAMS In Cooper’s

Beastiary, he makes colorful new prints based on the work of type designer Oswald Coope. Cloud Gallery, 901 E. Pike St., 720-2054, cloudgalleryseattle.wordpress.com.

10 a.m-7 p.m. Mon.-Fri. 10 a.m.-6 p.m.

Sat. 11 a.m.-5 p.m. Sun. Ends Nov. 30.

RIK ALLEN AND DANTE MARIONI Working in glass, the for-

mer often uses sci-fi imagery, while the latter creates delicate tabletop vessels. Traver Gallery, 110 Union St., 587-6501, travergallery.com. 10 a.m.-6 p.m. Tues.-Fri. 10 a.m.-5 p.m. Sat. Ends Oct. 31.

ANNUAL SMALL WORKS SHOW

Some 80 artists are represented.

Howard/Mandville Gallery, 20 Park Lane (Kirkland), 889-8212, howardmandville.com. Open daily. Ends Nov. 8.

■ TINA AUFIERO She uses ceramics and text in happiness to create an “interplay of whimsy and weightiness.” The large cryptic central installation is a nine-part series of 1s and 0s, like digital code, that may or may not spell out the word happiness (also nine letters long). Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 223-8505, methodgallery.com. Noon-5 p.m. Fri.-Sat. Ends Oct. 31.

ANDERSON

&

ANDY

COOPER COHEN DEEP TALK AND SHALLOW TALES

TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

(10/29) Roger Lowenstein American Financial Power and The Federal Reserve (10/30) Melanne Verveer and Kim Azzarelli with Annie Young-Scrivner Achieving Power in a Post-Lean In World (10/30) Global Rhythms Dom Flemons Old-time folk music (11/1) Seattle Festival Orchestra: Brahms and Shostakovich (11/1) SRO presents Seattle Rock Orchestra Social Club Volunteer community ensemble (11/2) Lisa Randall How Dark Matter Killed the Dinosaurs (11/2) Michael Marmot Reconciling ‘The Health Gap’ Social Status

Join Cohen and Cooper for an unscripted, uncensored and unforgettable night of conversation

SATURDAY JANUARY 16

(11/3) Marion Nestle How to Beat ‘Big Soda’ Companies (11/3) George Musser The ‘Spooky Action’ Shaping Physics (11/3) Election Night Watch Party (11/4) Town Music Lisa Bielawa and Ensemble Variances “Cri Selon Cri” (11/4) Simon Winchester The Pacific Ocean’s Social and Economic Impacts

ON SALE FRIDAY AT 10AM TICKETS AT STGPRESENTS.ORG

BY PHONE (877)784-4849 THE PARAMOUNT THEATRE BOX OFFICE & 24-HOUR KIOSKS

(11/5) King County Mental Health and Substance Abuse Legislative Forum (11/6) Ari Berman with Justice Steven Gonzalez Fighting for American Voting Rights (11/6) University Book Store: Stacy Schiff TOWN HALL

CIVICS

SCIENCE

ARTS & CULTURE

COMMUNITY

WWW.TOWNHALLSEATTLE.ORG TOWN HALL

CIVICS

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COMMUNITY

AC2LIVE.COM

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

Southern Blacks not only moved north to Chicago and the Midwest to work in the nation’s factories; during WWII, the secret atomic-bomb program in Eastern Washington also depended on such labor. This exhibit includes photographs, documents, and supporting materials to help commemorate those efforts in the 60th anniversary year of the bombings of Hiroshima and Nagasaki. Opens Sat. Northwest African American Museum, 2300 S. Massachusetts St., 518-6000, naamnw.org. $5-$7. 11 a.m.-5 p.m.

Wed.-Sun. (Open to 7 p.m. Thurs.)

Ends March 6.

ANDREA GEYER Using film, drawing, and photography in Travels on a Slender Thread, she explores the histories of Gertrude Vanderbilt Whitney and the Whitney Museum.

Opening reception, 6 p.m. Wed. The New Foundation, 312 Second Ave. S., 512-7247, thenewest.org. 11 a.m.-6 p.m. Thurs.-Sat. Ends Jan. 16.

TONY SCHERMAN The title of this English portrait painter’s exhibition is Difficult Women, and it includes Serena Williams, Eleonor Roosevelt, and Rosa Parks. Opening reception, 6-8 p.m. Wed. Winston Wächter Fine Art, 203 Dexter Ave. N., 652-5855, winstonwachter.com. 10 a.m.-5 p.m.

Mon.-Sat. Ends Dec. 19.

PAE WHITE The Los Angeles artist uses colorful graphics and yarn to create Command-Shift-4, intended to be “a three-dimensional drawing for visitors to both visually and physically navigate.” The installation has its formal opening during the Henry Open House: 7:30-10 p.m. Thurs. ($12-$15), which also includes food, beer, music, dancing, and Halloween costumes. Henry Art Gallery (UW campus), 543-2280, henryart.org. $6-$10. 11 a.m.-4 p.m. Weds., Sat. & Sun. 11 a.m.-4 p.m. Thurs. & Sat. Ends Jan. 24.

SEATTLE ASIAN ART MUSEUM

Jung Yeondoo’s Bewitched, at SAAM.

■ ART AIDS AMERICA An large new exhibit, originating at TAM, that chronicles 30 years of art made in response to the AIDS epidemic.

Artists include David Wojnarowicz, Shimon Attie, Bill Jacobson, and dozens more (many of them sadly deceased). Tacoma Art Museum, 1701 Pacific Ave., 253-272-4258, tacomaartmuseum.org. $12–$14. 10 a.m.–5 p.m. Tues.–Sun. Ends Jan. 10.

■ BETWEEN PLACES Considering notions of terrain and location are Michael Boonstra, Andrew Myers, and Sarah Fitzsimons. Best among the disparate works are the latter’s series of photos of a spindly house outline, rendered out of aluminum, that she drags into various nature scenes for assembly and documentation. They suggest volume, domesticity, and impermanence—something like an architect’s 3-D CAD rendering for a house that can’t be built in such locations. Yet there it is, or at least the idea of it. SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Noon-5 p.m. Thu.-Sun. Ends Oct. 31 STASIA BURRINGTON I Wonder If This Will Kill Me features her new paintings, some of them cropped nudes. Twilight Gallery, 4306 S.W. Alaska St., 933-2444, twilightart.net.

11 a.m.-7 p.m. Mon.-Fri. Noon-6 p.m.

Sat. Ends Oct. 31.

LISAANN COHN She presents new drawings of interior landscapes in Nostalgia and Desire. Dendroica Gallery, 718 E. Olive Way, 324-2502, dendroica.gallery. Call for hours.

Ends Nov. 8.

■ COUNTER-COUTURE Curated by the UW’s Michael Cepress, an artist who studies and works with fiber, textiles, and fashion, this fashion show bears the subtitle “Fashioning Identity in the American Counterculture.” In other words, hippies! Cepress is exploring the ecstatic ’60s and ’70s spirit via the bell-bottoms, macramé, embroidered vests, miniskirts, headbands, granny glasses, customized jeans, peasant blouses, Huarache sandals, and tie-dye—always the tie-dye!—that defined that era. Some museumgoers will remember wearing such fashions during the Summer of Love, while younger visitors have lately been reviving the look (sometimes directly from their parents’ closets). BRIAN MILLER Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5-$10. 11 a.m.-6 p.m. Tues.-Sun. Ends Jan. 10.

PATRICE DONOHUE Verge displays many wall-mounted relief works made out of burnt or charred paper.

A change of state is suggested with these mutable materials (also including wax, cloth, and ink), as the artist seeks to explore “the edge toward something else.” Shift Gallery, 312 S. Washington St. (Tashiro Kaplan Building), shiftgallery.org. Noon-5 p.m. Fri.-Sat. Ends Oct. 31.

SUSAN RINGSTAD EMERY The local artist, of Iñupiaq Scandinavian descent, shows paintings rooted in both cultural traditions. Ethnic Heritage Art Gallery, Seattle Municipal Tower, Third Floor, 700 Fifth Ave., seattle.gov/EthnicArtGallery. 7 a.m.-7 p.m. Mon.-Fri. Ends Jan. 12.

BASO FIBONACCI He depicts flowers, bears, and other figurs from the natural world in neon-bright streaks of oil paint. Zeitgeist, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com. 6 a.m.-7 p.m. Mon.-Fri. Weekends vary.

Ends Nov. 4 JOYCE GEHL The paintings in Seeds celebrate growth and the natural world. Patricia Rovzar, 1225 Second Ave., 223-0273, rovzargallery.com. 11 a.m.-5 p.m. Mon.-Sun. Ends Oct. 31.

29

CHERUB DIR EN GREY

11/02

L7

11/03

9:00PM

8:30PM

LUNA

SHOWBOX AND KEXP PRESENT

11/05

with HOUNDSTOOTH

8:30PM

BOLLYWOOD SCREAM PARTY

Looking for something spicy? Try this spooky version of a traditional Bollysutra dance party, with DJ Nawed Khan. Contour, eventbrite. com. $9 and up. 21 and over.

10 p.m. Sat. FREAK NIGHT The 19th-annual Halloween rave features Deadmau5, Amine Edge & Dance, Bakermat, Brillz, and others on Friday. On Halloween night are Adventure Club, Apashe, ATV, Bad Royale, Carnage, and more. Tacoma Dome, ticketmaster.com. $110 and up. 18 and over. 6 p.m. Fri.–Sat.

9:00PM

MAYDAY PARADE with REAL FRIENDS + THIS WILD LIFE + AS IT IS

8:30PM

with SECRET SOMEONES

with HIPPIE SABOTAGE + SHOOKA

DANCE/MUSIC/PARTY

THE AP TOUR

11/07

MARIANAS TRENCH 11/04

11/06

11/11

CHRIS STAPLETON with THE WALCOTTS

BY SCOTT JOHNSON

HALLOWEEN

7:00PM

HALLOWEEN HAVOC CRUISE IV

This four-hour party cruise will have you dancing on the water, with city views.

There’s a cash bar, party photographer, and mandatory costumes. Islander Champagne Cruises, 1611 Fairview Ave. E., brownpapertickets.com. $40 and up.

21 and over. Boat departs 9 p.m. Sat.

Funkdaddy), booze, costumes, and over-21. EMP Museum, halloweenseattle.com. $39 and up.

8 p.m. Sat.

THEATER

MAD SCIENTIST CABARET A

twisted evening of macabre humor, bizarre monsters, and intricate props, created by director Evelyn DeHais and her team. They promise to ensure will “take the audience on a jam-packed journey into insanity that walks the line of horror and humor.” Annex Theater, annextheatre.org. $5–$10. 11 p.m. Fri.–Sat. (Runs through Nov. 13.)

SPOOKHAUS 3 Do haunted houses and booze mix well? Find out at this terrifying event featuring “killer karaoke,” clowns (always scary), and a haunted house.

Northwest Film Forum. $20–$25. 21 and over. Thurs.–Sat. See nwfilmforum.org for showtimes.

8:00PM

EMANCIPATOR ENSEMBLE

11/14

with BLOCKHEAD + MANATEE COMMUNE

■ PSYCHO/HAUSU Hitchcock’s timeless shocker, with cross-dressing Anthony Perkins and showerscreaming Janet Leigh, alternates with Nobuhiko Obayahshi’s 1977 horror oddity. There’s no indication Hausu (aka House) was meant to be completely insane. But it is: batshit, Technicolor, fairy-talemeets-softcore-porn insane. Seven teenage schoolgirls visit the creepy old mansion inhabited by the spinster aunt of heroine Gorgeous (all the girls are similarly type-named); there they begin to disappear Ten Little Indians-style. But who’s killing whom, and why, are the least interesting questions about this effects-saturated dreamscape.

Gorgeous is in love with her dashing father and despises his evil fiancée (whose hair and dress are permanently aflutter with a wind machine). Her schoolmates have a crush on their teacher, and her aunt is still pining for a soldier who died in WWII. All that thwarted love leads to flying heads, flashbacks, severed limbs, a ravenous piano, a demonic cat, and a tidal wave of blood. Obayashi crams every scene with giddy, gaudy visual excess; it’s like Douglas Sirk on acid. BRIAN MILLER Central Cinema. $7–$9. See central-cinema.com for showtimes.

Runs Fri.–Wed. THE ROCKY HORROR PICTURE SHOW It wouldn’t quite be

9:00PM

Halloween without a midnight showing of this cult classic, now would it?

Vicarious Theatre Company will do preshow shadow castings. Costumes are more than welcome. SIFF Cinema Egyptian. $7–$9. 11:55 p.m. Sat.

■ SEATTLE SYMPHONY PLAYS PSYCHO It’s been 55 years since

THE CULT + BEATS ANTIQUE PRIMAL SCREAM

Bernard Herrmann’s violin shrieks crawled directly under the skin of every moviegoer in the country, and they haven’t left. Watch Hitchcock’s 1960 horror classic while the SSO performs the legendary score.

Benaroya Hall, seattlesymphony.org. $31–$112. 8 p.m. Fri.–Sat.

CREATURE CARNIVAL TOUR

30

9:00PM

11/07

MISFITS

7:30PM

MAC MILLER

with GOLDLINK + DOMO GENESIS + ALEXANDER SPIT + THE COME-UP 8:00PM

11/24

RAC LIVE + BIG DATA

with KARL KING + FILIOUS

8:00PM

TREY ANASTASIO TRAVI$ SCOTT BAND

11/10

7:30PM

FAMILY-FRIENDLY

with SHE DEMONS + AVOID THE VOID + BENEATH THE SPINLIGHT + SAYS THE SNAKE 11/18 7:00PM

SHOWBOX AND REIGNCITY PRESENT

11/09

8:00PM

STUDIO SEVEN PRESENTS

GHOSTLAND

OBSERVATORY

11/14

TALES OF HALLOWEEN

Experience a horror-film anthology offering 10 shorts from directors including Neil Marshall (The Descent) and Darren Lynn Bousman (Repo! The Genetic Opera). SIFF Film Center. $7–$9. See siff.net for showtimes. Runs Fri.–Mon.

12/3

SHOWBOXPRESENTS.COM

9:00PM

RAINFOREST CAFE SPOOKTACULAR Yes, kids can be

NORTHWEST FILM FORUM

SEATTLE WEEKLY • OCTOBER 28 — NOVEM BER 3, 2015

10/31

with MOON HOOCH + PINKY D’AMBROSIA

Not the clowns!

The coulrophobia-inducing denizens of Spookhaus.

HARD ROCK HALLOWEEN The

KISS cover band Almost Human features all the famous costumes, makeup, choreography, pyrotechnics, and even fire-breathing. With Wolfsblood, a Misfits cover band.

Hard Rock Cafe, almosthumanseattle.com. $12–$20. 21 and over.

8 p.m. Sat. MADNESS “A radical change to the way you imagined your night out on Halloween,” with FLAVE, Mikey Mars, Tyler Brown, Altesse, and Conner Thomas. Q Nightclub, qnightclub.electrostub.com. $25 and up. 21 and over. 10 p.m. Sat. PULSE This extravaganza will feature dancing (with music from Hit Explosion, Coolade, and DJ

FILM

■ ALL MONSTERS ATTACK!

The annual fright- and creaturefest continues with the anthology program The Best of The VCR That Dripped Blood, the 1986 Spookies, and on Halloween night 1957’s Invasion of the Saucer Men, with shorts and other surprises. (NR) Grand Illusion. $6–$9. See grandillusioncinema.org for showtimes.

Ends Oct. 31.

DRACULA Tod Browning’s 1931 vampire hallmark, starring Bela Lugosi, is paired with the Spanishlanguage version of the same story, made at night on the same Universal sets with a different cast. (NR) Varsity, Bainbridge, others. $10.25. 7 p.m. Wed.

monsters. This event encourages children to come in costume for arts and crafts, games, raffles (with prizes), and more. Southcenter Mall, 248-8882, rainforestcafe.com. Free.

5 p.m. Sat. ■ RUN SCARED 5K Looking to raise some money for a good cause?

This 5K run (and 4K walk) benefits the Leukemia and Lymphoma Society.

Following the race is a party and costume contest (yes, wear yours while running). Among other goodies, a treasure hunt and a free kids’ dash precede the main event. Seward Park, runscared5k.com. $40–$45.

10 a.m. Sat.

’TWAS THE NIGHT BEFORE HALLOWEEN PARTY Bring your

kids for the pumpkins (which you can buy, or shoot out of a slingshot or cannon), a Wizard of Oz-themed maze, and a Cow Train. Kids of all ages are welcome; there are no scares to be had here. Foster’s Produce & Corn Maze, 5818 State Rt. 530 N.E. (Arlington), fosterscornmaze. com. Free entry, $6 maze. 9 a.m.– 5 p.m. Sat.

Wednesday, Oct. 28

Performing alone is nothing new for KRISTIN HERSH, who parlayed her role as founder and leader of tempestuous indie-rock outfit Throwing Muses into a long career as a solo artist and author. But she might appear more alone than usual tonight when she takes the stage in support of her new memoir, Don’t Suck, Don’t Die: Giving Up Vic Chesnutt. Hersh will read from the book, recounting her time touring with and befriending the powerful and troubled folk artist who took his own life in 2009, but mostly she will play.

Expect a few Throwing Muses songs, some material from her other band 50 Foot Wave, and the solo songs she once performed while sharing green rooms with Chesnutt—songs that manage to turn the ugliness of life into a thing of beauty, much as Chesnutt was once able to do. With Jason Dodson (of the Maldives). Nectar Lounge.

9 p.m. $12. 21 and over. MARK BAUMGARTEN Chances are, if you’re friends with a pop-punk lifer, they’ve already extolled the gospel of JOYCE MANOR to you on five or six occasions—maybe they’ve even also shown you their “Constant Headache” leg tattoo. As the group at the forefront of the so-called “emo-revival,” the Torrence, Calif., four-piece inspires a sort of religious fervor in its fans, for whom the group’s couch-locked infinite sadness serves as sacred canon thanks to lines like “Maybe human is not such a bad thing to be” and “I want it to hurt really bad/That’s how I’ll know it’s real.” The group’s most recent album, Never Hungover

Again, managed to pull off that majorlabel-debut high-wire act of pleasing old fans while also introducing some new tricks (keyboards!), so it looks like your pop-punk buddy is probably going to be proselytizing the Beatitudes of Joyce for years to come. With Girlpool, Dogbreth. Neumos. 8 p.m. $15. All ages.

KELTON SEARS Based on the scant information Claire Boucher has given, GRIMES’ new album it sounds like it’ll be a doozy.

For one, it features Aristophanes, a Taiwanese Soundcloud rapper who rhymes in Mandarin and has a song about Nietzsche and Chinese philosopher Laozi meeting on a mountain.

Boucher also told Dazed & Confused that it will feature “like, really trippy free association about nature and shit.

There’s a song that’s from the perspective of a butterfly in the Amazon as people are cutting down trees; there’s a song that’s from the perspective of angels who are polluted, so they’re crying polluted tears.” The freak-pop idol’s rabid fans will likely cry their own polluted tears if Boucher plays any new tunes off the upcoming album tonight.

The Showbox. 8 p.m. $25. All ages. KS

Thursday, Oct. 29

Usually the shows in the Seattle Symphony’s Sonic Evolution series have a discernible centerpiece. Not so with UNDER THE INFLUENCE, a concert programmed in conjunction with the Earshot Jazz Festival, inspired by a deep history of Seattle artistry, and featuring three performances that each alone would be worth the price of admission.

For what is being called the evening’s cornerstone, the SSO, joined by the Roosevelt High School Jazz Band, will perform Derek Bermel’s The Migration

Series, inspired by the work of UW art professor Jacob Lawrence. In addition, inimitable guitarist Bill Frisell will join the orchestra for the premiere of a Wayne Horvitz work inspired by the writings of Seattle poet Richard Hugo.

And finally there’s rising R&B singer Shaprece, whose powerful songbook will be given the full orchestral treatment. Shaprece will be performing her upcoming full-length COALS in its entirety with the Symphony. With the Westerlies.

Benaroya Hall. 7:30 p.m. $25 and up. All ages. MB Goofy manchild MAC DEMARCO got a little serious this past August when he released Another One, the fittingly titled follow-up to the prolific slacker pop star’s breakout 2014 album, Salad Days. There are synths here, some clear melancholy, and lots of chill. These tracks are being spliced throughout his live show, reportedly bringing a welcome new dynamic to the Edmonton native’s performance. But the gap-toothed wonder is still having fun.

To wit: He recently ended a set with a 10-minute cover of Metallica’s “Enter Sandman.” Off to Never-Never Land, indeed. With Alex Caulder, Courtneys.

The Moore. 7:30 p.m. $37. All ages. MB

Friday, Oct. 30

Some of the most legitimately boundary-pushing music coming out in 2015 is being released by electronic producers attempting to invent completely new sonic languages (see Holly Herndon, RAMZI, Arca). Baltimore’s CO LA has made this pursuit something of a mission statement on his brilliant new record No No, which layers more traditional club rhythms beneath a bizarre array of decidedly non-club sounds like cement on cement scraping, pained

moans, and the sound of bubbles popping. He describes it as “a club-music environment where solidarity and psychosis enmesh.” “Instead of using samples of an air horn or something which makes people feel really good,” he told Wire, “using samples of, like, a baby crying, that makes people feel anxious, you know? Part of it is using these sounds that in a way are trigger sounds that are stress-inducing.”

The result is refreshingly unique, and, despite what the producer himself says, a joy to listen to. With P.H.O.R.K., Aos. Machine House Brewery. $10–$12. 9 p.m. All ages. KS

Sunday, Nov. 1

It’s funny how the Odd Future crew so often gets reduced to Tyler the Creator and Earl Sweatshirt’s angsty hip-hop and alleged homophobia, given the incredible queer R&B the collective also churns out. Frank Ocean’s Channel Orange is undeniably a modern classic, and the equally incredible but criminally underrated Ego Death by THE INTERNET is without a doubt the winner for “Sexiest Album of 2015.”

Seriously, if you haven’t given it a spin, light some candles, put some rose petals in the bath, and listen to this thing all the way through. Syd tha Kyd’s gorgeous voice is all rasps and sighs, lamenting girlfriends past and present atop her backing band’s soulful triphop grooves, which are tailor-made for slow-mo make-out magic. “Girl” and “Under Control” will immediately hook themselves into your brain’s pleasure cortex—but really, the whole album is sultry as hell. If you love love, you will love this show. With Nickey Davey + Stas Thee Boss. Neumos. $16. 8 p.m.

All ages. KS

COURTESY OF THE ARTIST

MUSIC

KING DUDE, one of the world’s few

Satanic folk singers, somehow scheduled this homecoming Seattle gig one day after Halloween. MAJOR MISTAKE. However, tonight’s Luciferian show will be a great excuse to keep your costume on and think about demons and ghosts and cool junk like that for just a little while longer. You’ll get the chance to sing along to the line “The blood of the Devil is a river running right through me.” King Dude takes the deep-throated freak-Americana of Tom Waits and the gothic grandeur of Nick Cave and plunges it all into the depths of hell to create a sort of Southern-fried, cult-crazed blues vibe that would make Robert Johnson proud. Of his new LP, Songs of Flesh & Blood—In the Key of Light, the King himself says, “At times I thought this record will kill me, writing it and recording it, I felt as though I was going insane.” With Drab Majesty, Foie Gras, DJ Sharlese. Chop Suey. $10. 7 p.m. All ages. KS

Tuesday, Nov. 3

The reunion of L7 is being undertaken seemingly without cynicism: All four members who played on the band’s hugely influential first four albums are back; there is no new box set to sell to its grunge-era fans who now have money;

The Internet and there do not appear to be any back taxes that need to be paid off. In fact, members of the Los Angeles band say the reunion was purely the result of effusive fan response after singer/guitarist Donita Sparks created a Facebook page to post some old photos. Further evidence that this is about the music comes from early reports that the band, known for its searing and sardonic live shows, is in fine form on this tour and having fun— brutal, pounding fun. The Showbox. 8:30 p.m. $29.50 adv./$35 DOS. All ages. MB

Wednesday, Nov. 4

Local scuzz punx will swoon at the stacked lineup for tonight’s HELP

YOURSELF RECORDS TOUR KICK OFF, featuring three bands from the

Seattle DIY label’s roster. First up is SSDD (Steal Shit Do Drugs), whose Iggy-inspired proto-punk and Genetinspired nihilism have landed the fledgling group on some high-profile opening slots for Thee Oh Sees and Iceage. Next up are newcomers Nail Polish, whose debut tape is one of my favorite releases this month (read all about it on page 21). Last but not least is the “monster shred” of Ubu Roi, whose guitarist Matt Kolhede co-founded Help Yourself. Get out there and support your local rippers.

Chop Suey. 8 p.m. $7. 21 and up. KS

SE ATTLE WEEKLY • O CTOBER 28 — NOVE MBER 3, 2015

31

Enter to WIN FREE Stuff! Concert Tickets & More!

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CHECK OUT OUR FREE STUFF PAGE! FOR MORE DETAILS, VISIT US AT:

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NOTHING TASTES BETTER THAN A COMEBACK , PETE HAMMOND

HHHH

SEATTLE WEEKLY • OCTOBER 28 — NOVEM BER 3, 2015

“

32

BRADLEY COOPER GIVES AN EXCEPTIONAL PERFORMANCE,

REMINISCENT OF PAUL NEWMAN IN HIS PRIME.

SIENNA MILLER HAS NEVER BEEN BETTER.”

STARTS FRIDAYCHECK , OCTOBER 30 AT THEATERS EVERYWHERE DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED Seattle Weekly

THE WEINSTEIN CO.

STATEMENT OF OWNERSHIP, MANAGEMENT, AND CIRCULATION

1. Title of publication: Seattle Weekly. 2. Publication number: 306-730. 3. Date of filing: 10/01/2015 4. Frequency of issue: Weekly. 5. Number of issues published annually: 52. 6. Annual subscription price: $180.00 7. Complete mailing address of known office of publication: Seattle Weekly, 307 3rd Ave.S., 2nd Floor, Seattle, WA 98104. 8. Complete mailing address of the headquarters of general business offices of the publisher: Same. 9. Full names and addresses of Publisher, Editor, and Managing Editor: Publisher-Bob Baranski, c/o Seattle Weekly, 307 3rd Ave.S., 2nd Floor, Seattle, WA 98104; Editor-Mark Baumgarten, c/o Seattle Weekly, 307 3rd Ave.S., 2nd Floor, Seattle, WA 98104; Managing Editor-Daniel Person, c/o Seattle Weekly, 307 3rd Ave.S., 2nd Floor, Seattle, WA 98104. 10. Owner: Sound Publishing, 11323 Commando Rd. W. Unit Main, Everett, WA 98204-3532.

11. Known bondholders, mortgagees, and other security holders: none. 12. N/A. 13. Publication name: Seattle Weekly. 15A. Average number of copies during preceeding 12 months (pressrun) 55,001. B1 Average individual paid or requested mail subscriptions: 72. B3. Average sales through dealers and carriers, street vendors, counter sales, and other paid and/or requested distribution: 48,563.

C. Average total paid and/or requested circulation: 48,635. E. Average total nonrequested distribution: 0. F. Average total distribution: 48,635. G. Average copies not distributed: 6,366. H. Average total: 55,001. I. Average percent paid and/or requested circulation: 100. Actual number of copies for single issue published nearest to filing date. 14. Issue Date: 09/16/2015. 15A. Actual total number of copies (pressrun): 55,012. B1. Actual individual paid/requested mail subscriptions: 71. B3 Actual sales through dealers and carriers, street vendors, counter sales and other paid or requested distribution: 50,331. C. Actual total paid and/or requested circulation: 50,402. E. Actual total nonrequested distribution: 0. F. Actual total distribution: 50,402. G. Actual copies not distributed: 4,610.

H. Actual total: 55,012. I. Actual percent paid and/or requested circulation: 100. 17. I certify that the statements made by me, above, are correct and complete (signed) Bob Baranski, Publisher.

Bradley Cooper and Sienna Miller in Burnt.

FILM Opening Friday

ANIMATION SHOW OF SHOWS

A one-week-only presentation of 11 animated shorts from around the world (including countries like New Zealand, Russia, and Iran). (NR) SIFF Cinema Egyptian BORUTO Following the children of the main characters from the original Naruto series, Boruto not only commemorates the 15th anniversary of the series, but promises to launch a new era for the anime franchise. (NR) Grand Illusion BURNT Bradley Cooper cooks up a storm in this new film from August: Osage County director John Wells.

Don’t go in hungry, or you might regret it. (R) Opens wide THE KEEPING ROOM In the waning days of the Civil War, a group of rogue Union soldiers attacks a Southern home filled with women (Hailee Steinfeld, Brit Marling, and Muna Otaru). (R) SIFF Film Center.

See our website for review.

OUR BRAND IS CRISIS Sandra Bullock plays a political consultant looking for redemption in Bolivia.

David Gordon Green (Pineapple Express) directs the black comedy loosely inspired by the 2005 doc of the same name. (R) Opens wide. See our website for review.

SCOUTS GUIDE TO THE ZOMBIE APOCALYPSE Can anyone actually

be prepared for the zombie apocalypse? Apparently Boy Scouts, as their motto proclaims. With Cloris Leachman and David Koechner as the adults nominally in charge. (R) Opens wide

Local & Repertory

■ THE CELEBRATION With New

Century Theatre Company currently staging an adaptation of this 1998 Danish drama, here’s a chance to revisit the original, a breakthrough Dogme movie from Thomas Vinterberg. The first half-hour of The Celebration feels almost quaint. The shaky camera shows us a lovely rural scenes, with yellow fields and a large blue sky. We come to an estate where a family is gathered to celebrate Helge’s 60th birthday. Even though we’re tipped off early that not everything is sweet, the movie conveys a sense of old-fashioned European goodness, with blond brothers, cousins, and grandchildren bonding over birthday rituals. Then Christian, the eldest son, makes a toast to his father, thanking him for

years of sexual abuse. He then sits down to eat his soup. The brilliance here lies in how Vinterberg continues to focus on the small details of the party. Whether they want to or not, the family’s still got the soup and five more courses to get through.

Heeding Dogme rules, Vinterberg shot on location without additional props, using only natural sound and hand-held cameras without filters.

Thus Vinterberg has purged his film not only of illusions but of predictability. As a result, his characters seem uncomfortably real, pushing themselves along in an absurdly festive situation that none are able to avert or resolve. SOYON IM (NR) Northwest Film Forum, $6-$11. 7:30 p.m. Tues.

■ NIGHTFALL The film noir series continues with 1949’s Johnny Stool Pigeon, with noir axiom Dan Duryea as said stoolie. He’s freed from Alcatraz by a treasury agent (Howard Duff) but bust a drug-running ring.

Look for Shelley Winters and Tony Curtis in small supporting roles. (NR) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m. Thursdays through Dec. 10.

■ OKLAHOMA! If you love Broadway musicals, it’s impossible to quibble with this 1955 adaptation of the smash 1943 Rodgers and Hammerstein show. Recently given a 4K digital restoration, Fred Zimmerman’s film stars Shirley Jones, Gordon MacRae, Rod Steiger, and James Whitmore. (NR) SIFF Cinema Uptown, $10-$15. 7 p.m. Tues.

Ongoing

■ BRIDGE OF SPIES In Steven

Spielberg’s true-life saga, New York lawyer James B. Donovan (Tom Hanks) is plucked from his profitable private practice to defend a Soviet spy, Rudolf Abel (Mark Rylance), in the late 1950s. What pricks Spielberg’s interest is the way Donovan is ostracized for performing a constitutional task during the height of Cold War. A few years later, Donovan is given another difficult task: negotiate a prisoner trade for Francis Gary Powers (Austin Stowell), the U.S. pilot shot down over Russia in 1960 while spying from his U-2 plane. This section is all snowy East Berlin alleys and tense meetings in unheated rooms—exactly Spielberg’s cup of borscht. Nicely complicating the situation is the way Abel, the enemy, comes to be a sympathetic figure. The British stage giant

Rylance (Wolf Hall) gives a marvelously detailed performance as the kind of guy Spielberg appreciates—a schlub doing his job. (PG-13) ROBERT HORTON Sundance, Majestic Bay, SIFF Cinema Uptown, Pacific Place, Oak Tree, Admiral, Lincoln Square, Bainbridge, Kirkland, others THE MARTIAN This is a problemsolving movie: Stranded on Mars, how will castaway astronaut Mark Watney (Matt Damon) figure out the fundamental problems of food, shelter, and communication? Ridley Scott’s movie doesn’t waste much time worrying about issues of loneliness. The Martian also spends a lot of time back on our planet, where nervous NASA honchos played

by Chiwetel Ejiofor, Kristen Wiig, and Jeff Daniels are plotting out a rescue mission. There’s also the departed spaceship, slowly making its way back to Earth and peopled by the usual diverse crew: Jessica Chastain, Michael Peña, Kate Mara, et al. I like movies about solving problems, Damon gives a skillful performance, and Scott’s ability to put you in the middle of a howling Martian gale is impressive. But man, is The Martian corny. (PG-13) R.H. Cinerama, Tornton Place, Sundance, Ark Lodge, Majestic Bay, Kirkland, Bainbridge, Vashon, Big Picture, Admiral, others STEVE JOBS There is so much talent behind this oddly structured dud: Oscar winners Aaron Sorkin (script) and Danny Boyle (director), plus the title role’s Michael Fassbender, who’ll one day earn a statuette (though not for this). So why doesn’t the highly anticipated movie work? In part because the market is so glutted with other Jobs accounts. Steve Jobs gives Steve Jobs three chances to make amends and treat people decently. Sorkin has written a deliberately repetitive tripartite study in karma: the frantic backstage drama before product launches in 1984 (Mac), ’88 (NeXT whatever yawn), and ’98 (candy-colored iMac). All the same figures recur, beseeching King Steve for favors. Inevitably our prickly egotist will grow and mature.

Kate Winslet, as Jobs’ long-suffering marketing chief, fares the best here.

Bizarrely, in profiling such an outspoken futurist, the film keeps ransacking Jobs’ past for Rosebuds; it’s the same sin he damns in Steve Wozniak (cuddly/wounded Seth Rogen), who can’t let go of his beloved Apple II. (R) Pacific Place, Sundance, Thornton Place, Ark Lodge, others

odds&ends

HIGHER GROUND

Cannabis Correspondence

$8 Grams!

BY MICHAEL A. STUSSER

T

pebbles by magic kitchen

ime once again to answer Stoner Mail!

Given the season, I’m going with a Halloween theme.

I’m worried about some idiot putting weed-laced candy in my kid’s stashbag on Halloween. I know a lot of the urban legends about razor blades in apples were bunk, but this genuinely scares me.

Should it? —

Very few kids ever come down our dark, scary alley to trick or treat on Halloween, so there’s always a massive amount of leftover candy.

My girlfriend and me use the leftover stash for when we get the munchies the rest of the year.

So the question is, what do we buy? —Soon-to-

Be-Gorging George, Georgetown You do know you don’t have to eat all the leftover candy, right? HA! Just kidding! Of course you do! It’s an American tradition. Though my personal favorites are Twizzlers, Reese’s Peanut Butter Cups, and Twix bars, your smartest move might be something healthier. And no, I’m not

IN

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Scary Low Price! $21 talking about giving out kale chips; this isn’t Russia.

They make mini-packs of tasty and healthy stuff like Pirate’s Booty, gluten-free kettle corn, string cheese, Goldfish crackers, even bags of Halloween-themed carrots (renamed Scarrots for the season!). You could also skip the sugar-laden bombs all together and hand out spooky stickers, glow sticks, spider rings, terrifying temporary tattoos, or skeleton-shaped Post-It notes. I’d go with the Twizzlers. God. I love Twizzlers . . . If you really want to be PC, participate in the Halloween Candy Buyback, an organization that buys excess candy from kids and ships it to our troops overseas (along with toothbrushes).

My 9-year-old daughter wants to be a giant marijuana leaf for Halloween. It’s legal now.

What do you think? —Mary, Maple Leaf

I think you should think about whether you’d want your kid dressing up as a vodka bottle, Lotto ticket, RedBull can, AK-47, Viagra pill, or pack of Winston Lights. While marijuana is safer than all those, the point is that none are for kids; in addition, a child of 9 may not understand the larger implications of dressing like a plant that can get you stoned out of your mind and is not great for the developing brain. Same with Cheech & Chong costumes, bigger-than-life bongs, or giant overinflated bags of weed. No, no, and no.

You could have your girl dress up as Charlotte Figi, age 9, whose epileptic seizures were greatly reduced through the use of a high-CBD and low-THC cannabis extract (and who now has a famous strain, Charlotte’s Web, named after her), which led to new medical-marijuana laws across the land. But a better idea is to have a conversation with your daughter about how, while the marijuana plant is extremely beautiful (as are the opium poppy, coca, and agave plants), cannabis is for grown-ups. Then make her into a sunflower, a rose, or, if she’s still feeling badass, poison ivy, a black dahlia, or a Venus flytrap. Everyone loves those—and you won’t get her tossed out of school in case she wants to wear it to class. E Send your questions to higher@seattleweekly.com.

For more Higher Ground, visit highergroundtv.com.

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Bryan, Bothell There are plenty of things for parents to worry about, but having your child get his or her grubby hands on marijuana-laced candy should be low on your priority list. While I do despise cannabis edibles that look like kids’ candy (there’s no reason for ganja gummy bears or Reefer’s Peanut Butter Cups), we’ve now had three years of trickor-treating in legal weed states—and not one incident involving THC-laden candy disguised as store-bought. There are, of course, plenty of items that can kill yer kid, but pot’s not one: Aspirin killed 7,500 Americans last year, peanuts another 100. Hell, since 2010, poisoncontrol-center hotlines have seen a 400 percent increase in calls in which whippersnappers got drunk on hand sanitizer! Selfies killed four people this year, vending machines another three! And those colorful laundry-detergent pods that actually look like candy have poisoned 17,200 children under the age of 6 in the past year—so I’d definitely check the Halloween bag for those suckers!

Speaking of suckers: Every Jolly Rancher, every Almond Joy, and every kernel of that disgusting caramel corn that your kids chow down is made from sugar—which not only increases cavities and weight gain, but is proven to raise blood pressure as well as increase the chances for cardiovascular mortality—which means death. Spooooky!

Finally, even if some idiot does spend a ton of money and hand out weed-laced lollipops, brownies, or gummy bears, let’s remember this: No one ever has died from marijuana. Not. One. Person. Happy Halloween. Enjoy it.

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33

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SEATTLE WEEKLY • OCTOBER 28 — NOVEM BER 3, 2015

“You know, some people have told me that reverse mortgages sound too good to be true. You get cash out of your home, no monthly payments, and you still own your home,” says Senator Thompson.

34

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Although today’s HECM reverse mortgages have been greatly improved to provide greater protection for homeowners, there are FACT: In 1988 Pres- still a lot of misconceptions. ident Reagan signed For example, many people the FHA Reverse- mistakenly believe the home must be paid off in full in Mortgage Bill. order to qualify for a reverse mortgage, which is not the case. One key benefit of a reverse mortgage is that it automatically pays off your existing mortgage, which frees up cash flow, a huge blessing for those on a fixed income.

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A HECM Reverse Mortgage increases the principal mortgage loan amount and decreases home equity (it is a negative amortization loan). American Advisors Group (AAG) works with other lenders and nancial institutions that offer reverse mortgages. To process your request for a reverse mortgage, AAG may forward your contact information to such lenders for your consideration of reverse mortgage programs that they offer.

NMLS# 9392 (www.nmlsconsumeraccess.org). American Advisors Group (AAG) is headquartered at 3800 W. Chapman Ave., 3rd & 7th Floors, Orange CA, 92868. Consumer Loan # CL-9392 These materials are not from HUD or FHA and were not approved by HUD or a government agency.

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