Seattle Weekly, November 18, 2015

FOOD CAPITOL HILL’S HEMINGWAY-INSPIRED EATERY PAGE 13 COMIX A JOURNEY INTO VAPE CULTURE PAGE 21

LETTERS TO THE FUTURE Scientists, authors, and activists predict the outcome of the upcoming UN Climate Talks in Paris.

PAGE 9

Needle Point

How a Tukwila company sewed its support for Paris.

By Ellis E. Conklin Page 5 NOVEMBER 18-24, 2015 | VOLUME 40 | NUMBER 46

Back to the Body

Tacoma Art Museum posits AIDS as a turning point in American art history.

By Brian Miller Page 17 SEATTLEWEEKLY.COM | FREE

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VOLUME 40 | NUMBER 46

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November 18-24, 2015

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VIVE LE FLAG!

BY ELLIS E. CONKLIN | The story behind the giant tricolore on the Space Needle. Plus: Controversies over a superintendent’s raise and safe spaces for heroin users.

DEAR FUTURE . . .

BY SW CONTRIBUTORS | On the eve of Paris’ climate talks, writers muse on our environmental legacy: workable solutions or disastrous indifference?

food&drink

13 FOR WHOM THE BELL PEPPER TOLLS

BY NICOLE SPRINKLE | There’s a

Hemingway-inspired restaurant on Capitol Hill—and it’s Italian.

14 | EXPERIMENTAL BREWING 15 | THE BAR CODE

arts&culture

17 THE ART OF CRISIS

BY BRIAN MILLER | A Tacoma Art Museum exhibit reveals AIDS as a watershed moment in art history.

20 | CONVERSATION | Skier Ingrid Backstrom.

21 | COMIX 22 | ELECTRIC EYE

Dex Amora’s clever, complex raps; an Irishwoman escapes to New York; stoner sentimentality in a holiday bro-com.

27 CALENDAR 27 28 29 30 31 32

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EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears Editorial Operations Manager Gavin Borchert Staff Writers Sara Bernard, Ellis E. Conklin, Casey Jaywork Editorial Interns Cassandra Calderon, Scott Johnson, Mara Silvers Contributing Writers Rick Anderson, James Ballinger, Michael Berry, Alyssa Dyksterhouse, Jay Friedman, Margaret Friedman, Zach Geballe, Chason Gordon, Dusty Henry, Rhiannon Fionn, Marcus Harrison Green, Robert Horton, Patrick Hutchison, Seth Kolloen, Sandra Kurtz, Dave Lake, Terra Clarke Olsen, Jason Price, Keegan Prosser, Tiffany Ran, Michael A. Stusser, Jacob Uitti PRODUCTION Production Manager Sharon Adjiri Art Director Jose Trujillo Graphic Designers Nate Bullis, Brennan Moring ADVERTISING Marketing/Promotions Coordinator Zsanelle Edelman Senior Multimedia Consultant Krickette Wozniak Multimedia Consultants Julia Cook, Rose Monahan, Matt Silvie DISTRIBUTION Distribution Manager Jay Kraus OPERATIONS Administrative Coordinator Amy Niedrich Publisher Bob Baranski 206-623-0500 COPYRIGHT © 2015 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. PERI ODICALS POSTAGE PAID AT SEATTLE, WA POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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SEATTLE WEEKLY EDITOR-IN-CHIEF

“NIMBYs restrict ‘community’ to existing owners only, a practice common in one particular land use: filled-up cemeteries.”

NEIGHBORLY SPATS

In last week’s issue, Casey Jaywork dug in to what makes so-called “NIMBYs” and “urbanists” tick. As Jaywork reported, many of today’s contentious debates over density date back to the 1970s and earlier—and even have strains of Marxism in them. Many readers wrote in to share their own two cents.

Many of today’s “urbanists” are just proponents of gentrification and trickle-down economic theory, dressed up as socially responsible champions of density and affordability. In their paradigm, the hero/victims are the real-estate developers, saddled by impact fees, without enough land to ply their trade; and the villains are these racist NIMBYs trying to hold on to the past. Of course the city will grow; new up-zoning will come (and is necessary); but you don’t hand over the keys to the profiteers and hope they do something sustainable for your community. The new HALAsuggested plan just passed by the City Council is very weak about the demands on developers contributions to affordable units. cratewasher, via seattleweekly.com

interests considered. They talk a good talk, holding “visioning” exercises every 10 or 20 years.

These are soon forgotten. These public exercises are slowly undermined by development interests who, by sheer persistence, and sometimes collusion with city officials, override citizen concerns about affordable housing, neighborhood quality, spending priorities, housing density, and zoning.

Seattle is a big-enough city; there is room for all kinds of housing. The trick is putting it in the right place, not haphazardly, and not doing just what is currently profitable.

Ken Kutner, via Facebook CHI-TOWN PIES

In the food section, Nicole Sprinkle took note of Windy City Pies, a one-man operation that dishes out what Sprinkle declares the best Chicago-style pizza in Seattle. (Chatterbox tried it. She’s right.)

While plenty of readers voiced their excitement to try it, Chicago-style pizza itself was the main topic of debate online.

It sucks that Chicago tourists judge deep-dish by Lou M’s (they do have good thin crust), or Gino’s Regional planning should be considered advanced East (bad ingredients stacked in the wrong order), or Uno’s chains. My Pi and Edwardo’s are the urbanism; directing development to address good stuff, and yeah, Pequod’s for that caramelthe underlying problems of traffic, travel and ized crust. But most Chicago transport, while more broadly pizza is thin-crust. Piece, My Pi distributing and diminishing the Send your thoughts on again, Pizano’s, and so many othcosts of market-demand housthis week’s issue to ers have better crust, spices, sauce, ing. The Regional City: Planning letters@seattleweekly.com and ingredients than anything for the End of Sprawl authors I’ve tasted in Manhattan. Maybe William Fulton and Peter Caltnext you could cook for Jon Stewart. horpe depict three metropolitan areas, examples of regional planning—Portland, Salt Lake City, Eddie Calzone, via seattleweekly.com Seattle. Portland led, SLC followed, Seattle contributed literally nothing but talk and process, the Born and raised in Chicago and witnessed the worst-case example. Densinistas do not underinvention of deep-dish pizza, an abomination stand the principles of mixed-use, transit-oriented that I’m shamed to see my native city unleashed development outside their central city warrens on the world. Just like Starbucks ruined coffee while lauding Microsoft/Google’s techno-fix forever, Chicago has come close to ruining pizza non-solution of self-driving Teslas. forever. I salute New York for not giving in to this gastronomic wretchedness. It remains a shinWells, via seattleweekly.com ing beacon of traditional thin-crust perfection in an overstuffed world.

Anti-housing NIMBYs need to retire antiquated views maintaining unsustainable low densities.

Purrlie, via seattleweekly.com Urbanists have a much wider scope of “community.” NIMBYs restrict “community” to existing Seattle doesn’t make great pizza, it’s only on the owners only, and that is practiced with one parEast Coast. Case closed! ticular land use: filled-up cemeteries.

Bryce Vietz, via facebook.com deAuxerre, via seattleweekly.com Up yours, Bryce!

Everyone, via everywhere E I was a Seattle neighborhood activist in the 1980s. It should be the job of government to do Comments have been edited for length, clarity, enlightened land-use planning with multiple and the intricacies of Argentinian-Italian cuisine.

news&comment SKYLINE

DAVID ROSEN/SLICKPIX PHOTOGRAPHY

The flag on Saturday.

The Flag Men Sewing support for Paris.

BY ELLIS E. CONKLIN

W

ith Paris reeling from Friday night’s coordinated attack that left 132 dead (at press time), its terrified and terrorized citizens crosshatched with grief, sorrow, and anger, the people who run Seattle’s Space Needle decided something needed to be done, and done quickly, to show this city’s support.

As one of more than 50 international members of the World Federation of Great Towers—a group formed in 1989 to showcase and promote the planet’s most spectacular monuments—a number of stakeholders of the Space Needle Corporation are friends with those who operate the Eiffel Tower.

“I got a call Friday evening from the ownership group. They wanted to see if we could get a French flag made and put it up the next day, and they knew this would be a tall order,” says

Dave Mandapat, the Space Needle’s director of public relations. “So I started to call everyone I knew. No one could make a flag big enough, and it was getting to be late on Friday. Our vendors were closed for the night.

“People wanted to help. I even had friends who were willing to sew it together.”

Finally, he says, he called Michael Furhman, the director of design and sales at Rainier Industries, on his cell. “I told him what we wanted. And he said he could make it happen.”

Rainier Industries is one of the region’s old-

est businesses. It was founded in 1896, selling tents to miners bound for the Klondike gold rush. The company is located in an industrial park at the south end of Tukwila, inside a 140,000-square-foot warehouse.

Though it makes custom-made awnings,

In other ways, too, Seattle honored France and the residents of its terrorist-torn capital.

On Saturday afternoon, Seattle’s local French community, joined by Mayor Ed Murray, sang the French national anthem “La Marseillaise” and chanted “Vive la France!” at the Belltown bakery La Parisienne, after observing a moment of silence for those struck by the deadliest violence in France since World War II. Operators of the city’s Great Ferris Wheel decorated it with blue on its outside edge, white in its middle portion, and red in its center. CenturyLink Field was bathed in blue, white, and red light, as was Ciy Hall, where the flag was flown at half-staff.

The Seahawks raised a French flag before their Sunday-night game, while Starbucks sent out a message that it “stands in solidarity with Paris and Parisians.”

On Monday night, the French flag was removed from the Space Needle and replaced with an American flag, lowered to half-staff, as President Obama has requested that all cities across the nation do.

Muses Mandapat: “Had it been a more intricate flag that we wanted to get up there, like our Stars and Stripes—well, that would’ve been dang near impossible to do it as fast as this, just three panels—white, red, blue. But still, we did it!” E

econklin@seattleweekly.com

Fast takes from the news desk What Would Dan Do?

Refugees in Budapest.

A few weeks back, The New Yorker ran a column comparing the plight of Syrian refugees today to Vietnamese refugees following the Vietnam War. As George Packer wrote, the arguments against accepting refugees from Vietnam are strikingly similar to those that are being trotted out in response to the fleeing Syrians: The crisis was an ocean away, and Vietnamese refugees won’t assimilate to the American way of life.

Packer was writing in hopes of getting President Barack Obama to accept more Syrian refugees than the 10,000 he’s so far committed to.

Today, in the wake of the Paris terrorist attacks, which have unleashed a torrent of xenophobic posturing from Republican politicians—among them Ted Cruz, the son of a Cuban refugee—the comparison to Vietnam seems all the more appropriate. The language has been different, tailored to modern tastes and fears: With the Vietnamese, comments were purely racial, with Jesse Helms arguing that the melting pot-theory had proved a failure in the United States; now, politicians raise the specter of terrorism, though such arguments are just as baseless and just as racist.

As such, Gov. Jay Inslee on Monday was right to invoke former Gov. Dan Evans when he announced that Syrian refugees would remain welcome in Washington state.

It was Evans, after all, who provided a rare voice of reason among plenty of demagoguery by governors over what a large influx of Vietnamese refugees could do to the U.S. As Inslee put it, “We have been and will continue to be a state that embraces compassion and eschews fear-mongering, as evidenced so well by Republican Gov. Dan Evans’ welcoming of Vietnamese refugees here in the 1970s.”

It’s easy to forget how politically daring that position was at the time. California’s Gov. Jerry Brown took a much more popular stance on the issue, saying in 1975: “We can’t be looking five thousand miles away and at the same time neglecting people who live here.”

Evans used his executive powers to direct every state agency to help in assisting and welcoming refugees from Southeast Asia. He used his bully pulpit to challenge churches and private citizens to do the same. He even convinced people to accept refugees into their homes.

Today, there are 70,000 Vietnamese in Washington state, which is no doubt richer for them.

As reported by The Seattle Times earlier this year, Evans was disgusted by Brown’s stance toward the refugees, just as Inslee was clearly disgusted by other governors’ comments on the Syrians. When Evans sent an aide to California to check on a group of refugees living in tents on Camp Pendleton in Orange County, he did so with a message for Brown: “Remind him,” he told the aide, “what it says at the base of the Statue of Liberty.” DANIEL PERSON E

SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

boat enclosures, and heavy-duty fabric for advertising displays, it is best known for the 12th Man flag that often flutters from the Space Needle; the rainbow-colored Pride flag that’s the centerpiece of the annual parade; a flag to celebrate the Museum of Flight; and those huge player banners for the Seahawks and Mariners that surround their respective stadiums.

Rainier Industries’ longtime owner Scott Campbell says that when the company got the call from the Space Needle, with whom Rainier has been doing business for 15 years, they assembled a team of three to come in first thing Saturday morning.

The trio of flag-makers toiled through much of Saturday inside Rainier’s 30,000-squarefoot fabric shop, where more than 100 sewing machines stand at the ready, working with nylon to fashion the 20- by 30-foot tricolore, which the French adopted in July 1789. The blue, white, and red flag was finished just after 2:30 p.m.

“I personally went down to pick it up,” says Mandapat, who says he doesn’t feel comfortable disclosing its cost.

At 4 p.m., amid a steady rain and cold, gusting winds, the giant French flag was raised to half-staff atop the 605-foot-tall Space Needle.

“It was raining sideways, a drenching rain.

The winds were going at 20 to 30 miles an hour,” recollects Mandapat. “It took three of us to raise it. I was up on the roof, me and two engineers. We’d raise the flag five feet to clip into the mast, and the wind kept kicking the flag back out.”

Mandapat continues, “This isn’t about us.

We thought this was the least we could do to show our support and our concern. They are our allies.”

SeattleBriefly

news@seattleweekly.com

5

news&comment

EDUCATION

The $13K Question Parents tell the superintendent where he can put his raise.

BY SARA BERNARD

SEATTLE WEEKLY • NOVEM BER 18 — 24, 2015

6

the issues we have on the table.”

Thirteen grand not solve any issues? With the district, parents, and teachers still smarting from Seattle’s first teachers’ strike in 30 years and a Smiling to the bank. state school system facing what the state Supreme Court considers unconstitutional underfunding, that felt like a challenge. So Leith and Murphy, who’d met only the week before but share some strong feelings about Seattle’s schools, put out the call. The letters they collect, they say, will be placed on the table, literally, at Wednesday’s board meeting.

The raise is “insulting,”says Richelle Dickerson, an SPS parent and one of the administrators of Soup for Teachers, a group that formed during the strike when a handful of parents were bringing food to teachers at the bargaining table and the picket lines. To introduce the idea of a raise “was really bad form,” she says. “All the cuts they had just made with teachers, and reallocating funds, and balancing the budget, and the strike that had

THE HERALD

D

ear Dr. Nyland,” reads a letter from a fifth-grader at Louisa Boren STEM K-8 in a wobbly scrawl, “The boys bathroom at our school is broken. It stinks so bad you can smell it all through the building. The smell is so bad I have to hold my breath when I go to the bathroom. Everyone is grossed out! Your $13,000 could be used to repair our plumbing. Please help our school fix this serious problem!!!”

Reads another, from a parent: “$13,000 could be divided among 97 schools, allowing the schools to purchase $134 worth of paper, pencils, or Kleenex that the parents currently cover.”

Ask and ye shall receive a tall pile of suggestions for how to use cash in cash-starved schools.

Playgrounds, plumbing, textbooks, transportation—$13,000 does not a perfect school system make, but it could certainly fix a problem or two.

That’s the thrust, anyway, of a social-media campaign launched last week to protest Superintendent Larry Nyland’s proposed 5 percent raise, up for a vote at the Seattle School Board’s general meeting on Wednesday. Parents Carolyn Leith and Shawna Murphy created “The Thirteen Thousand Dollar Question,” a Facebook call-to-arms, in direct response to what Nyland told reporters following his State of the District speech earlier this month: His raise “is not going to solve any of

just happened . . . ” While returning $13,000 won’t solve any big problems, she says, “That’s not the point. It might help the image problem. It might help give people a sense that he actually is aware that people are unhappy.”

Nyland now pulls in $276,075 before some $40,000 more in bonuses, stipends, and benefits.

By comparison, Mayor Ed Murray and Gov. Jay Inslee make $182,333 and $166,891, respectively.

He’s also paid more, according to salary data from the Office of Superintendent of Public Instruction, than any other superintendent in Washington. But Seattle Public Schools is by far the biggest school district in the state, and Nyland has an impressive resume, including a state Superintendent of the Year award from 2007.

According to the Board Action Report on the proposal, authored by outgoing School Board president Sherry Carr and vice president Sharon Peaslee, the justification for increasing Nyland’s base salary and extending his contract through June 30, 2018, is largely twofold. It would encourage stability (“Contract extensions are common among school districts as a means to encourage retention of quality superintendents”) and competition (“The Board benchmarked his salary with salaries for other superintendents in Washington state and with peer school districts, such as Boston, San Francisco, and Portland”).

“I just think that at some point, we have to step back and say, ‘What’s in the best interest of the district?’” says Board President Carr. “We’ve had four superintendents in five years. There’s money being spent that is never recaptured when you

have chronic turnover at the top. Decisions get delayed, problems languish, progress that needs to be made doesn’t get made; then you pay a recruiter $75,000 to do the head hunting. That is a missing part of the dialogue.” Carr says she understands parents’ immediate concerns, but for the long-term health of Seattle’s schools, “it’s extremely important to ensure that we are paying the superintendent a competitive wage.”

Nyland did say in a letter to the School Board, dated November 3, that “in recognition of our tightened school budget,” he would give half of that raise back to the district’s general fund during the 2015–16 fiscal year—a gesture of good faith that parents like Dickerson find small enough to be offensive. “How small of an impact that is for him,” she says. “Why do it at all?”

Even if Nyland’s raise is approved—and there’s little indication it won’t be—the protest over the raise may illustrate the new, active posture parents are taking toward the district following the strike, says Melissa Westbrook, lead author of the blog Seattle Schools Community Forum. “All of a sudden, this fall, there really is a rash of young parent activism,” she says.

The proposed raise “seemed so out-of-touch of the day-to-day reality of Seattle Public Schools— I was deeply offended,” says parent Shawna Murphy. During the strike, she adds, teachers’ salaries “were put right out there for everyone to see. Everyone in the city was weighing in on how much teachers make. I feel comfortable talking about [Nyland’s] salary.” E

sbernard@seattleweekly.com

THE STREETS awesome. But if we’re making a relationship and a connection, and then the fourth or fifth time they come back, they’re interested in getting [connected to services], then you’re set up for that.”

Where to Inject When Injecting With heroin deaths up, safe drug sites are getting a closer look.

BY CASEY JAYWORK “In the late ’80s/early ’90s,” he says, “when needle exchange was considered a very controversial idea, handing out needles to people so they could inject seemed wrong to so many people at the time.”

But it saved lives, he says. If a safe drug site can do the same, “I absolutely would be very interested in exploring it.”

In August, Seattle Weekly reported what publichealth professionals have known for years: The rise and fall of prescription opioids during the 2000s created a new wave of addicts who now wander the streets, cut off from their doctors’ synthetic smack, jonesing and desperate.

Along with abject human dispair, heroin addictions often lead to overdoses, disease, and, as seen in Seattle, used needles strewn about on the street. Safe drug sites seek to address all these problems—as well as the addiction itself, by using the sites as a way to promote treatment to users.

Vancouver, B.C., has had a “supervised injection

facility” for over a decade. Called InSite, it consists of little stalls where people can prepare and inject their drug of choice, with medical staff standing by in case of overdose and to connect people with treatment services if they want them.

After years of evaluation, the verdict is in: InSite works. A 2011 study in The Lancet found that InSite’s creation correlated with a large drop in drug deaths

Murphy and other activists are ready to make a

VANCOUVER COASTAL HEALTH

S

afe drug sites—places people can use illicit drugs under medical supervision— are coming to Seattle, advocates say.

“This will happen,” Shilo Murphy, executive director of the People’s Harm Reduction Alliance, announced Friday to an enthusiastic crowd at Town Hall. With Seattle in the grip of heroin and homelessness epidemics that have lasted years already, he says, “The time is now . . . Get on the bandwagon, or get the fuck out of our way.”

Murphy is blunt, and he’s not alone. The Public Defenders Association has joined his call for one or more such sites in Seattle, as has the Capitol Hill Community Council. And Dr. Caleb BantaGreen, a drug-abuse researcher at the University of Washington, says such locations are a public-health no-brainer. “The evidence base is very clear,” he says, “ . . . that [safe drug sites] have very good health outcomes and do not have a big downside.” This matters, he says, in a city where 70 percent of injectiondrug users are infected with hepatitis C. The site would be the first of its kind in the United States.

There’s also some support at City Hall. Every single member of the incoming City Council (including both candidates in District 1’s too-close-to-call race) say they either support or are open to safe drug sites. Mayor Ed Murray also says he’d consider coordinating safe drug sites with the county, but would need to know more about how they would work.

A safe injector in Vancouver.

in the surrounding neighborhood. And while it’s seen more than a thousand overdoses, according to InSite’s website, there has never been a single fatality.

According to a 2009 report summarizing various scientific evaluations, InSite also reduced public injecting, lowered syringe sharing, and increased participation in addiction treatment—all without any discernible negative side effects. It even seems to save taxpayers money.

Banta-Green says that, far from discouraging drug users from seeking treatment, drug-use sites act as a kind of soft-sell for recovery. “It’s really a front door in,” he says, “and it’s not all by itself . . . if that’s what that person needs today is a [safe drug site],

safe-use site happen in Seattle, and local leaders are unlikely to stop them. But is it legal?

No, says Lisa Daugaard of The Defender Association, but so what? “The fact that someone can be arrested and can be prosecuted for a law violation,” she says, “doesn’t mean that they must be.” Daugaard points to Law Enforcement Assisted Diversion (LEAD), a program that redirects people arrested for drug crimes and prostitution into support services rather than jail. The program was controversial at its inception four years ago, but an evaluation published earlier this year gave LEAD such stellar marks that support for the program has become the norm in Seattle’s political establishment.

The trick, says Daugaard, is to get local cops and prosecutors on board—to convince them that a safe drug site will work. “Local law enforcement and local prosecutors doing that is the most important front in ending the War on Drugs,” she says. “It’s very powerful, and it’s very available to us.” (Police and prosecutors declined to comment.)

Murphy says that a safe drug site will be up and running within a year or two, possibly in the form of a large van that moves around the city.

But however it looks, he says, it’s coming. “When we have this many folks on the street injecting,” he says, “[and] rising overdose rates—it’s time for action, not for 10 years of negotiation.” E

cjaywork@seattleweekly.com

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Scientists, authors, and activists predict the outcome of the upcoming UN Climate Talks in Paris.

TO TH E FUTURE

orld leaders from more than 190 countries will convene in Paris during the first two weeks of December for the long-awaited United Nations Climate Change Conference. Will the governments of the world finally pass a binding global treaty aimed at reducing the most dangerous impacts of global warming . . . or will they fail in this task?

Letters to the Future, a national project involving more than 40 alternative weeklies across the United States, set out to find authors, artists, scientists, and others willing to get creative and draft letters to future generations of their own families, predicting the success or failure of the Paris talks—and what came after.

Some participants were optimistic about what is to come; others, not so much. We hereby present some of their visions of the future.

NOT THE FUTURE Dear Granddaughter, Recently, Secretary of State John Kerry announced that, to his regret, the much-anticipated Paris Climate Conference of 2015 would not produce a treaty. Or, for that matter, anything else “enforceable.” The U.S. Senate will not ratify anything that might actually work. Kerry at least appreciated the irony of making this announcement at a military installation that is doomed to be submerged by rising seas.

SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

DENIS HAYES

Now president of the Bullitt Foundation, Hayes has served as national coordinator of the first Earth Day, director of the National Renewable Energy Laboratory, and professor of engineering at Stanford.

» CONTINUED ON PAGE 10 9

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None of the Republican candidates for President—a pool large enough to field a football team—exhibit similar irony. They all sincerely believe that human beings cannot change the climate.

Democrats talk a much better line. But the executive actions on climate taken during the most recent Democratic presidencies have not perceptibly moved the needle.

I have a theory for why my generation has behaved so unforgivably toward your generation on this issue.

Of course, well-financed opposition by hugely powerful, ruthless, profit-hungry fossilfuel behemoths (and the politicians and “think tanks” they own) played the central role. But there also was a deeper psychological phenomenon at work.

I grew up in an era shaped by the possibility of nuclear annihilation. The most important defense strategy of my youth was Mutually Assured Destruction. A devastating nuclear conflagration could occur in a moment. But until the moment the rockets were actually launched, it remained possible to take action to avoid oblivion.

Climate change, as your generation understands, is entirely different. Gases that we spew into the atmosphere remain there for geological periods of time. They accumulate to create geophysical conditions that inexorably lead to future consequences. Tragedy is “baked into” the atmosphere decades, and even centuries, before it actually occurs. Humans did not evolve to deal well with this sort of slow-moving issue.

For at least the past 40 years, people have been giving speeches saying we have only 10 more years to act on climate. And they have always been right! Each time we had 10 more years to avoid one more distant consequence. By one point, we had accumulated enough CO2 to ensure an ice-free North Pole. At another point, the desiccation of the American Southwest and massive forest fires were assured. At yet another, more violent storms became unavoidable.

Today, the best science says that we have doomed the West Antarctic ice field—the resulting sea levels inundating dozens of major cities around the world from Mumbai and Bangkok to New Orleans and Venice, not to mention most of Bangladesh. You are only 6 years old as I write this, and already we have condemned you to some unavoidable tragedies.

At low cost and with minimal pain, my generation could have avoided all this. Long before I wrote this letter, we had created every essential ingredient of a sustainable future. But we—and by we I mean the whole human race—failed to take them to scale. We knew how to create ultra-efficient, net-energy-positive Bullitt Centers and Tesla automobiles; resilient agriculture and high-speed electrified rail; green chemistry and FSC forests. We could have covered the entire built environment with solar films, much as nature harvests and stores energy on every green surface.

So that diverse, healthy, resilient future is not the future you have inherited.

However, if you live in Seattle, as your grandfather currently does, you have some huge advantages. Our city has suffered less from climate change than any other major American city. Of course, in doing so it has become very attractive to climate refugees. The world will have one billion displaced persons in your lifetime. Where will they go? Has Seattle been

wise enough to learn from the current refugee crisis in Europe and prepare for its own future influx?

The Paris Climate Conference next month will not produce a binding treaty, but it will elicit meaningful outcomes. It may embolden a global movement. It will, at least, demonstrate that the real leadership is coming from cities, not nation states. Perhaps the next major conference will produce a United Cities organization that might succeed where the United Nations failed.

If I have one hope, it is that digital and realworld activities in the streets outside the formal deliberations of the conference will function as a massive global exclamation point! Hopefully, finally, this will be the moment when people across our planet recognize climate change for what it is: the fight of our lives, and yours.

AHMED GAYA

A founder of the climate-justice collective Rising Tide Seattle and sHell No! Action Council, Gaya has spent the past decade organizing for climate justice in the U.S. A WINDOW CLOSING To my Grandchildren, I’m sorry.

Your world is so much harder because of what we did not do. It took us too long to realize there was a problem. It took longer still to realize the scope.

Once we understood, we squandered much of the time we had left.

We spent nearly two decades putting our hopes in politicians and leaders, believing there would be an easy solution. After those hopes were dashed at the Copenhagen Summit in 2009 we spent more than half the following decade confused, depressed, and stumbling.

There is so much you will not see or experience because of what we did not do. You won’t know the stability and comfort that I do today.

I hope you can look upon the middle of the second decade of this millennium as the point when things began to change. Not because of what our leaders did in Paris in 2015. They will continue to fail us as predictably as always. I hope you remember this time, because it was when people stopped looking to politicians to save us and started saving ourselves.

When you study this decade, I hope you learn not about yet another failed summit, but about the massive people’s movements that followed it.

I hope you learn about the thousands, hundreds of thousands, millions of people who stopped cooperating with an economic and political system designed to destroy their future. In my imagination, your heroes will be the people who faced the truncheon in the global north and the gun in the south closing mines, plants, and

offices with the collective power of their bodies.

As I write this, we are only starting to realize that these small sacrifices are nothing compared to losing you.

If your planet is harsher and harder than mine, I hope that your society is more just and kind.

Are you confused by the petty differences that divided us in this decade? I don’t know how to explain why we misspent our energy focusing

Capitalism was wrecking the biosphere and people’s lives to the perceived benefit of the very few, so we changed it. only on the carbon in the air, when the root of the problem was the injustice on the ground. It must be obvious to you now that the same logic that colonized the land and starved the many for the profit of the few nearly destroyed our home.

I dream that your parents will tell you stories of how they forced the mines to close and the borders to open. That they’ll tell you how the great migrations were hard and painful, but not the dystopia we imagined in our fiction. How as the weather became more violent, the only way to survive was for people to become kinder to one another. That though some chose to stand alone on their porches, cooperation was the key to survival—though it was far from easy. I do not imagine that you live in a society free from the mark of oppression by race or gender or background; but rather that you have been taught from a young age that in the world you live in, understanding and overcoming this is a key to continued survival and some kind of prosperity.

I’m sorry that we did not do what we could.

That so much was lost forever. But I hope that as our window began to close, we did enough. At least we did enough that you can read this and smile.

LARRY_DALTON

SEATTLE WEEKLY • NOVEM BER 18 — 24, 2015

Letters to the Future » FROM PAGE 9

lem, because otherwise we wouldn’t have acted as we did. A stupendous effort by the global scientific community alerted us to the fact that our civilization, by dumping carbon into the air and disrupting biosphere processes in many other ways, was creating a toxic combination that was going to wreak havoc on all Earth’s living creatures, including us. When we learned that, we tried to change.

Our damaging impact was caused by a combination of the sheer number of people, the types of technologies we used, and how much we consumed. We had to change in each area, and we did. We invented cleaner technologies to replace dirtier ones; this turned out to be the easiest part. When it came to population growth, we saw that wherever women had full education and strong legal rights, population growth stopped and the number of humans stabilized; thus justice was both good in itself and good for the planet.

The third aspect of the problem, our consumption levels, depended on our values, which are always encoded in our economic system. Capitalism was wrecking the biosphere and people’s lives to the perceived benefit of very few, so we changed it. We charged ourselves the proper price for burning carbon; we enacted a progressive tax on all capital assets as well as incomes. With that money newly released to positive work, we paid ourselves a living wage to do ecological restoration, to feed ourselves, and to maintain the biosphere we knew you were going to need.

Those changes taken all together mean you live in a post-capitalist world: Congratulations. I’m sure you are happier for it. Creating that new economic system was how we managed to dodge disaster and give you a healthy Earth. It was our best achievement, and because of it, we can look you in the eye and say, “Enjoy it, care for it, pass it on.”

MICHAEL POLLAN

KIM STANLEY ROBINSON

A teacher, author, and speaker on the environment, agriculture, the food industry, society, and nutrition, Pollan’s letter is adapted from an interview in Vice magazine.

OUR BEST ACHIEVEMENT Dear Great-Great-Grandchildren, I’ve been worried about you for a long time.

For years it’s seemed like all I could say to you was, “Sorry, we torched the planet and now you have to live like saints.” Not a happy message.

But recently I’ve seen signs that we might give you a better result. At this moment the issue is still in doubt. But a good path leading from me to you can be discerned.

It was crucial that we recognized the prob-

SHIFT THE FOOD SYSTEM Dear Future Family, I know you will not read this note until the turn of the century, but I want to explain what things were like back in 2015, before we figured out how to roll back climate change. As a civilization we were still locked into a zero-sum idea of our relationship with the natural world, in which we assumed that for us to get whatever we needed, whether it was food or energy or entertainment, nature had to be diminished. But that was never necessarily the case.

In our time, the U.S. Department of Agriculture still handed out subsidies to farmers for every bushel of corn or wheat or rice they

A writer of speculative science fiction and winner of the Nebula and Hugo awards, Robinson has published 19 novels, including the award-winning Mars trilogy.

ANNIE LEONARD

Currently the executive director of Greenpeace USA, Leonard made the 2007 f ilm, The Story of Stuff, which chronicles the life of material goods, and which has been viewed more than 40 million times. She also wrote the 2010 New York Times bestseller of that name.

INCREDIBLE PEOPLE It’s hard to imagine writing to the granddaughter of my own daughter, but if you’re anything like her—strong, smart, occasionally a little stubborn— then I have no doubt the world is in good hands.

I want to tell you about this because there was a time we didn’t think any of it was possible. And there may be times when you face similar challenges. Generations before you have taken acts of great courage to make sure you too have all the joys and gifts of the natural world—hiking in forests, swimming in clean water, breathing fresh air. If you need to be a little stubborn to make sure things stay that way, so be it.

Onward!

By now your school should have taught you about climate change, and how humans helped to bring it about with our big cars, big homes, big appetites, and an endless desire for more stuff.

But what the teachers and textbooks may not have passed on are the stories of incredible people who helped make sure the planet remained beautiful and livable for you.

These are stories of everyday people doing courageous things, because they couldn’t stand by and watch communities poisoned by pollution, the Arctic melt, or California die of fire and drought. They couldn’t bear to think of New Orleans under water again, or New York lost to a superstorm. Right now, as politicians weigh options and opinion polls, people are organizing and uprising. It’s amazing to see and be a part of.

In the year that led up to the 2015 meeting of global leaders on climate change in Paris, kayakers took to the water to stop oil rigs. Nurses, musicians, grannies, preachers, and even beekeepers, took to the streets. The message was loud and clear: “We want clean, safe, renewable energy now!”

Were it not for this glorious rainbow of people power, I don’t know whether President Obama would have stepped up and canceled oil drilling in the Alaskan Arctic, or the sale of 10 billion tons of American coal that were set to tip the planet toward climate chaos. But he did.

This paved the way for an era of unprecedented innovation, as entrepreneurs and academics finetuned the best ways to harness the unlimited power of our wind, waves, and sun and make it available to everyone. We’ve just seen the firstever oceanic crossing by a solar plane, and I can only imagine what incredible inventions have grown in your time from the seeds planted in this energy revolution we’re experiencing right now.

MS 271 FARM BOSS®

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NANCIE BATTAGLIA

improved the fertility and water-holding capacity of the soil. We began relying on the sun—on photosynthesis—rather than on fossil fuels to feed ourselves. We learned that there are non-zero-sum ways we could feed ourselves and heal the earth. That was just one of the big changes we made toward the sustainable food system you are lucky enough to take for granted.

ERIN LUBIN/GREENPEACE

could grow. This promoted a form of agriculture that was extremely productive and extremely destructive—of the climate, among other things.

Approximately one-third of the carbon then in the atmosphere had formerly been sequestered in soils in the form of organic matter, but since we began plowing and deforesting, we’d been releasing huge quantities of this carbon into the atmosphere. At that time, the food system as a whole—that includes agriculture, food processing, and food transportation—contributed somewhere between 20 to 30 percent of the greenhouse gases produced by civilization—more than any other sector except energy. Fertilizer was always one of the biggest culprits for two reasons: it’s made from fossil fuels, and when you spread it on fields and it gets wet, it turns into nitrous oxide, which is a much more potent greenhouse gas than carbon dioxide. Slowly, we convinced the policy makers to instead give subsidies to farmers for every increment of carbon they sequestered in the soil.

Over time, we began to organize our agriculture so that it could heal the planet, feed us, and tackle climate change. This began with shifting our food system from its reliance on oil, which is the central fact of industrial agriculture (not just machinery, but pesticides and fertilizers too are oil-based technologies), back to a reliance on solar energy: photosynthesis.

Carbon farming was one of the most hopeful things going on at that time in climate-change research. We discovered that plants secrete sugars into the soil to feed the microbes they depend on, in the process putting carbon into the soil. This process of sequestering carbon at the same time

BILL MCKIBBEN

An author, educator and environmentalist, McKibben is co-founder of 350.org, a planet-wide grassroots climate change movement. He has written more than a dozen books.

SEIZE THE MOMENT Dear Descendants, The first thing to say is, sorry. We were the last generation to know the world before full-on climate change made it a treacherous place. That we didn’t get sooner to work to slow it down is

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our great shame, and you live with the unavoidable consequences.

That said, I hope that we made at least some difference. There were many milestones in the fight— Rio, Kyoto, the debacle at Copenhagen. By the time the great Paris climate conference of 2015 rolled around, many of us were inclined to cynicism.

And our cynicism was well-taken. The delegates to that convention, representing governments that were still unwilling to take more than baby steps, didn’t really grasp the nettle. They looked for easy, around-the-edges fixes, ones that wouldn’t unduly alarm their patrons in the fossil-fuel industry.

But so many others seized the moment that Paris offered to do the truly important thing: Organize.

There were meetings and marches, disruptions and disobedience. And we came out of it more committed than ever to taking on the real powers that be.

The real changes flowed in the months and years past Paris, when people made sure that their institutions pulled money from oil and coal stocks, and when they literally sat down in the way of the coal trains and the oil pipelines.

People did the work governments wouldn’t—and as they weakened the fossil fuel industry, political leaders grew ever so slowly bolder.

We learned a lot that year about where power lay: less in the words of weak treaties than in the zeitgeist we could create with our passion, our spirit, and our creativity. Would that we had done it sooner!

Industrial Revolution, we burned all sorts of fuels—coal, oil, and natural gas. While these things helped us heat our homes, drive our cars, and expand our cities, we didn’t realize that they also clouded our air, dirtied our water, and made us sick. More than that, the burning of all those fuels made our planet sick. All the other animals and plants that we share this world with were getting sick too.

The planet became warmer, which created a mixed-up chaos of terrible hurricanes, tornadoes, raging wildfires, drought and increased hunger, growing rates of asthma and lung disease, and the extinction of animals at an unprecedented rate.

So my dear grandchildren, we faced a choice. We could keep doing what we had been doing, or we could make the choice to take a stand for our future—your future and the planet’s future—by creating the framework to begin to move away from this scary legacy.

The wind turbines and solar panels that power your world, electric cars, high-speed trains, and solar airplanes weren’t so commonplace in my time. They required a revolution in how we think about energy, about our relationship to the world, about our faith in our own capacity to innovate and change.

What took us so long? Sigh. It’s a long story, but like many of the children’s books you grew up with, it was a story of greed, short-sightedness, and wizards with too much gold. But against these challenges, sometimes with great bravery, people—young and old from every nation—stood up and demanded that we take the steps to curb this terrible scourge.

I hope you will know this to be true. I hope you will remember that many years ago, your grandma and many others across the world stood up and demanded that we make the world a better place. I hope you know that it was a difficult path, just like my parents’ path so many years ago. And I hope you know we did it thinking of you and the future you now inherit.

RHEA SUH

SEATTLE WEEKLY • NOVEM BER 18 — 24, 2015

Rhea Suh is the president of the Natural Resources Defense Council, a nonprofit environmental-advocacy organization.

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I’M FIGHTING FOR YOU Dear Grandchildren, I can only imagine the wonderful world you are growing up in. I think of that world—your future—almost every day. I think about how to make sure it is a place where all your hopes and dreams can come true.

A long time ago, my parents traveled across the world from Korea to the United States in search of a brighter future for me and my sisters.

Today I am writing you from Paris, a city that I have traveled across the world to get to, in order to make sure the world does the same for you.

I’m fighting for you, for everyone in your generation across the world, to ensure that you have more than a fighting chance at that bright future.

A world without the dangers of global climate change is the world that you will inherit.

What is climate change? Never heard of it?

I’m so very glad if you haven’t. Let me try to explain. I warn you, this can be kind of scary.

When we first started building up our cities, roads, and towns in what was called the

GIFFORD PINCHOT III

The founder of the first school of sustainable business, an author, a blacksmith, and a former Internet security software CEO, Pinchot is the author of three books, including Intrapreneuring.

THE PIVOT POINT Dear Granddaughter, I love you and want you to have a happy life.

When you are 73, as I am today, and have a granddaughter of your own, you will care about her. I know that you would be quite unhappy in the late 2080s if her future in the 22nd century looks bleak. So, because I want you to be happy, I care deeply about the 22nd century that awaits your granddaughter. For me, 2150 is still personal.

Others of my time talk about the effects of climate change that will manifest by 2030 or 2050, but mostly seem indifferent to the much greater effects on your grandchildren. To me that is either a failure of imagination or just a lack of care for people they love. Those imaginative and caring enough to take the long view realize that we must act now.

It’s not too late for us in 2015 to make the lives of both you and your grandchildren’s generation far better. Many of us have been working hard to do so. Sometimes it has been frustrating, but now there are strong signs that humanity is turning back from the abyss.

Consider the fact that, according to the CDP (formerly the Carbon Disclosure Project), every major publicly traded oil company now bases their planning on an internal carbon price.

What does that mean? Well, if an employee at Exxon proposes a new project that will emit more carbon in the future, a cost of $60 per ton will be added to the project before calculating its return. If the project will reduce carbon emissions, it will receive a credit of $60 per ton. Exxon, and all the major oil companies, and many others including Google, Microsoft, Dupont, ConAgra, GE, Walmart, and Disney are all acting as if there were already a government-imposed carbon tax. Why?

There is a good chance that by the time you grow up, society will be well on the way to re-creating itself into a form that will ensure a good life for you.

It’s not because they hold “the good of society” as a higher priority than profits. It is more likely that they possess insider information that indicates a government-imposed price on carbon emissions is on its way. By preparing for those carbon costs now, they assure bigger profits in the future. Granddaughter, it appears that all our efforts to save your granddaughters are starting to bear heavy fruit.

Many former climate deniers now give a cleverly disguised “no comment” when asked about climate change, or they say “I’m not a climate scientist” while ducking the question. They too know which way the winds are blowing.

The other sign that change is coming arrived with an encyclical written by Pope Francis, urging his followers to take climate change seriously. He told his 1.2 billion followers that it is their moral duty to work to stop climate change and eliminate poverty.

Until recently, many of these people believed it was their religious duty to oppose those who believed in climate change. As I write this, those people’s minds are changing.

Finally, reducing our dependence on fossil fuels is becoming much easier. Already in many parts of the world, the cheapest source of energy is wind. Solar is not far behind.

Biomass, geothermal, and hydro could supply much of the base load to meet our minimum demands on energy. Smart grids can fit instantaneous consumption to supply. And storage is coming.

Civilization has begun a major pivot, Granddaughter. There is a good chance that by the time you grow up, society will be well on the way to re-creating itself into a form that will ensure a good life for you and your grandchildren.

JAMIESON FRY

Letters to the Future » FROM PAGE 11

T.C. BOYLE

A novelist and short story writer, T.C. Boyle has published 14 novels and more than 100 short stories.

SORRY ABOUT THAT Dear Rats of the Future, Congratulations on your bipedalism: It’s always nice to be able to stand tall when you need it, no? And great on losing that tail too (just as we lost ours). No need for that awkward (and let’s face it, ugly) kind of balancing tool when you walk upright—plus it makes fitting into your blue jeans a whole lot easier. Do you wear blue jeans—or their equivalent? No need, really, I suppose, since you’ve no doubt retained your body hair. Well, good for you.

Sorry about the plastics. And the radiation.

And the pesticides. I really regret that you won’t be hearing any birdsong anytime soon, either, but at least you’ve got that wonderful musical cawing of the crows to keep your mornings bright. And of course I do expect that as you’ve grown in stature and brainpower you’ve learned to deal with the feral cats, your onetime nemesis. As for the big cats—the really scary ones, tiger, lion, leopard, jaguar—they must be as remote to you as the mammoths were to us. It goes without saying that with the extinction of the bears and any other large carnivores, there’s nothing much left to threaten you as you feed and breed and find your place as the dominant mammals on earth.

Apologies too about the oceans—and I know this must have been particularly hard on you since you’ve always been a seafaring race, but since you’re primarily vegetarian, I don’t imagine that the extinction of fish would have much affected you.

And if, out of some nostalgia for the sea that can’t be fully satisfied by whatever hardtack may have survived us, try jellyfish. They’ll be about the only thing out there now, but I’m told they can be quite palatable, if not exactly mouthwatering, when prepared with sage and onions. Do you have sage and onions? But forgive me: Of course you do.

You’re an agrarian tribe at heart, though in our day we certainly did introduce you to city life, didn’t we? Bright lights, big city, right? At least you don’t have to worry about abattoirs, piggeries, feed lots, bovine intestinal gases, and the like—or for that matter the ozone layer, which would have been long gone by the time you started walking on two legs. Does that bother you? The UV rays, I mean?

But no, you’re a nocturnal tribe anyway, right?

Anyway, I just want to wish you all the best in your endeavors on this big blind rock hurtling through space. My advice? Stay out of the laboratory. Live simply. And, whatever you do, please— I beg you—don’t start up a stock exchange.

P.S. In writing you this missive, I am, I suppose, being guardedly optimistic that you will have figured out how to decode this ape language I’m employing here—especially given the vast libraries we left you when the last of us breathed his last. E Contribute your own letter at letterstothefuture.org.

food&drink

The Italian Connection Ernest Hemingway meets Italy in this Capitol Hill trattoria.

BY NICOLE SPRINKLE

I

PHOTOS BY TANNER MCLAUGHLIN

Left: Hemingway’s bottom half at the entrance.

Top right: seared tenderloin.

Bottom right: squid-ink ravioloni.

thing from your coffee to your potato chips. The can get both) is hearty while giving the various chef has managed to take this homey vegetable ingredients their due. Though the tagliatelle with and turn it into something deviously delightful. roasted shoulder of lamb and prosciutto ragù For starters, it’s not overcooked and mushy, nor may be a bit on the gamy side for some, I give undercooked and starchy. It’s roasted in brown it points for being unapologetically lambbutter, which caramelizes and pools forward. You want lamb, you get lamb. inside the flesh and yields just a touch Starters are also tasty and Ernest of honey-like sweetness, while fried straightforward. The wild-mushLoves Agnes sage adds an intriguing dimension. room toast is heaped with mush600-602 19th Ave. E., It’s then scattered with pepitas, rooms (maitakes when we visited), 535-8723, which bring salt and crunch. When superlative burrata, and arugula; ernestlovesagnes.com I attended the press party for the the meatballs are solid and served Italian restaurant’s opening, this dish was in the same herb marinara as the the one that everyone was ogling. bucatini; and plump local mussels Likewise, the harissa-glazed rainbow carcome in a spicy sausage broth. While rots are also lovely—both to look at and to eat. the pizzas don’t stack up against my all-time Speaking of looking good: In another wellfavorites, Delancey’s, they are certainly respectconceived detail, the food is all served on your able, if a little too doughy for my taste. But the grandmother’s quaint China; the owners pillaged toppings, including a seasonal-inspired peach pie vintage stores all over the city and elsewhere to this summer and a pesto pie with rosemary profind a medley of mismatched, flowery tableware sciutto cotto, rainbow chard, pesto, and serrano that makes even a simple plate of meatballs chiles, are good enough to make me still want it. exude nostalgia.

The salads could use some work, in both variety (there are only three) and execution. A vibrantly colored shaved-root salad had all the While the restaurant, which sits next to Talright components—beets, radishes, carrots—but lulah’s and across from Monsoon, seems driven it was unfortunately overdressed in a Meyerto attract a late-night bar crowd (it’s open until lemon vinaigrette that could give Sour Patch midnight on weekends and 11 p.m. on weekKids a run for their money. nights), it was, ironically, the drinks I was least For the time being, scrap the salads and go for impressed with. Their signature cocktail list is the veggie sides. I considered opening this review short (only six) and none dazzled me, not even with an ode to their roasted half acorn squash, the evocatively named Hemingway Daiquiri. served in its skin. Forget that it’s fall and that Made of white rum, fresh lime and grapefruit pumpkin and squash are popping up in everyjuices and maraschino liquor, it really just tastes

more or less like limeade, with no real sweet nod to the daiquiri. Likewise, the Weather Bird—gin, fresh lime juice, orgeat (almond) syrup, cardamom bitters, and lime—is weak and watered down with too much ice. There is, of course, a Death in the Afternoon, the cocktail Hemingway purportedly invented: Champagne, absinthe, and a lemon twist. You either love or hate absinthe. While there’s plenty of Italian amaro thrown around, whiskey drinkers are out of luck unless you ask for an off-menu classic.

Dessert is pared down to a handful of choices, but the orange-blossom mousse on a touile cookie with citrus zest was one of the best restaurant sweets I’ve had in a while. The citrus and floral flavor permeate the mounds of seriously smooth mousse, and kept me spooning it into my mouth long after I was full.

With such thoughtfulness in the design and the food, it seems strange that the service at Ernest Loves Agnes is somewhat flat and frenzied. In fairness, the place was busting at the seams on all my visits, but there seems to be a lack of communication between the waiters and the bus people; on one visit, entrées came out before we’d even finished our starter or been served our cocktails. Servers are quick to apologize and remedy mistakes, and on a subsequent night we were asked in what order we’d like our dishes brought out. Hopefully this is workingout-the-kinks territory, and the restaurant will figure out how best to meet the demands of its understandably ravenous clientele. E

nsprinkle@seattleweekly.com

SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

t’s not easy stepping into the footprint of a long-running, beloved restaurant and bar like Kingfish Café, the soul-food mecca on north Capitol Hill that closed last winter—partly because of the neighborhood’s increasing rents, according to the former owners, twin sisters Leslie and Laurie Coaston. But Ernest Loves Agnes shows every indication of being up to the task.

There’s much to praise about this Italian newcomer from Guild Seattle, the owners and operators of Lost Lake Café & Lounge and the Comet Tavern—and perhaps its early acceptance is due in part to the local love for these landmarks. But the restaurant by no means coasts on the association.

The Ernest in the name is Ernest Hemingway, and the restaurant’s decor is a tribute to the late American writer. Black-and-white photos of Key West and color-saturated, poster-size photography of Cuban homes and streets—both places where the writer lived—cover the light-green, paint-distressed walls. Half of an actual Vespa looms over the doorway, and greenery abounds.

The tabletops are made of copper from the original Kingfish bar, and even the bathrooms are quirky; one has rough wooden plank walls and ceiling and suggests a cozy sauna, while another is wallpapered in pages from Hemingway’s books. Everywhere you look, your eye is drawn to detail, and you realize how much care was put into the design alone.

Similar care was put into the name, which is inspired by the time Hemingway spent during World War I recuperating in Milan from a shrapnel wound. There he fell in love with his Red Cross nurse, Agnes von Kurowsky; he proposed to her once back in the States. Though she turned him down for another man, she’s forever immortalized as the character Catherine Barkley in A Farewell to Arms. Hence the Italian connection. If that feels a bit like a mashup, it is, but delightfully so.

The food, under the direction of female chef Mac Jarvis, who’s cooked at Smith, Coastal Kitchen, and Lola, is a solid Pacific Northwest interpretation of Italian, energetic and delicious.

On a second visit, my companion remarked, “I love that it’s just good food, not the back of the ear of the cow.” That kind of says it all. This is a place you’ll return to for, say, a simple bowl of bucatini with a bright, pleasantly sweet herbed marinara; a meat pizza finished with a drizzle of spicy honey (trust me, it works); or a cast iron-seared tenderloin steak over buttery faro that rivals those of high-end steak and seafood restaurants. In other words, this is food that doesn’t try too hard.

But Jarvis pushes some boundaries too, without sacrificing taste. Take, for instance, the squid-ink ravioloni. Four sizable squares of the black-hued pasta are filled with spiced lobster mushrooms and sheep’s cheese and topped with a pistachio-parsley crumble that will make your taste buds tremble. Each bite brings a blast of sea and earth and the pop of sharp, fresh cheese.

Likewise, the cavatelli with brown butter, sage, and hot Italian sausage or wild mushrooms (you

13

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Mochizuki joined the Reuben’s team as experimental brewer after a long career with Pike Brewing, which he left in March after more than 13 years helping them blaze brewing trails.

Now, with a brand-new tap room and stillgrowing brewing space, Mochizuki and Reuben’s founder Adam Robbings have big plans to expand their program to uncharted territory.

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Mochizuki: It was kind of an accident, actually. I was playing gigs with Kim Brusco around town—he plays bass and I play sax—and I found out he was a brewer one night. I went to get yeast from him for homebrewing, and asked him to play a gig with me. He offered me a job, and six months later I started at Pike. When Kim left to go to Free State [in Lawrence, Kan.], Drew Cluley took over as head brewer. And when Drew left to go to Big Time Brewing, I took over. That was in 2001, maybe 2002.

Besides the core beers at Pike, did you have the opportunity to branch out?

DM: There was a lot to do in terms of the flagship ales. And while the Finkels [owners Charles and Anne Rose Finkel] didn’t give us free range per se, we did have some leeway to explore. We made the pumpkin beer, Derby lager, and a fresh-hop Citra beer a few years ago. The single-malt beers they’re working on now, those came from pilot batches I worked on, and the Space Needle Golden IPA that won the 50thanniversary contest was our recipe.

Adam, what factors led you to hire an experimental brewer?

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Robbings: When we opened our new brewery, a big part of the plan was to keep our original brewery and use it to produce a wide variety of styles. We don’t want to be a brewery that just brews a few flagships and that’s it; we love variety in beer, and wanted to make sure we could do what we love. Keeping the original brewery gave us the opportunity to really commit and hire an experimental brewer and branch out.

What are the goals for the experimental program?

AR: We want to continually challenge ourselves, and the experimental program is key to providing that challenge. Ideally the program will help design the beers of tomorrow, as well as providing diversity at our taproom.

What sort of research are you doing to pick new styles?

DM: I’ve been looking into Belgian styles a lot, because to me that’s the biggest flavor palette to explore. There are so many different breweries and beers from that country. I’m also looking into experimental hops and new hops. There are no names, they’re just numbers.

How do you get them?

DM: You have to get to know farmers and brokers really well.

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SW: How did you get started brewing? Was Pike the first stop?

The Reuben’s crew.

The other [thing] we’ve seen even since we opened is the move of people’s palates towards DM: Yeah, but even more so. In Yakima, for lower-ABV beers: fewer imperials, more session example, hops are different from the upper to beers. Our experimental program just released lower part of the valley, with different terroir in two lower-ABV beers: a Session IPA, with each part. But unlike wine grapes, which are a nice juicy-melon, tropical-fruit chargenerally harvested all at the same time, acter, that clocks in at 4.7 percent you could harvest hops at different ABV, and a Pilsener [made with points in the season, or at different Reuben’s Brews Czech hops, thus the slightly difpoints in the window, and they 5010 14th Ave. N.W., ferent spelling than the German would taste different at each time.

784-2859, “Pilsner”], which is a little over 5 Amarillo hops are grown in three reubensbrews.com percent ABV. states, and in each state, each part of the state, each farm, they’re different.

What is something that you’ve Hops are like wine grapes, then?

Do you think an AVA [American Viticulture Area] -type system for hops might be on the table?

DM: It probably will be, but I’m not sure.

The only real way to analyze hops is by GC: gas chromatography.

Do you see any particular trends growing in the industry?

DM: I think more craft brewers are going to turn to lager styles. As people get used to more lager, they’ll gain in popularity. People are going to get burned out on the same flavor, the same big, hop-centric flavor. They’re going to want real, Old World flavors. Now, how American brewers will work with that, I don’t know. I’m imagining more hoppy pilsners and the like.

AR: The obvious answers are sour and lowerABV. Lots of people believe sour beers may be the new IPA in terms of the growth of the style, but I think hops are here to stay! Sour beers are definitely growing in popularity, but I’m not sure they’ll ever be more popular than hop-forward beers.

thought about brewing and are hoping to soon?

DM: Biere de Garde. It’s a beer style from Belgium. You don’t really see a lot of it brewed in the U.S., and there isn’t a lot of bottles from Belgium available here. It’s a fairly complex beer, bottle-conditioned, and can be aged on wood, but not always. It can be barnyardy and not very hoppy, but it’s very balanced.

AR: A Baltic porter is definitely on the list of beers we’ll brew soon. We started our sour program this year, which included brewing our Gose, which won gold at the Great American Beer Festival this year. We are hoping to get some more space very soon which will allow us to seriously expand our sour program, with barrel-aging and bret aging and Brettanomyces fermentations.

In the future, we’re hoping to do about 20 brandnew, different beers every year. Right now, we have about 80 to 100, with 24 of our own beers on tap at the tasting room at all times. E

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martphones, for better or for worse, have become a defining feature of the bar scene. Bartenders no longer have dust-covered cocktail books behind the bar; they just look up recipes on their phone.

The antiquated notion of live music or even a prebuilt playlist has been made nearly obsolete

by Pandora. Even dating apps have changed the way people look for love (or at least lust) over a bartop.

Even more so, our interactions are mediated through our phones: They direct us to bars, advise us on what to order, and give us something to look at when the world around us isn’t immediate or interesting enough. In that sense, they’ve undoubtedly changed the way we interact over drinks. Yet a new local app has given me at least a bit of hope that phones can also help foster real-world, interpersonal relations over a drink.

Like all modern apps, HotSpot can largely be defined as a synthesis of a few others: in this case Yelp, Groupon, Uber, and FourSquare. When I heard about it, the emphasis seemed to be on deals: It features a comprehensive list of local happy hours, and even allows users to get a sweet price on a specific drink at a cool bar whenever they want.

Yet in speaking with CEO and co-founder Jasjit Singh, it was interesting to hear how the company hopes to create a social aspect to surround those deals. “We started out as an app to help people get together around these venues,” Singh says. “It was challenging, but when we added a deal component in, that got it over the hump.”

Basically, the app stores your credit-card info.

When you get to a bar, you can buy the drink special directly from your phone. You show the bartender your receipt, you get a drink, and the bar gets most of the money (and presumably a sale they’d otherwise not have had). More interesting, you can let your friends and followers know where you are and what you’re doing (or drinking, as the case may be): Spread the word widely enough and you can earn serious discounts on your cocktails.

“The happy-hour piece of it is a huge part of what makes it exciting for users,” Singh elaborates, “but we’re looking to connect our users to all the info that has to do with these venues.

Events, real-time info, updates. Our goal is to be a one-stop shop for people, whether they’re looking to save money or go to an interesting event.

We see it as an easy way to get friends together.

You broadcast your location like a bat signal to your friends. For us, the deals are a means to an end, a way to get people together in real life.”

There’s something a bit paradoxical about an app that aspires in part to get people to put down their phones and talk to each other, but I’m in favor of anything that changes the focus of our current bar scene from phones to human beings. E

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CONVERSATION20 COMIX21 REVIEWS23 CALENDAR27

The Body of Art TAM’s big fall show isn’t only about illness, but art history’s return to the personal and corporeal.

PHOTO COURTESY OF THE ARTIST.

BY BRIAN MILLER

Kia Labeija in her self-portrait series 24.

T

able. A new artistic response was required for very useful timeline that combines art, politics, AIDS, because it wasn’t happening to some culture (e.g., Rock Hudson’s death), and vital vague critical construct—it was happening to statistics. We reached peak AIDS 20 years ago, you. And forget about irony, that coy stance when anti-retroviral drug cocktails decisively of postmodernism. Suddenly art had to mean stemmed the tide of infection. Though viewing what it was intended to, with no posturing, this last display is now, admittedly, like visiting “slippage,” or air quotes. Action supa war memorial. planted theory. Artists had to reasIn their catalogue, supported sert their identity and authority, by a half-dozen essays, the two Tacoma their very bodies. curators advance the thesis that Art Museum AIDS interrupted and diverted 253-272-4258, the art world from something of “Today’s art world is, at its core, tacomaartmuseum.org. a dead end. (Warning: critical a child of AIDS,” writes Katz, $12–$14. Ends Jan. 10. theory ahead.) In layman’s terms, who sees the response to that the AIDS crisis arrived in the early terrible scourge as “a generative ’80s just as conceptualism and postforce.” Anger and militancy were the modernism were becoming exhausted. first reaction, and the hottest works here There was art about art (or ideas of art), and still glow with street-level outrage and graphic art that denied the centrality (or authority) of clarity. We see the iconic inverted pink trithe artist; both were markedly impersonal. angle (yes, lifted from the Nazis) and “Silence AIDS changed all that, since it was a direct = Death” logo of ACT UP. Text and collage attack on so many artists, across all disciplines; artists like Jenny Holzer and Barbara Kruger and there was no possible response but the per- employed dire slogans against complacency sonal—because it wasn’t as though HIV was (this during the distant era when Ronald Reaattacking someone else. It came after you. The gan wouldn’t utter the word “AIDS” and Jesse then-dominant critical notions of “the death Helms became the bête noire of the left). of the author” (per Roland Barthes), the loss of Anger gets you only so far, however, via proabsolute truth, the indeterminacy of meaning, tests and placards. Since the AIDS epidemic and the erosion of subjectivity became untenbefell so many trained artists (and playwrights

and actors and dancers . . . ), their response came in myriad subtle ways. At the center of the NEA funding wars was Andres Serrano (represented by the diptych Milk/Blood and the swirling cloud of Blood and Semen III). Just as the individual had to be reasserted, along with the contested body, so also were bodily functions put to the fore. If that seemed controversial to Helms, the NEA, and company, Serrano really belongs to an older tradition of Western art—the gory Bible scenes of crucifixion, bloody ecstasy, martyrdom, and suffering.

The blood is the same color, only the context has changed.

Yet conceptualism hasn’t entirely gone away.

Nayland Blake’s Every 12 Minutes is a clock referring to infection rates (in 1991), its face reading “Stop It.” Chimes ring nearby from Robert Farber’s Every Ten Minutes, made in the same year to the same effect. Both provoke a calmer consideration of the crisis, almost a meditation—especially since Farber’s piece reminds you of church bells. New to me but well represented in the show, Félix González-Torres creates a tactile threshold effect with his untitled blue-beaded curtain; it’s like a portal, but to what—death, HIV-positive status, the outcast community, or just an altered state of awareness?

SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

elling you to see a show about AIDS is like directing you to a Holocaust museum. Most readers, I know, will feel the immediate impulse to flee in the other direction. So let me state now that Tacoma Art Museum’s locally spawned exhibit isn’t overwhelmingly depressing, though inescapably sad; and that it’s the most important and necessary Northwest art show of the year.

You should see Art AIDS America not only for the art, and there’s a lot of it, but for the historical argument being made by its curators.

The point here isn’t to elicit guilt or horror or tears, even if those feelings do inevitably come.

Rather, the AIDS crisis is presented as an historical watershed, a catastrophe like World War I, in the story of American art.

TAM’s Rock Hushka co-curated the survey show—which opened last month and tours next year—with Jonathan David Katz of the University of Buffalo. It covers about 30 years, from 1981 to the near-present, with some 125 works from more than 100 artists. (Boldface names include Jasper Johns, Keith Haring, Nan Goldin, Robert Mapplethorpe, and Annie Leibovitz—though not Warhol, whose foundation is an exhibit sponsor.) Works in all media are arranged by six themes—activism, portraiture, memento mori, etc.—with a

» CONTINUED ON PAGE 19 17

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Unusually for an art museum exhibit, this is also a living history show for visitors who remember these three decades. Though it inspires zero nostalgia, there are many moments of piercing recognition of place and time. Derek Jackson takes the 1987 New Order song as a soundtrack for Perfect Kiss, a recent work that harkens back to the golden club-going days when hookups

DEC 1

t or

The portraiture and documentary photographs are necessarily more direct. Photojournalist Alon Reininger’s famous and deeply moving images of Ken Meeks, covered in sores and lesions, were published in LIFE magazine in 1986, an important milestone in AIDS awareness. Other artists simply turned the camera on their own (or friends’) diseased bodies. Ann P. Meredith captures a roadside billboard in the Bible Belt, warning that “Sin will kill you!” and “Judgment has come!” It would be nice to think such vitriol, in 1989, is long behind us, but notions of infection and infiltration still drive much of our American political discourse. (If it’s not Haitians, it’s Syrians who must be kept out.) At the other extreme are the colorful dress-up photos of Kia Labeija, a young woman born HIV-positive in 1990 but doing just fine, thank you very much.

Occasionally there’s wit, humor, and even flashes of joy. Kalup Linzy and a friend coyly lip-sync an old ’30s novelty song in Lollypop—made in 2006, by which time the phrase living with AIDS had real meaning. Jerome Caja’s Bozo Fucks Death takes a cartoonish kind of revenge on the plague; and his humble materials—nail polish on plastic tray—add to the macabre spirit. Resistance is provisional, and sometimes wildly inappropriate. Adam Rolston nods to Warhol with his stacked Trojan Boxes, and there’s some satirical bite to the piece. Uncle Andy died in 1987 (of complications from routine surgery), and he never really engaged with AIDS—perhaps because his art required a certain arch personal distance that the epidemic collapsed. Rolston critiques that aloofness with a joke that suddenly makes Warhol seem irrelevant, a sign of how art currents were shifting.

were thrilling and dangerous. Again, his point isn’t nostalgia, but more a recognition of how times have changed. Jesse Finley Reed’s Decorative Barrier is simply one of those velvet ropes lifted to admit the elite—whether rich, young, or handsome—to the right clubs; yet now such notions of insider/outsider and inclusion/exclusion carry the extra significance of quarantine (as was once suggested) and ostracization (still with us in some quarters).

The Northwest connections aren’t many: Photographer Steven Miller is based in Seattle; Darren Waterston and Bill Jacobson spent time here; Michael Ehle died here; and Kiki Smith studied at Pilchuck. The latter’s Red Spill deploys 75 glass beads on the floor like oversized blood corpuscles. (A more cheerful complementary tangent can be had at Bellevue Arts Museum’s ongoing Camp Fires ceramics show—less politics, more decoration.)

The tone here is one of generally somber sincerity. Metaphors of resistance and infection are inescapable. (“I have become a virus,” said González-Torres, who died in 1996.) If not a return to figuration, the show demonstrates how, in Katz’s words, “much art-making left the white cube for the gritty streets.” (The white cube is the gallery, and little of the work here is readily commercial.) Faced with an overwhelming crisis, artists had to be engaged, not inward-looking or abstract. Hushka writes of that ’80s moment, “Some artists began to reinvest in the traditional function of art— directly communicating their experiences through images and objects.”

Direct communication: That’s what had become academically unfashionable during the prior decade of Barthes, Michel Foucault, and cohort. Yet you don’t have to know or care about postmodernism, poststructuralism, or postwhateverism to appreciate how AIDS altered the course of American art. And the legacy of the artists you see here, both living and dead, is that art making now continues in a more personal stream (among many). Following World War I was the sentiment of “after Verdun, no more poetry,” yet poetry instead evolved into new forms. So it is with art today, as this show powerfully demonstrates. E

AVDEEVA

a

» FROM PAGE 17

MICHAEL SODOMICK/DAVID WOJNAROWICZ/P.P.O.W GALLERY

The late David Wojnarowicz’s untitled 1989 centerpiece photo.

YULIANNA

19

conversation

Snow in July

Winter comes twice a year for pro skier Ingrid Backstrom, who’s always looking for her next trip—and her next gig.

SEATTLE WEEKLY • NOVEM BER 18 — 24, 2015

WARREN MILLER ENT.

BY MARA SILVERS

20

F

Backstrom in Portillo after a 100-inch dump.

rom Chile to Siberia, Ingrid For your segment of Chasing Backstrom has been carvShadows, you went helicopterMcCaw Hall ing her way down the skiing last summer in Portillo, Seattle Center, slopes her whole life.

Chile. Are those the trips you look 800-523-7117, So it’s appropriate, as early storms forward to? warrenmiller.com. $22. dump snow in the mountains, that Totally. I love going to Chile. I’ve 7:30 p.m. Fri.–Sat. the Seattle-born pro athlete should gone every year for the past 12 years, appear in the new Warren Miller ski and it’s become a tradition. Skiing in movie, Chasing Shadows, which plays this the Andes is just like, “Oh, my gosh, this is incredible.” I feel so fortunate to be able to weekend at McCaw Hall. In it, per formula, we do that and have that second bonus winter. see Backstrom and other skiers and snowboarders travel to mountains in Alaska, Nepal, France, Japan, As a freelance athlete, how do you balance and beyond. From her home in Leavenworth, we trips, sponsors, and home life? spoke to Backstrom last week about the coming My career is my priority. My winter is open to winter (we hope) and being a female freelancer whatever sponsorship opportunity comes along. in the male-dominated world of extreme sports.

Living back in the Northwest, I’m always hoping for a good winter here, so I can just be skiing at all my favorite places. I enjoy traveling to farSW: How and when did you fall in love with flung places, but I also am just really enjoying skiing? exploring the Cascades.

Well, I grew up doing it, because my parents were on the volunteer ski patrol at Crystal In the 2007 ski movie Steep, Scott Gaffney Mountain, so we just spent every single weekend praised your skiing like “a guy with a ponytail.” up there. When I started ski racing [at Whitman Have attitudes about women in the industry College], that’s when I really started to think improved over the years?

“Oh, wow, we get to travel around to races with I think things have changed a lot since he a bunch of like-minded people, and to have this said that, and he probably wouldn’t say that same little tribe.” That’s when I knew I wanted to take thing now. I am proud to be a woman, and I a year off after college and ski for a year. And think women’s skiing has come so far. Women then, of course, that turned into 13. are out there charging harder than ever.

How has the ski community, and industry, changed during that time?

When you can find a group of people that have similar values or similar interests . . . you end up chilling with the same people, and skiing with the same people, for 10 or more years. It is a pretty small industry. But something that has changed it has been the presence of social media. Now a lot more people can be involved and can showcase their skills in a lot more ways. Before, you had to go to the ski-movie premiere to see the movie.

But now you just have access to so much more content, and it’s so much more wide-reaching.

Though no longer a local company, Warren Miller has produced 66 of these ski movies.

How do you fit into that tradition?

They’ve done a really good job of keeping it a consistent thing every year and making it an event. When you go to a Warren Miller movie, there’s generations [of viewers] there. That’s something that that company has consistently done a great job of—keeping the movie relevant and interesting and exciting to a big audience.

Today you’re on Twitter, Facebook, and Instagram. As opposed to a dozen or half-dozen years ago, does that help you reach younger female fans?

Back then, there was only one girl in the Matchstick [ski] movie, and maybe one girl in the [Teton Gravity Research] movie, and a couple women in the Warren Miller movie. Now people can feel free to express themselves and connect with a larger audience. People can just put themselves out there and connect with their audience.

Who are your social-media followers?

I hear from a lot of young women, but I also hear from a lot of guys, too. I think in general, people are looking for inspiration in more of a variety of places. It doesn’t have to be someone that looks exactly like them, which is really cool.

It’s snowing now. What are your hopes for this winter?

I hope it’s a good season. I’ll be at Crystal coaching the free-ride team. I just hope to see everyone out there. E

msilvers@seattleweekly.com

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F

ans of all ages turned out Friday night for the kickoff to EMP’s latest exhibit, Hello! Exploring the Supercute World of Hello Kitty. Attendees aged

4 to 64 ducked into stations offering friendship bracelets and manicures and activities like bingo, trivia, and origami, while a J-pop soundtrack provided by DJ Hojo filled the museum’s Sky Church. The exhibit itself features art and collectibles inspired by the adorable animated character (who is not a cat, by the way, but a little girl), along with some mind-boggling couture, making the exhibit a must-see for any fashionista. Outstanding looks came from the crowd as well; fans showed up in colorful costumes and Sanrio-themed outfits, and some even strutted their stuff on the runway in the evening’s fashion parade.

It was every bit as kawaii as one would expect.

PHOTOS AND TEXT BY BROOKLYN BENJESTORF

reviews

MUSIC

The Apple of My Ai When you skim off the excess sugar, Dex Amora’s lovesick new record impresses.

BY DANIEL ROTH

COURTESY OF THE ARTIST

Its title, just like AURA ’s, hints at its content; ai is the Japanese word for love, as he explained to Seattle Weekly in July. It bears repeating, since love is woven into the stories Ai Level tells; familial love, friendships, growing love from fans. There’s even a loose romantic narrative threaded through the project.

The romance kicks off in “heart.Beat,” where Amora can’t get his affection out of his mind: “These sisters can’t relate/The feelings that she activate/But I’ve been neurally locked in and feeling like I can’t escape.” This carries over to “What Do Ai Say,” where the unnamed woman is “doing laps in [his] head.” The sultry vocals of Port Orchard pop singer Scarlet Parke on the hook really elevate the track. She’s one of only two guests on the project, and her presence makes “What Do Ai Say” a major highlight.

It’s mostly Amora’s voice that you’ll be hearing on Ai Level, though. There’s a thoughtful, introspective quality to his rapping, as though he’s exposing his mind’s inner workings to his audience. He’ll move across subjects at the speed of thought, which means his raps can get sidetracked often. He sometimes sacrifices a logical train of thought for a chance to flex his admittedly impressive rap skills and sizable vocabulary.

Still, it’s fascinating to hear how fast Amora’s mouth can work: “I keep that in your brain, compartmentalized, with lies in the middles/ Line to get ’em into the process with the minerals at obvious intervals/Your body’s live as fried tentacles,” he tongue-twistingly raps in just eight seconds on “idntfrnt,” defying all logic about the physiology of human speech patterns.

Ai Level reaches its emotional peak with “LOVE ME WHILE I’M STILL ALIVE,” which, given its title and all-caps urgency, sounds as if it should be a sad plea for help. Instead, Amora’s musing on the ephemerality of existence, among other reflections (another knowledge bomb: Amora ponders “If you don’t love yourself, how can you love anyone else?”).

The romantic subplot resurfaces in the EP’s last track, “The Frequen-see.” With its warm horns, piano, and chopped-up, moaning vocal stabs, the track pays subtle homage to ’90s R&B balladeers like Keith Sweat and Jodeci. Goldenbeets manages to capture their leather-jacketwith-no-shirt vibe while leaving the cheese behind (or at least most of it). Amora’s lyricism is more tied to ’90s R&B-loverboy sensibilities; he plays the hopeless romantic, making passion-

ate proclamations of love and painting moments of sweaty intimacy. Like the work that inspired it, “The Frequen-see” ends up feeling more corny than truly heartfelt.

It highlights a problem with Amora’s lyricism on the whole. He clearly wants to get you into his mind frame, but thanks to his painstaking choice of words, it ends up feeling a bit more like a guided tour than a full exploration. That’s not to discount the openness and honesty he does show, but it’s hard not to feel as though there’s a lot more lurking beneath the surface. E

music@seattleweekly.com

SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

D

ex Amora is exceptionally careful with his words. While much of modern rap forgoes lyricism in favor of pure emotive flow, Amora stays true to his golden-era hip-hop sensibilities. The young Seattle MC constructs his raps out of complex rhyme schemes, double entendres, and clever turns of phrase, backed by a drummer’s ear for timing that makes him feel completely in synch with the beat.

He’s built his career on these characteristics, and his newest project, Ai Level, follows that trend.

Ai Level, self-released now digitally and on cassette, is actually a collaborative album, with every single beat by Goldenbeets. He and Amora have worked extensively in the past, most notably on “manym00ns,” and the two have great chemistry. Their knack for refreshing and reinterpreting hip-hop’s past makes their pairing feel immediately natural. To Goldenbeets’ credit as a skilled producer, each of the seven tracks on the EP feel and sound different, but maintain a cohesion without ever getting repetitive or samey.

Ai Level’s greatest departure from Amora’s previous project is its lyrical content. AURA EP, released just over a year ago, found him largely concerned with spirituality and third-eye mysticism, but Ai Level is much more down-to-earth.

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Opening Friday A Ballerina’s Tale Inspiration in a Tutu

BYBRIAN MILLER

U

unmarried bookkeeper, their mother from one priest’s somber office to a widow.) America will be both a another, so unlike the familiar Opens Fri., Nov. 20 ticket out and up, so Eilis boards a comfort of letter-writing. And if at Sundance, Pacific Place, one of her boyfriends, after a date crowded steamer. On the dock, a and Lincoln Square. Rated thick crowd of indelible Irish faces to see Singin’ in the Rain, should PG-13. 113 minutes. sees their loved ones off without ape Gene Kelly spinning around tears: This is a separation of ecoa streetlight, those were the innonomic necessity, not choice. cent pleasures of the day. Domhnall During the difficult ocean crossing, Gleeson is good as shy Jim (back in Eilis is protected by a brassy dame, already Enniscorthy), as is Emory Cohen as Tony schooled in American ways, who tells her, “It’s (the puppyish Italian-American suitor), but I nice to talk to people who don’t know your aunmuch preferred scenes around the bubbly, gostie.” Anonymity, she will find—like all fresh New sipy dining table of Mrs. Kehoe ( Julie Walters, Yorkers—can be thrilling, a chance to refashion adding spice to her twinkle), who delights in her identity in a way impossible back home. chiding and correcting her tenants. “Giddiness Immediately established in a rooming house and is the eighth deadly sin,” she warns, with a tone a tony department store, it might seem that Eilis suggesting she knows the other seven firsthand. is an innocent, like Dorothy in Oz. Yet, partly Like Eilis, she’s a good deal wiser than a mere because of Ronan’s assurance, Eilis already seems plot summary might suggest. No less trenchant is wise to the world. She appraises new people and Jim Broadbent’s Father Flood, who enlists Eilis situations with a cool gaze that belies her years. to serve Christmas dinner at his soup kitchen to We shouldn’t be surprised at her shrewd a bunch of sad old Irish bachelors. (As with the assessment of suitors and employers—only that’s pier scene, I thought, “Where did they get these not how most movies treat young women. And faces?” In modern Dublin, I suppose.) If Eilis’ here a kinship can be felt to Nick Hornby’s other prospects are bright, the kindly priest reminds her recent adaptations—Wild, An Education—with that such broken souls also once emigrated for a smart heroines trying to sort out their lives. Irish better life. “These are the men who built the tundirector John Crowley (Boy A, Intermission) is nels” for the subways, he explains. ( Jessica Paré no less respectful of Eilis and the minor playalso has a tart turn as Eilis’ sophisticated boss.) ers about her. This is a film that treats everyone In the end, of course, Ronan completely fairly—which oughtn’t be surprising but someowns this movie. It’s her first adult role, and how is. And while there are traces of melodrama, it’s a statement role. She’s Irish, but the casting there’s a notable absence of blarney. is perfect—and not typecasting in some fairy tale—because we can see the parallel growth in confidence between the actress and her part.

I will admit, however, that the love triangle Both are women coming into their own, masteris less interesting than Brooklyn’s not-quiteing the new demands of age and vocation. And enchanted texture. The period colors, hairstyles, both succeed triumphantly. E and dresses are impeccable. We feel with Eilis the enormity of a transatlantic phone call, made bmiller@seattleweekly.com

Copeland in rehearsal.

But the linchpin of all this is her identity as a dancer, and this is where Copeland seems the most vulnerable. Surgery to repair a severe stress fracture—a rod in her right shin—could easily have stopped her career. Director Nelson George follows every step of the rehab and recovery process, making us nearly as grateful as she when able to perform again.

Dance isn’t exempt from the national conversation about racism and white privilege. All our big cultural institutions have been trying to become more inclusive. And ballet, with its roots in European monarchy, its pale iconography, has been late to the task. If Copeland’s deserved promotion last summer to ABT principal status came late (she’s now 33), her offstage brand may prove more lastingly influential than her dance career. (Varsity. Not rated, 85 min.) SANDRA KURTZ

SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

nlike the situation in Syria today, this refugee isn’t driven from her homeland by war or religious conflict. She’s a legal immigrant, actually, the papers supplied by her parish priest.

Economic opportunity is a factor, but it’s not as if she’s fleeing famine—as did her countrymen a century before. And our heroine will hardly stand out in early-’50s Brooklyn: she’s white, Catholic, intelligent, cute. Who could object to such an eager, winsome newcomer? She encounters hardly any resistance along her way, which gives Brooklyn a lovely, old-fashioned storybook quality. It’s burnished by what you might call sentimental realism—without the beatings, alcoholism, pedophile priests, and clannish cruelty we associate with the genre.

Oh, and did I mention it’s all about Irish migration? Though usually a bleak subject, full of hardship and fractured families, Colm Tóibín’s 2009 source novel is about overcoming, of finding one’s identity; and though many tears are shed along the way (almost an emblem of strength, really), notions of trauma and healing are beside the point. Brooklyn is also a love story in which a young woman will gradually gain the wisdom to choose between two guys (and the countries they symbolize)—one reason Tóibín’s book was so popular.

Our heroine is Eilis Lacey (Saoirse Ronan, swiftly maturing from Atonement to The Grand Budapest Hotel ), sent to America by an older sister (Fiona Glascott) determined that she escape the narrow confines of Enniscorthy, their home village (and also Tóibín’s). Masses are still in Latin, and though the year is 1951, the stifling social codes seem almost medieval. Eilis (pronounced “A-lish”) works in a shop, which will surely doom her to low status and poor marital prospects. (Her sister’s an

Cohen and Ronan as Coney Island sweethearts.

OSKAR LAND/SUNDANCE SELECTS

Saoirse Ronan stars in a charming yet authentic immigrant tale.

KERRY BROWN/TWENTIETH CENTURY FOX

Fresh off the Boat

A young girl from a large California family with a single mother and few resources starts ballet training at the (late) age of 13. A lucky break takes her to New York City for further studies at one of the most famous companies in the world. Later her career is almost cut short by a serious injury, but after grueling rehab she returns triumphantly to the stage, and is finally made a principal dancer.

Misty Copeland’s story would be compelling enough to merit a film even if she weren’t a black woman in an overwhelmingly white field. But this documentary, produced by Copeland herself, puts race in the middle of almost every frame.

We follow Copeland’s development from the very start; even in grainy black-and-white home videos, you can see her natural affinity for ballet.

Though she says “Being black is a huge part of who I am,” it doesn’t seem to hinder her ambitions until arriving at American Ballet Theater, where she hits a wall. This is where her story becomes unique. Instead of being mentored by a senior dancer, she’s matched with ABT board member Susan Fales-Hill (also African-American). The latter helps Copeland network with highly successful black women in the arts, media, and business—making her more than a (potential) star dancer, but also an emblem of diversity. (Fales-Hill tartly compares the dance world to “the Alabama Country Club of 1952.”)

Curiously, many of Copeland’s advisers are from outside that dance world. (When told Copeland’s been cast in the iconic Firebird, her agent isn’t sure what that means.) At the same time, however, Copeland has become an inspirational brand beyond the dance world, with commercial endorsements (Under Armour, Dr. Pepper), children’s book, and memoir. Her celebrity extends far beyond the theater, and it’s hard to fault her aim to attract more young dancers of color to the barre.

» CONTINUED ON PAGE 26 25

old for these millennial pratfalls and hijinks.

Mindy Kaling and a certain pop star also drop by, also to good effect, as does Mrs. Seth Rogen, who sends the very stoned Isaac into a tizzy with some unwanted sexting. If you sit through The Night Before without enjoying a few dumb laughs, your heart is frozen. But compared to the likes of Scrooged, or Elf, or even the sacred Die Hard, such seasonal stoner sentimentality will be thawed, soggy, and stale by Thanksgiving. (Pacific Place, Sundance, Lincoln Square, Oak Tree, others.

Rated R, 101 min.) BRIAN MILLER

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Entertainment No Joking Around

Isn’t it time for Andy Kaufman to stop pretending he died in 1984, and return to his place in the comedy world? One of Kaufman’s prime pieces of conceptual theater—embodying a belligerent anti-comedian named Tony Clifton—has been honed by somebody else in his absence. Gregg Turkington has carved out his own queasy niche in comedy with his horrible alter ego, Neil Hamburger. Armed with stale material, an octopuslike combover, and a habit of clearing the phlegm from his throat in the middle of his punch lines, Hamburger is an offensive creep whose style of joke-telling was outdated in 1968. Turkington has rolled out this character on records and online—sometimes in front of live audiences who are clearly not getting the anti-joke.

Now this persona takes center stage in Entertainment, although the movie does not name Turkington’s stand-up comic. In the film, this deliberately unfunny shtick is the onstage act of a morose sad sack playing a dismal tour of cheap bars in the Mojave Desert. Offstage, his combover is gone and his voice is back to normal.

He doesn’t actually talk much in the real world, except in desperate phone calls to an apparently estranged daughter. As the tour grinds on, the comic becomes increasingly incoherent during his show, a breakdown that happens in front of bewildered but mostly indifferent barflies.

Tye Sheridan (The Tree of Life) plays a young clown sharing the bill with the comic, and a few cameos brighten the way: John C. Reilly as the comic’s successful cousin, a man who looks across the brown nothingness of the desert hills and boasts about how much land he owns; Michael Cera as a stranger who confronts the comic in a men’s room; Amy Seimetz, briefly, as the target of the comic’s onstage rant. The film’s somber mood is consistent with that of director Rick Alverson’s The Comedy (2012), which also reveled in toxic behavior and the idea of how repellent some humor can be. Death of a Salesman, with which Entertainment shares some affinities, is a laff riot by comparison.

The film is darker than Turkington’s onstage serving of Hamburger; it’s so uncompromising it

barely makes a nod in the direction of entertainment. In some ways Alverson and Turkington have achieved some kind of perfect pitch with this character. But that means there’s really nowhere else to go from here. (Northwest Film Forum. Rated R, 110 min.) ROBERT HORTON

The Night Before All I Weed for Christmas

Lazy, sentimental, and fundamentally goodnatured, this Christmas bro-com fits like a holidaypatterned Cosby sweater bought from the January discount bins. It’s not a good movie, but what do we really expect from a Seth Rogen vehicle at this time of year? Well, in order of importance, I’d posit 1) male bonding, 2) drug and dick jokes, 3) some sort of wacky quest, and 4) the inevitable dull business of growing up and treating women as equals. The Night Before supplies all these, ribbon neatly tied, without any of the unruly but truthful eruptions of Superbad or The 40-Year-Old Virgin.

A quick prologue, delivered by Tracy Morgan in the rhymed couplets of the famous Yuletide poem by Clement Clarke Moore, establishes that morose musician Ethan ( Joseph Gordon-Levitt) was orphaned back in ’01, then befriended by Isaac (Rogen) and Chris (Anthony Mackie), now a married lawyer and PED-juiced football star, respectively. Their annual Christmas Eve project to cheer up poor Ethan—via karaoke, copious drinking, and Cosby sweaters—has hardened into an unwelcome December obligation. This year, the latter two resolve, will be their last.

Ethan, still heartbroken over losing Diana (Lizzy Caplan, from Masters of Sex), needs to sink or swim as a 33-year-old adult.

I trust that Rogen, director Jonathan Levine (50/50, Warm Bodies), and their gaggle of writers sent David Sedaris a check for making poor Ethan a holiday elf-for-hire. Their premise here, and it isn’t a bad one, is to riff on as many Christmas perennials as possible—from jukebox standards to Charles Dickens to It’s a Wonderful Life and Die Hard. In the latter instance, Broad City’s Ilana Glazer makes a real impression as a malicious sneak thief who models herself on Hans Gruber.

And Michael Shannon shows up as a nicely dry, omniscient drug dealer (nothing at all like Frank Capra’s Bedford Falls benefactor). These tangents are funnier than our central trio, all of them too

As we know from last year’s Sony hacks, Hollywood isn’t a particularly brave or noble place.

Most people—from studio bosses to struggling actors—are just concerned with the next job.

Sean Penn or George Clooney can afford to engage politically, while B-listers busily promote their careers on Twitter and Instagram. No wonder that director Jay Roach (Austin Powers, Meet the Fockers) might yearn for bygone times in Tinsel Town; hence his wooden, ennobling tribute to the most famous screenwriter among the Hollywood Ten, who were blacklisted by the studios during the great red scare of the Cold War era.

This is a distant chapter in American history, let alone Hollywood annals. To educate today’s popcorn-chewers, Roach has to cover a lot of PBS-y ground, interpolating new footage with old newsreels of the House Un-American Activities Committee. Here are glimpses of Nixon, Reagan, and McCarthy—figures almost as dusty as Dalton Trumbo (1905–1976), whom his studio boss brands a “swimming-pool Soviet.”

Played by Bryan Cranston, Trumbo’s a proud, well-paid professional in 1947, raising children and horses on an idyllic farm far removed from the sordid politics of Hollywood or D.C. We know that can’t last. He stubbornly hews to principle—declaimed in tedious speeches, not recognizable prose—and refuses to answer HUAC’s questions, resulting in jail time and disgrace.

The rest of Trumbo is a more familiar comeback story, and it’s even less interesting than the first half. Cranston’s had better results playing flawed heroes (Walter White, LBJ, etc.), and the good parts here go to Helen Mirren—as antiCommie gossip columnist Hedda Hopper—and Michael Stuhlbarg, as Trumbo’s weakly compliant pal Edward G. Robinson. ( John Wayne, Kirk Douglas, and Otto Preminger also show up, though more stereotypically rendered.) At every turn, Roach and his movie are gripped by a nostalgia for Old Hollywood and principled artists.

This is the kind of handwringing drama where Trumbo’s loyal wife (Diane Lane) asks, “Where have all the liberals gone?” Where indeed.

Trumbo is more successful in depicting his cottage-industry hustle during the ’50s, when he used fake names to write two Oscar winners: the Peck/Hepburn trifle Roman Holiday and the forgettable bullfighting melodrama The Brave One. Gaming the Hollywood system is a lot more fun than standing up to the political system. Here Trumbo is abetted by John Goodman’s cheerfully uncouth indie producer, who reasons, “We bought a gorilla suit, and we gotta use it.”

Though there’s much to admire in the dull, dutiful Trumbo, there’s little to entertain. Ironically, this is exactly the kind of movie its hero was paid to punch up during the blacklist: It needs more gorilla suit. (Guild 45th, Pacific Place, others.

Rated R, 124 min.) BRIAN MILLER E

film@seattleweekly.com

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Wednesday Peter Guralnick

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NOVEMBER 19

Thursday

Findlay//Sandsmark

We’re definitely living in an intensely first-person world now—with blogs, memoirs, and selfies, we’re one of the best-documented cultures ever to exist. But as we examine us examining ourselves, the married, Norway-based performance duo Findlay and Sandsmark suggest we’re creating “a

Yo La Tengo is also marking the 25th anniversary of Fakebook.

nostalgia for the present.” With an introductory video from acclaimed playwright Young Jean Lee (Straight White Men) and text from poet Claudia La Rocco, biograph, last year was pretty//shitty leads us in a process of manipulating our experiences as they are happening, sentimentalizing the past as it is erased. (Notions of recording and memory are an explicit nod to Beckett’s Krapp’s Last Tape.) Onstage, they’re joined by Joey Truman, with the live score provided by Pål Asle Pettersen. (Through Sun.) On the Boards, 100 W.

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NOVEMBER 20

Friday

Moana With Sound

After the success of his landmark 1922 ethnodoc Nanook of the North, Paramount hired director Robert Flaherty for a sequel, this time to be set in the Pacific. For over a year, Flaherty and family lived with the Samoan people, filming their daily lives in a “docufiction” format like Nanook’s. The 1926 Moana didn’t make such a splash, and was considered a lesser footnote in Flaherty’s career. Yet this gorgeous new restoration should change all that. Flaherty’s daughter Monica returned to Savai’i in 1975, recorded native songs and ambient natural sounds, and synced them up with her father’s silent film.

Moana With Sound got some notice in 1980, but this is the definitive version. It’s a beautiful, enriching look at the people of Savai’i, digitally restored from the original 35mm print. The music, along with the gorgeous imagery, transport you to a place far from our tech-centric modern world. It’s as exotic as it is human, as magical as it is realistic. Flaherty’s original silent is truly brought to life, as the island and its people receive a voice, a song. The villagers chanting, birds singing, and waves crashing on

the shore are as serene and precisely meshed as could be. This is the film that Flaherty intended to make. (Through Thurs.) Grand Illusion, 1403

N.E. 50th St., 523-3935. $5–$9. See grandillusioncinema.org for showtimes. SCOTT JOHNSON

Yo La Tengo

Hoboken is in mourning. The iconic indie-rock club Maxwell’s, where I once spent many pregentrification nights, closed in 2013. Among its final performers was Yo La Tengo, which had made an annual tradition out of its Hanukkah concerts on the same stage where it first performed in 1984.

And last year founding members Georgia Hubley and Ira Kaplan moved to Manhattan. Sigh. Times change, and the band’s new Stuff Like That There (Matador) reflects such change. This acoustic show—with longtime bassist James McNew and guitarist Dave Schramm recently returned to the fold—revisits 1990’s Fakebook format for a mix of covers and originals. Necessarily, it looks back more than forward. There’s a bouncy plywood-stage feeling to “My Heart’s Not in It” (a ’60s R&B hit) and “I’m So Lonesome I Could Cry,” both of which put Hubley’s dry, unvarnished voice to the fore. The affectionate magpie aesthetic includes reworkings of YLT’s back catalog (notably “The Ballad of Red Buckets”) and jukebox oldies like “Butchie’s Tune,” from The Lovin’ Spoonful. Kaplan curates a playlist like no other; his ears are both expansive and inclusive. With wife Hubley again on vocals, “Friday I’m in Love” manages to sound both mopey and optimistic—though stripped of the original synth-sheen of The Cure, those British Goth-rockers topping the charts when YLT first shuffled out of Hoboken. But if anyone could draw a respectful musical connection from Robert Smith to Hank Williams, it’s Yo La Tengo. Their new album sounds less like an archive than like a Brigadoon roadhouse outside of time, the ghosts onstage with the living.

The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. $25–$27. 8 p.m. BRIAN MILLER

To a degree I wish were different in the 70 years since Guggenheim became famous as a gallerist, patron, and collector, the art world is still too much a man’s game. Born rich, niece of Solomon R. Guggenheim (whose spiraling museum she jokingly called “my uncle’s garage”), she befriended everyone important in 1920s Paris, from Picasso on down. (Ezra Pound was a tennis partner!) As Hitler encircled Paris, she spent $40,000 on a war-sale buying binge to anchor a collection worth billions today. A bridge between the Surrealists and the Abstract Expressionists who made Jackson Pollock from her ’40s perch atop the New York art world, Guggenheim (1898–1979) scandalized everyone by naming her lovers—many, with many name artists among them—and was too readily caricatured during her lifetime. Drawing on more recent scholarship and biographies, director Lisa Immordino Vreeland rescues her subject from the dilettante/slut/naïve-heiress labels. (The 2000 movie Pollock treated her less kindly.)

With a wealth of sources—critics, curators, authors, artists, and Robert De Niro among them— this doc frankly celebrates Guggenheim’s rich, full life. It’s an accessible, entertaining primer on 20th-century art, unburdened by critical theory. If, as one friend says affectionately, Guggenheim wasn’t blessed with beauty or artistic talent, she was “a pollinator.” And she had gumption. Though her own family life was mostly tragic, she achieved greatness in her collection and boudoir. (Samuel Beckett was among the many notches on her bedpost.) A trove of recently discovered ’70s audio tapes allows Guggenheim to narrate much of her own life, and she apologizes for nothing. Nor should she: Her Venice museum is world-renowned, as she always sought to be. (Through Thurs.) Sundance Cinemas, 4500 Ninth Ave. N.E., 633-0059. See sundancecinemas .com for prices and showtimes. BRIAN MILLER

NOVEMBER 21

Saturday Low

Now well-established on Sub Pop, this Duluth, Minn., trio has left behind the unfair old “slowcore” moniker. Ones and Sixes features plenty of instrumentation beyond guitar, drums, and bass; and the tempos are occasionally even perky. The exquisite vocal harmonies, however, are what remain the band’s consistent foundation. Chiming consonances echo from church bells and hymnals; and the often ambiguous lyrical appeal to “you” can refer simultaneously to a lover or the divine. There’s always a marital interplay in the vocals of Alan Sparhawk and Mimi Parker (with Steve Garrington the new, steadying bassist).

“What Part of Me” chugs forward on a supplicant quest—knowledge and ownership being proffered to a spouse or god. The album’s 10-minute opus, “Landslide,” shudders and groans from dissonance to resolution. Whether that initial dispute is spiritual or personal, it ends with major-key submission. My favorite song here has to be “Lies,” in which Sparhawk wails, “You had had a pistol underneath your coat.” He could be a P.I., a frustrated husband, or a lost pilgrim as he asks, “Why don’t you tell me what you really want?”

All he wants is answers, but Parker’s ringing voice rebuts him—no guidance here, not in this realm, where “it’s the blind leading the blind.” (Andy Shauf opens.) The Crocodile, 2200 Second Ave.,

441-4618, thecrocodile.com. $20 and up. All ages. 8 p.m. BRIAN MILLER E

SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

Elvis, Johnny Cash, Jerry Lee Lewis, Carl Perkins, Roy Orbison—we remember their names more than that of the man who made them possible. In his new biography Sam Phillips: The Man Who Invented Rock ’n’ Roll (Little, Brown, $32), Guralnick explores both the music business and the music during a critical era. White and black radio—like social spaces, drinking fountains, etc.—were strictly segregated in the ’50s, when Phillips famously began casting about for “a white man who had the Negro sound and the Negro feel.” That man, of course, was Elvis Presley, who put Sun Records on the map. Phillips (1923– 2003) was more the man in the shadows, profitably recording artists both black and white. And it was his prior experience with the likes of Howlin’ Wolf and Ike Turner that prepared his ears—and future artists—for crossover success. Veteran music writer Guralnick (Last Train to Memphis, Careless Love) is a biographer of Sam Cooke, and he knows this subject backward and forward. If the second half of Phillips’ life wasn’t so successful (he sold Sun in 1968), Guralnick shows how integral he was to the evolution of pop music.

Peggy Guggenheim: Art Addict

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MARK KITAOKA

calendar

How do you solve a problem like Maria (Kirsten deLohr Helland)?

The Sound of Music opens Tuesday at the 5th Avenue.

THEATER Openings & Events ANON(YMOUS) Naomi Iizuka’s

transposed the Odyssey to a refugee’s travels in America. Raisbeck Performance Hall, 2015 Boren Ave., cornish.edu. $5–$12. 8 p.m. Wed., Nov. 18–Fri., Nov. 20; 2 & 8 p.m. Sat., Nov. 21; 7 p.m. Sun., Nov. 22.

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“As indescribable as it is bizarre, the show combines clowning, improv, movement, and taxidermy.” Annex Theatre, 1100 E. Pike St., annex theatre.org. $20–$30. Opens Nov. 20.

8 p.m. Fri.–Sat. Ends Nov. 28.

COME FROM AWAY A new musical based on the true story of 38 planes diverted to Newfoundland by the 9/11 attacks. Somehow an international community forms at the tiny Canadian airport owing to the unexpected detour. Created by Irene Sankoff and David Hein; Christopher Ashley directs. Seattle Repertory Theatre, Seattle Center. $17 and up.

Opens Nov. 18. Runs Tues.–Sun.; see seattlerep.org for exact schedule.

Ends Dec. 13.

FAMILY AFFAIR Jennifer Jasper’s cabaret on the theme of family.

JewelBox Theater, Rendezvous, 2322 Second Ave., jenniferjasperperforms. com. $10. 7:30 p.m. Wed., Nov. 18.

FINNEGANS WAKE Chapter one, performed from memory (you read that right) by Neal Kosaly-Meyer, with a second to follow Dec. 12. Gallery 1412, 1412 18th Ave. $5–$15. 8 p.m.

Sat., Nov. 21.

JEFF FOXWORTHY & LARRY THE CABLE GUY Performing separately

and together on their “We’ve Been Thinking” Tour. The Paramount, 911 Pine St., stgpresents.org. $38.15– $199. ($199!!! Who do they think their audience is?) 5 & 8 p.m. Sat., Nov. 21.

THE GREEN SHOW Pot-themed improv from CSz Seattle. Atlas Theater, 3509 Fremont Ave. N., seattlecomedy group.com. $12. 8 p.m. Thurs., Nov. 19.

THE LITTLE TRILOGY Three short pieces by Chekhov, part of ACT’s “Great Soul of Russia” series. ACT

SLEEP THE NIGHT THROUGH: MORE AMERICAN FAIRY TALES

Songs and fables from storyteller Bret Fetzer. West of Lenin, 203 N. 36th St., $8–$12. 8 p.m. Fri., Nov. 20.

THE SOUND OF MUSIC Maria and the von Trapps return in the Rodgers and Hammerstein classic, starring four local favorites: Kirsten deLohr Helland, Hans Altwies, David Pichette, and Jessica Skerritt. 5th Avenue Theatre, 1308 Fifth Ave. $29 and up. Previews begin Nov. 24, opens Dec. 3. Runs practically every day; see 5thavenue. org for exact schedule. Ends Jan. 3.

THIS CHRISTMAS The holiday threatens to careen out of control (but probably won’t) in Anne Kennedy Brady’s play. Taproot Theatre, 204 N. 85th St. $20–$40. Previews Nov. 20–21, opens Nov. 27. Runs generally Tues.– Sat.; see taproottheatre.org for exact schedule. Ends Dec. 26.

THE TWILIGHT ZONE: LIVE

Theater Schmeater stages three more tales from the iconic TV series.

Theater Schmeater, 2125 Third Ave., schmeater.org. $22–$29. Preview Nov. 19, opens Nov. 20. 8 p.m. Thurs.–Sat. Ends Dec. 19.

Current Runs

AS YOU LIKE IT Shakespeare’s

cross-dressing comedy, with live music. Ballard Underground, 2220 N.W. Market St., ghostlighttheatricals.org. $12–$15. 7:30 p.m. Thurs.–Sat. plus 2 p.m. Sun., Nov. 15. Ends Nov. 21.

THE BALLAD OF KARLA FOX Scot Augustson’s latest shadow-puppet show is a Hitchcock-inspired thriller.

Theatre Off Jackson, 409 Seventh Ave. S., printersdevil.org. $15–$18. 8 p.m.

Thurs.–Sat. Ends Nov. 21.

BLACK FLAG Jet City’s “interactive pirate comedy” asks for your help with the details. 5510 University Way N.E., jetcityimprov.org. $12–$18. 8 p.m.

Thurs.–Fri. Ends Nov. 20.

BLOWN YOUTH Dipika Guha’s female-centered rethinking of Hamlet.

Cornish Playhouse at Seattle Center, cornish.edu. $5–$12. 8 p.m. Thurs.–Sat. Ends Nov. 21.

■ BUYER AND CELLAR You’re probably unaware that Barbra Streisand’s Malibu basement resembles a picturesque shopping mall. Playwright Jonathan Tolins’ very funny one-man show, performed by Scott Drummond, spins this tantalizing tidbit into a retail fantasia. ALYSSA DYKSTERHOUSE Seattle Repertory Theatre, Seattle Center. $34 and up.

7:30 p.m. Wed.–Sun. plus some weekend & Wed. matinees; see seattlerep. org for exact schedule. Ends Nov. 22.

CAMPFIRE Unexpected Productions improvises ghost stories. Market Theater, 1428 Post Alley, unexpected productions.org. $10. 8:30 p.m. Thurs.

Ends Nov. 19.

CHITTY CHITTY BANG BANG

Caractacus Potts and his flying car are back. Seattle Children’s Theatre, Seattle Center, sct.org. $25 and up. 7 p.m. Thurs.–Fri., 2 & 5:30 p.m. Sat., 11 a.m. & 2:30 p.m. Sun. Ends Dec. 27.

ELEPHANT & PIGGIE’S “WE ARE IN A PLAY!” This new musical

adaptation of Mo Willems’ book series opens SCT’s season. Seattle Children’s Theatre, Seattle Center, 441-3322, sct. org. $22–$40. 7 p.m. Thurs.–Fri., 2 & 5:30 p.m. Sat., 11 a.m. & 2:30 p.m. Sun. Ends Dec. 6.

FESTEN In this 2004 adaptation of

the 1998 Danish film The Celebration, a wealthy family gathers to celebrate the 60th birthday of patriarch Helge (Bradford Farwell). We soon discover dinner comes with a not-so-subtle vat of simmering dysfunction. Among his three grown children, Christian (Conner Toms) bears the biggest burden. Dark secrets will be dragged into the light, resulting in some sort of catharsis. Yet in such a familiar plot, one requiring our emotional connection to work, English playwright David Eldridge and director Wilson Milam aren’t aiming for likable, empathetic characters. Most of them are brooding, belligerent buffoons. So while well executed, New Century Theatre Company’s production left me confused and indifferent.

■ MOTHER COURAGE AND HER

CHILDREN Brecht’s dark satire on war profiteering. Center Theatre at Seattle Center. $27–$50. 7:30 p.m.

Wed.–Sat. plus some matinees; see seattleshakespeare.org for exact schedule. Ends Nov. 22.

■ MY FAIR LADY The 1956 Lerner and Loewe hit musical is directed by our homegrown Tony- and Pulitzerwinning Brian Yorkey, who must love the thing. Village Theatre, 303 Front St. N., Issaquah. $38–$70. Runs Wed.– Sun., plus Tues. starting Nov. 24; see villagetheatre.org for exact schedule.

Ends Jan. 3. (Runs in Everett Jan. 8–31.)

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. 7:30 p.m.

Wed.–Sat., 3 p.m. Sun. Ends Nov. 22.

NEW CITY SALON New City Theater’s evening of music and staged poetry. New City Theater, 1406 18th Ave. $15. 8 p.m. Fri.–Sat. Ends Nov. 21.

■ 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, who keeps the Diamond afloat while he drowns in his narcissism. Enter femme fatale Charlotte (Billie Wildrick), the bombshell Saul has hired to croon.

(Ray Tagavilla’s bartender Saul provides the narration.) Written by Terry Podgorski, with songs by Annastasia Workman, Sauced is a dinner/cabaret show where the music carries 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.

SEATTLE INTERNATIONAL COMEDY COMPETITION A show-

case for stand-ups from around the world. See seattlecomedycompetition.org for complete schedule and venues, from Vancouver, Wash., to Bellingham. Ends Nov. 29.

SHOGGOTHS ON THE VELDT

The Rogues Gallery (“a Geek Theater Company”) presents this Lovecraftian spoof. The Lab at INScape, 815 Seattle Blvd. S., theroguesgallery.tv. $15–$20.

8 p.m. Fri.–Sun. plus Mon., Nov. 30.

Ends Dec. 5.

TEATRO ZINZANNI: LIGHTER THAN AIR The band Recess Monkey

headlines their family show. Teatro ZinZanni, 222 Mercer St., 802-0015. $20–$25. Runs 11 a.m. some Sat. & Sun.; see zinzanni.com/seattle for exact schedule. Ends Dec. 27.

■ TEATRO ZINZANNI: HOLLYWOOD NIGHTS The company channels silver-screen glamour as Ron Campbell plays movie director Cecil

EAR SUPPLY Doctor of Music

PHOTO SOLOMON WEISBARD, DESIGN CORRIE BEFORT

SEATTLE WEEKLY • NOVEM BER 18 — 24, 2015

AS A BEAVER AND AN ARTIST

Theatre, 700 Union St., acttheatre.org. $10–$15. 7 p.m. Wed., Nov. 18.

LOST IN SPACE BenDeLaCreme hosts The Atomic Bombshells’ sci-fi burlesque extravaganza. The Triple Door, 216 Union St., tripledoor.net. $27–$45. 7 & 10 p.m. Thurs., Nov. 19– Sat., Nov. 21.

LUTEFISK A reading of Lyn Coffin’s short play about the Norwegian holiday tradition, plus poetry and short stories. Seattle Central Library, spl.org.

Free. 7 p.m. Wed., Nov. 18.

MCQUEEN A music/comedy/video/ impersonation show sending up pop culture. Eclectic Theater, 1214 10th Ave., eclectictheatercompany.org. $12.

8 p.m. Sun., Nov. 22–Mon., Nov. 23.

PUSHING PASTIES! A burlesque tribute to Bryan Fuller, writer of Hannibal, Pushing Daisies, and any number of Star Trek scripts. JewelBox Theatre at the Rendezvous, 2322 Second Ave., scarlettohairdye.com. $15–$25. 8 p.m. Sat., Nov. 21.

I think it’ll frustrate theatergoers like me who believe traumas can be healed through some sort of process. That very American notion may explain why Eldridge’s adaptation has been better received in Europe than here.

Festen ends with a short morning-after scene suggesting that while nothing is mended, all parties have simply resolved to move on as if nothing happened. ALYSSA DYKSTERHOUSE 12th Avenue Arts, 1620 12th Ave., wearenctc.org. $15–$30. 7:30 p.m.

Thurs.–Sun. Ends Nov. 21.

FIREFACE Splinter Group performs Marius von Mayenburg’s dysfunctional-family drama in a private home; you’ll find out where when you buy your ticket. brownpapertickets.com. $5–$25. 8 p.m. Fri.–Sat., 7 p.m. Sun. Ends Nov. 22.

FRINGE EXPLOSION Topics in the Pocket Theater’s minifestival include gay domestic violence and a Chekhov sendup set among actual seagulls.

Pocket Theater, 8312 Greenwood Ave. N. $10. Runs Fri.–Sun.; see thepocket. org for full lineup. Ends Nov. 29.

HOTEL Cirrus Circus’ new show is set in an abandoned hotel. School of Acrobatics & New Circus Arts (SANCA), 674 S. Orcas St., sanca seattle.org. $10–$20. 7 p.m. Fri., 3 & 7 p.m. Sat. Ends Nov. 21.

IN SUSPENSE A high-school computer attack leads to drama in Leonard Goodisman’s new play. Eclectic Theater, 1214 10th Ave. $12–$25. 8 p.m.

Thurs.–Sat. plus some weekend matinees; see eclectictheatercompany.org for exact schedule. Ends Nov. 28.

LITTLE RED As in Riding Hood. She and the wolf learn cooperation from her grandmother. Runs Sat. & Sun. in various venues; see storybooktheater. org for schedule. Ends Nov. 22. $11.

BY GAVIN BORCHERT

“Withing” is a term coined by Seattle physician Hope Wechkin that means, in the most basic sense, being with someone, existing in their physical presence. It connotes, however, support and connection on a deeper level: “with” as an action verb rather than a passive state.

That recent neuroscience—research into the synching-up of brain functions between two people—backs this up inspired her multimedia theater piece, The Withing Project, debuting this weekend. Wechkin—composer, violinist, soprano, and head of the hospice and palliative-care program at EvergreenHealth in Kirkland—is uniquely qualified to explore the overlap between art and science. “The longer I practice medicine and make music, the more I find that our experience of connecting with one another is greater than either art or science can express by itself,” she says, and her work, a sort of hybrid dance oratorio/TED talk, includes

actual MRI video. The cast includes three each of actors, singers, and dancers, a chorus of 20, and an instrumental quartet; Wechkin’s collaborators include choreographer Beth Graczyk, director Cathy Madden, conductor Philip Tschopp, and neuroscientist Leanna Standish. Jones Playhouse, 4045 University Way N.E., thewithingproject.com. $15–$20. 8 p.m. Thurs., Nov. 19–Fri., Nov. 20; 2 & 8 p.m. Sat., Nov. 21; 2 p.m. Sun., Nov. 22.

B. DeGrille, who invades the theater with his crew and inspires dreams of stardom among the performers. In a TZ show, everyone multitasks, and here not only are the cirque stunts as dazzlingly skillful as usual, but the character work overall is a cut above the norm. GAVIN BORCHERT Teatro ZinZanni, 222 Mercer St., 802-0015. $99 and up. Runs Thurs.–Sun. plus some Wed.; see zinzanni.com/seattle for exact schedule. Ends Jan. 31.

TWILIGHT REALM Unexpected Productions’ improv parody of The Twilight Zone. Market Theater, 1428 Post Alley, unexpectedproductions.org. $10. 8:30 p.m. Sun. Ends Nov. 22.

WATER BY THE SPOONFUL Quiara Alegría Hudes’ Pulitzer-winner comes to Seattle via Theatre22. West of Lenin, 203 N. 36th St., theatre22.org. $18–$25. 8 p.m. Thurs.–Sat., 2 p.m.

Sun. Ends Nov. 14.

WORST TRIP EVER IN ALL CAPS!!! Jet City improvs on hilariously

negative online travel reviews. 5510 University Way N.E., jetcityimprov.org. $12–$18. 10:30 p.m. Sat. Ends Nov. 21.

DANCE ■ FINDLAY//SANDSMARK SEE THE PICK LIST, PAGE 27.

CORNISH DANCE THEATER Come

see what the students have to offer, in works by Sidra Bell, Dayna Hanson, and others. Cornish Playhouse, Seattle Center, cornish.edu. $5–$12. 8 p.m. Fri., Nov. 20, 2 & 8 p.m. Sat., Nov. 21.

CASA PATAS Flamenco music and dance. Benaroya Recital Hall, Third Ave. & Union St., casapatas.com. $25–$35. 8 p.m. Fri., Nov. 20; 2 & 8 p.m. Sat., Nov. 21.

SLEEPNOD New work by Kim Lusk and Dylan Ward. Velocity Founders Theater, 1621 12th Ave., sleepnod.org. $10–$20. 8 p.m. Fri., Nov. 20, 8 & 10 p.m.

Sat., Nov. 21.

■ MARK MORRIS DANCE GROUP

CLASSICAL, ETC. ■ SEATTLE COLLABORATIVE ORCHESTRA New works by Leanna

Primiani and Angelique Poteat, Strauss’ Four Last Songs; and more. University Christian Church, 4731 15th Ave. N.E., seattlecollaborativeorchestra.org. $10–$20. 7 p.m. Wed., Nov. 18.

■ 17 X 3 Violist Heather Bentley invited 17 friends to each write threeminute pieces to play on her 51st birthday, which she will do with many of those composers also performing.

Chapel Performance Space, 4649 Sunnyside Ave. N. $5–$15. 8 p.m.

Wed., Nov. 18.

UW JAZZ INNOVATIONS

Standards and originals for jazz ensembles. Brechemin Auditorium, School of Music, UW campus, music. washington.edu. Free. 7:30 p.m. Wed., Nov. 18–Thurs., Nov. 19.

■ SEATTLE SYMPHONY Mahler

MOZART FOR CANCER RESEARCH Chamber music to ben-

efit the Cancer Research Institute.

Town Hall, 1119 Eighth Ave., townhallseattle.org. $10. 1:30 p.m. Sat., Nov. 21.

PUGET SOUND SYMPHONY

Brahms, Gershwin, and Mike Hsu’s Synchronicity. Town Hall, 1119 Eighth Ave., psso.org. $5–$11. 7:30 p.m. Sat., Nov. 21.

HILARY FIELD Works for classical guitar from her new CD Premieres— so contemporary music, we assume.

Queen Anne Christian Church, 1316 Third Ave. W. $10–$15. 7:30 p.m. Sat., Nov. 21.

■ MUSIC WORKS NORTHWEST

String quartets by Barber, Dvorak, and Seattle composer Kam Morrill.

Resonance at SOMA Towers, 288 106th Ave. N.E., Bellevue, resonance. events. Free. 7 p.m. Sat., Nov. 21.

SEATTLE PEACE CHORUS Music from Africa, with a marimba band and other percussion. University Congregational Church, 4515 16th Ave. N.E., seattlepeacechorus.org. $18–$25. 7:30 p.m. Sat., Nov. 21, 7 p.m.

Sun., Nov. 22.

■ PHILHARMONIA NORTHWEST

Haydn, Poulenc, and Shostakovich (his madcap Concerto for Piano and Trumpet). St. Stephen’s Episcopal Church, 4805 N.E. 45th St., philharmonianw.org. $15–$20. 2:30 p.m. Sun., Nov. 22.

SEATTLE CHINESE ORCHESTRA

Traditional music and original works.

Benaroya Recital Hall, Third Ave. & Union St., uschinamusic.org. $20–$30.

3 p.m. Sun., Nov. 22.

SEATTLE BACH CHOIR Music for choir and brass, mostly early baroque German. Trinity Episcopal Church, 609 Eighth Ave., seattlebachchoir.org. $15–$18. 3 p.m. Sun., Nov. 22.

HALLER LAKE CHAMBER MUSIC

Chopin, Debussy, Schumann, and more. Haller Lake United Methodist Church, 13055 First Ave. N.E. Free.

3 p.m. Sun., Nov. 22.

AUTHOR EVENTS ■ PETER GURALNICK SEE THE PICK LIST, PAGE 27.

■ ANTHONY DOERR The Pulitzer-

winning author of All the Light We Cannot See. Benaroya Hall, Third Ave. & Union St., lectures.org. $10–$75. 7:30 p.m. Wed., Nov. 18.

NOAM PIANKO In Jewish Peoplehood, this UW professor explores identity. University Book Store, 4326 University Way N.E., bookstore. washington.edu. 7 p.m. Wed., Nov. 18.

NANCY PEARL Seattle’s fave librarian speaks. Broadway Performance Hall, 1625 Broadway. Free, but register at local.aarp.org. 6 p.m. Wed., Nov. 18.

JACKSON GALAXY shows you how to build your cat swank digs in Catify to Satisfy. University Temple United Methodist Church, 1415 N.E. 43rd St., bookstore.washington.edu. $22 (incl. book). 7 p.m. Wed., Nov. 18.

ROSE ALLEY PRESS Readings to celebrate the press’ 20th anniversary.

Room 202, Good Shepherd Center, 4649 Sunnyside Ave. N., rosealleypress.com.

7 p.m. Thurs., Nov. 19 & Fri., Nov. 20.

NOY HOLLAND Her new story collection is Bird. Elliott Bay Book Co., 1521 10th Ave., elliottbaybook.com.

7 p.m. Thurs., Nov. 19.

LAURET SAVOY The Mount Holyoke professor presents her new Trace: Memory, History, Race, and the American XXXL” Motley Crue tribute African American Landscape. Northwest“Large Museum, 2300 S. Massachusetts Ave., naamnw.org. Free. 7 p.m. Thurs., Nov. 19.

JOSHUA L. REID The Sea Is My Country: The Maritime World of the Makahs explores the link between the people and the ocean. University Book Store. 7 p.m. Thurs., Nov. 19.

BEGGARS CAN’T BE CHOOSERS

is the theme for readings by Leslie Jamison, Roger Reeves, and Alexis M. Smith. Hugo House, 1634 11th Ave., hugohouse.org. $10–$25. 7:30 p.m. Fri., Nov. 20.

TOM ALPHIN Everyone a Gehry: Alphin shows you how in The LEGO Architect. Elliott Bay. 7 p.m. Fri., Nov. 20.

MITCH ALBOM The Magic Strings of Frankie Presto is his Zelig-like novel of a fantastic guitarist. University Book Store, Mill Creek. 7 p.m. Fri., Nov. 20.

HANYA YANAGIHARA discusses her novel about four male friends, A Little Life, with David K. Wheeler. University Book Store. 7 p.m. Fri., Nov. 20.

JASON MARK Satellites in the High Country explains where to find wilderness and why we need it. Town Hall. $5. 7:30 p.m. Fri., Nov. 20.

BENJAMIN SCHMITT reads from his new poetry collection, Dinner Table Refuge. Vermillion, 1508 11th Ave., 7 p.m. Fri., Nov. 20; C & P Coffee Company, 5612 California Ave. S.W., 2 p.m. Sat., Nov. 21.

EVA SKOLD WESTERLID’s photographs of the North Cascades are collected in Melt. Parkplace Books, 348 Parkplace Ctr. (Kirkland), parkplacebookskirkland.com. 5 p.m. Sat., Nov. 21.

DON GEORGE The Way of Wanderlust: The Best Travel Writing of Don George offers an overview of the Lonely Planet writer’s career. Elliott Bay. 7 p.m. Sat., Nov. 21.

■ PATTI SMITH The legendary rocker discusses her memoir, M Train.

Town Hall, 7:30 p.m. Sun., Nov. 22.

Sold out.

ALEX KUO His unconventional novel of China past and present is shanghai. shanghai.shanghai. University Book Store, 3 p.m. Sun., Nov. 22.

MADELINE PUCKETTE It’ll be a somm-enchanted evening as she shares her Wine Folly: The Essential Guide to Wine. Elliott Bay. 7 p.m. Mon., Nov. 23.

DAVID EAGLEMAN The neuroscientist behind the PBS series The Brain.

Town Hall. $5. 7:30 p.m Tues., Nov. 24.

El Corazon E orazon www.elcorazonseattle.com

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

WEDNESDAY NOVEMBER 18TH EL CORAZON

SATURDAY NOVEMBER 21ST FUNHOUSE

TWIN RIVER

MIKE THRASHER PRESENTS:

THE ACACIA STRAIN

The Late Night Swing, The Chuky Charles Band, Dylan Yuste, Bobby’s Oar (solo)

Counterparts, Fit For An Autopsy, Kublai Khan

Doors 6:00PM / Show 7:00.

ALL AGES/BAR W/ID. $16 ADV / $18 DOS

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

SUNDAY WEDNESDAY NOVEMBER JULY 22ND 22ND ELFUNHOUSE CORAZON

THURSDAY NOVEMBER 19TH EL CORAZON

BRIAN FOSS PRESENTS:

NORTHLANE

THRASHERS w/Burlington Coat LOS KUNGCORNER FU MONKEYS

Doors 7:00PM / Show 7:30. ALL AGES/BAR W/ID. $15 ADV / $18 DOS

Doors / Show Show 7:30PM 9:30. 21+. $7 8:00.

21+. $8 ADV / $10 DOS

MIKE THRASHER PRESENTS:

Rum Rebellion, Children, Felony, Upwell,Dreadful Hell Raisers DoorsExpired 9:00PMLogic /

Volumes, Cane Hill, Hermosa

MONDAY NOVEMBER 23RD FUNHOUSE

FRIDAY NOVEMBER 20TH EL CORAZON TAKE WARNING PRESENTS:

BRIAN FOSS PRESENTS:

I The Mighty, Lower Than Atlantis, Brigades, Too Close To Touch, Sorrow’s Edge Doors 6:30PM /

Vacant Seas, Slow Code

HANDS LIKE HOUSES

XURS

Doors 8:30PM / Show 9:00. 21+. $7

Show 7:00. ALL AGES/BAR W/ID. $14 ADV / $16 DOS

TUESDAY NOVEMBER 24TH EL CORAZON

FRIDAY NOVEMBER 20TH FUNHOUSE BRIAN FOSS PRESENTS:

TAKE WARNING PRESENTS:

The Gallow Swings, The Specks, Belly Dance by Katrina Ji & Culture Shakti

Roam, Broadside, Sudden Suspension, Islvnd

PONY TIME

HANDGUNS

Doors 6:00PM / Show 6:30. ALL AGES/BAR W/ID. $12 ADV / $14 DOS

Doors 8:30PM / Show 9:00. 21+. $7

WEDNESDAY NOVEMBER 25TH FUNHOUSE

SATURDAY NOVEMBER 21ST EL CORAZON KGRG 89.9 FM AND EL CORAZON PRESENT:

BRIAN FOSS PRESENTS:

AIDEN

POWER SKELETON

Ashestoangels, Old Wounds, Monsters Scare You!, Avoid The Void Doors 7:00PM / Show 7:30.

They Rise, We Die, Jerkagram (LA), MDLSNK (formerly Shrouded In Veils) Doors 8:30PM / Show

9:00. ALL AGES/BAR W/ID. $7

ALL AGES/BAR W/ID. $18 ADV / $20 DOS

JUST ANNOUNCED 112/12 FUNHOUSE - KINGDOM OF THE HOLY SUN 12/15 FUNHOUSE - TOPLESS 12/26 - SHE IS WE 12/31 - SUPER GEEK LEAGUE 1/1 FUNHOUSE - MILLHOUS 1/2 FUNHOUSE - THE GEARS 2/9 FUNHOUSE - THE TOASTERS 3/4 - ANTI-FLAG / LEFTOVER CRACK 4/1 - DECIBEL MAGAZINE TOUR FEAT. ABBATH / HIGH ON FIRE 5/8 - PRIMAL FEAR / LUKA TURRILLI’S RHAPSODY UP & COMING 11/27 - AURELIO VOLTAIRE 11/27 FUNHOUSE - VAPORLAND 11/28 FUNHOUSE - SIRENS 11/29 - THE COTTON MOUTH COMEDY TOUR 11/29 FUNHOUSE - BANGOVER FEAT. ANGELA VISALIA 11/30 FUNHOUSE - AMONG CRIMINALS 12/1 - CANCER BATS 12/2 - 36 CRAZYFISTS 12/3 FUNHOUSE RAW FABRICS 12/4 FUNHOUSE - SCOTT KELLY (NEUROSIS) 12/5 - THE FACELESS 12/5 FUNHOUSE - PUNKRISTMAS W/ ANGRY SNOWMANS

THE FUNHOUSE BAR IS OPEN FROM 3:00PM TO 2:00AM DAILY AND HAPPY HOUR IS FROM 3:00PM UNTIL 6:00PM. Tickets now available at Ticketfly.com – no per order fees for online purchases! Charge by phone at 1-877-987-6487. Online at www.ticketfly.com. Tickets are subject to a service charge. You can also buy advance tickets at the El Corazon Box Office – open weekdays from 11:00am to 9:00pm at the Eastlake Waffle Window. There is a $2 service charge per ticket at The El Corazon Box Office.

The EL CORAZON VIP PROGRAM: details at www.elcorazon.com/vip.html for an application email info@elcorazonseattle.com

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SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

Morris may have left his enfant terrible stage far behind, but he still travels his own path, making dances grounded in the musicality of choreographers like George Balanchine and Doris Humphrey. This mixed-rep program includes work familiar to Seattle audiences (Cargo, a mysterious vision of an imaginary culture, and the witty A Wooden Tree) as well as a contrasting pair of local premieres: Whelm and The, set to Bach’s Brandenburg Concerto no.

1. But whatever the repertory, Morris’ appearance is always a landmark in the dance season. SANDRA KURTZ The Moore, 1932 Second Ave., stgpresents. org. $38–$85. 8 p.m. Fri., Nov. 20–Sat., Nov. 21, 2 p.m. Sun., Nov. 22.

3RD SHIFT DANCE Works new and old by Xaviera Vandermay and Sharonda Young. Westlake Dance Center, 10703 Eighth Ave. N.E., 3rdshiftdance.org. $12–$20. 5 & 8 p.m. Sun., Nov. 22.

died leaving his Tenth Symphony incomplete; a few have conjecturally finished it, and Deryck Cooke’s is the most-performed completion.

Benaroya Hall, Third Ave. & Union St., seattlesymphony.org. $21 and up. 7:30 p.m. Thurs., Nov. 19; 8 p.m. Sat., Nov. 21; 2 p.m. Sun., Nov. 22.

■ THE WITHING PROJECT SEE EAR SUPPLY, AGE 28.

MESSIAH The first one of the season, led by Matthew Loucks. Blessed Sacrament Church, 5050 Eighth Ave. N.E. $10–$20. 7:30 p.m. Fri., Nov. 20.

■ PAUL TAUB At the center of Seattle’s new-music scene for an admirable length of time, this flutist presents newly commissioned chamber works by five local composers.

Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic. org. $5–$15. 8 p.m. Fri., Nov. 20.

■ DIE WINTERREISE A staged performance of Schubert’s bleak song cycle, with bass-baritone Dana-Joel Belkholm and pianist Gregory Smith.

The Muse Collective Theater, 1408 22nd Ave., brownpapertickets.com. $20. 8 p.m. Fri., Nov. 20–Sat., Nov. 21.

AUBURN SYMPHONY Chamber music (Brahms and Tchaikovsky) from ASO musicians. First Christian Church, 11717 118th Pl. S.E., Kent, 7 p.m. Fri., Nov. 20; and St. Matthew Episcopal Church, 123 L St. N.E., Auburn, 4 p.m. Sun., Nov. 22. $10–$18. auburnsymphony.org.

■ THE MET: LIVE IN HD Lulu, Alban Berg’s lurid tale of a femme fatale. Willam Kentridge’s production, with soprano Marlis Petersen, has been getting ecstatic reviews. metopera.org. See fathomevents.com for participating theaters. 9:30 a.m.

Sat., Nov. 21.

29

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LEO KOTTKE WED, NOV 18 - THURS, NOV 19

“There are finger picking guitarists, and then there is Leo Kottke. He is phenomenal as both a player and a composer.” - Tad Dickens

TAJ MAHAL TRIO FRI, NOV 20 - SUN, NOV 29

(Closed on Mon, Nov 23 & Thanksgiving)

Celebrating decades of recording and touring that have nearly singlehandedly reshaped the definition and scope of the blues.

Grammy-winning jazz trumpeter, composer and band leader

$10

Ongoing

DAVID BECKLEY He photographs

Extraordinary jazz drummer entertains the campy side of Christmas with excellent musicianship

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

MAKE US YOUR FIRST STOP THE PLACE TO MEET BEFORE HITTING THE TOWN CONVENIENT PARKING GARAGE OPEN LATE CONVENIENT TO PIONEER SQUARE AND BELLTOWN

MAKE US YOUR FIRST STOP THE PLACE TO MEET BEFORE HITTING THE TOWN CONVENIENT PARKING GARAGE OPEN LATE CONVENIENT TO PIONEER SQUARE AND BELLTOWN

GORDON BIERSCH 600 PINE ST. LEVEL 4 SEATTLE, WA 98101 (206) 405-4205

tractor TIMES

DOORS 30-60

OPEN

LISTED ARE

SHOW TIMES.

MIN. BEFORE.

THURS,

NOVEMBER 19 TH 

LOCAL POP

OK SWEETHEART (RELEASE PARTY) KELLI SCHAEFER, MIKEY & MATTY FRI

& SAT, NOV 20

8PM - $12/$15 TH

& 21 ST 

SEATTLE WEEKLY PRESENTS

AYRON JONES & THE WAY THANKSGIVING SPECTACULAR

THE YOUNG EVILS, GRYNCH & MORE! SUN,

9PM - $20

NOVEMBER 22 ND 

COLORADO BLUEGRASS

GIPSY MOON

KIRK REESE BAND WED,

8PM - $8

NOVEMBER 25

TH 

SEATTLE SECRET SHOWS PRESENTS

80’S VS 90’S DANCE PARTY W/ DJ INDICA JONES &

#ALL4DORAS

TUES,

9PM - $8/$10

DECEMBER 1 ST  PERPETUAL ROCK MOTION

EZRA FURMAN GUY BLAKESLEE, SCARVES 8PM - $10/$12

Up & Coming 11/18 YUNA 11/23 SQUARE DANCE 11/24 THE HASSLERS 11/27 TIP TO BASE 11/28 AARON CRAWFORD 11/29 TONY FURTADO 12/2 BOBBY BARE JR 12/3 DAVID WAX MUSEUM 5213 BALLARD AVE. NW  789-3599

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Auschwitz and other fraught locales.

Also on view, Sally Ketcham’s more colorful, less morbid photos and prints. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com. Noon-5 p.m. Wed.Sat. Ends Nov. 28.

BEN BERES & CAROL SUMMERS

The former creates dense etchings in Horror Vacui (“fear of empty space”).

The latter shows colorful woodcut prints dating back to 1958. Davidson Galleries, 313 Occidental Ave. S., 624-6700, davidsongalleries.com. 10 a.m.-5 p.m. Tues.-Sat. Ends Nov. 28.

SAM BIRCHMAN He shows new figurative paintings. Form/Space Atelier, 98 Clay St., 349-2509. See formspaceatelier.com for hours. Ends Jan. 3.

■ BYRON BIRDSALL He paints Mt. Rainier and other familiar alpine landscapes, some with climbers in the frame, in a tradition recalling Dee Molenaar. Kirsten Gallery, 5320 Roosevelt Way N.E., 522-2011, kirstengallery.com. 11 a.m.-5 p.m. Wed.Sun. Ends Dec. 27.

BOX AND CONTAINER SHOW

Shopping season begins soon, so what will you give? And where will you put your gifts? This is the gallery’s 36th annual show. Northwest Woodworkers Gallery, 2111 First Ave., 625-0542, wwoodgallery.com. 10 a.m.-6 p.m. daily. End date TBD. CAMP FIRES BAM goes totally gay with this queer art tribute to Léopold L. Foulem, Paul Mathieu, and Richard Milette. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $5-$10. 11 a.m.-6 p.m.

Tues.-Sun. Ends Feb. 14.

■ MARY COSS Her sculpture show Trace includes a large central sculpture, made of old wedding dresses sewn tent-like over wire, that’s shaped like a pelvic bone. The intent is to explore “a narrative around artifacts, the cultural remnants of life, using the form of a human bone as a relic to tell this story.” Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 223-8505, methodgallery.com. Noon-5 p.m. Fri.-Sat. Ends Jan. 2.

Shelly Corbett’s LEGO photography, at Bryan Ohno Gallery.

■ 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, Ends Jan. 10.

DEALER’S CHOICE The annual group show features the likes of Guy Anderson, Morris Graves, and Paul Horiuchi. Woodside/Braseth Gallery, 622-7243, 1201 Western Ave., woodsidebrasethgallery.com. 11 a.m.-6 p.m. Tues.-Sat. Ends Nov. 28.

ENCORE Over a dozen locals are featured. Frederick Holmes & Co., 309 Occidental Ave. S., 682-0166, frederickholmesandcompany.com. 10 a.m.-6 p.m. Tues.-Sat. 11 a.m.- 6 p.m.

Sun. Ends Nov. 29.

ANDREA GEYER Using film, drawing, and photography in Travels on a Slender Thread, she explores the histories of collector/benefactor Gertrude Vanderbilt Whitney and the Whitney Museum. The New Foundation, 312 Second Ave. S., 5127247, thenewest.org. 11 a.m.-6 p.m.

Thurs.-Sat. Ends Jan. 16.

PHILIP GOVEDARE Sky Paintings offers just that—swirling compositions of clouds and light.

Prographica, 3419 E. Denny Way, 322-3851, prographicagallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Dec. 19.

TROY GUA Inspired parly by King Tut’s tomb and the pyramids, his show Orange Dust “is created as a collection of metaphoric artifacts to be unearthed from the preimagined tomb of a long gone America.”

Bonfire (Panama Hotel), 603 S. Main St., thisisbonfire.com. 10 a.m.-5 p.m.

Tue.-Sat. Ends Jan. 28.

HANDS OF DOOM Ten locals show their illustration and prints. Flatcolor Gallery, 77 S. Main St., 390-6537, flatcolor.com. Noon-6 p.m. Wed.-Sat. Ends Nov. 28.

HANNA HILL She shows small collage works, some inspired by old record labels, and large wooden wall pieces recalling childhood innocence. Zeitgeist, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com. 6 a.m.-7 p.m. Mon.-Fri. Weekends vary.

Ends Dec. 2 ■ BOOTSY HOLLER One of our favorite contributing photographers to Seattle Weekly , now based in L.A., Holler includes four different photo series in her show Nuclear Family . One component consists of annotated snapshots from her own family history, in which she Photoshops herself into the frame. Wall Space Gallery, 509 Dexter Ave. N., 330-9137, wall-spacegallery.com. Hours by appointment.

Ends Dec. 22.

■ IN LEGO, WE CONNECT

Yes, these are merely cute photographs of toys, but who can resist?

(Also, Christmas is near...) Kristina Alexanderson, Shelly Corbett, Mike Stimpson (who combines Star Wars with kittens!), and Boris Vanrillaer are featured. Bryan Ohno Gallery, 521 S. Main St., 459-6857, bryanohno. com. 11 a.m.–5 p.m. Ends Dec. 12.

■ INTIMATE IMPRESSIONISM

Out come the big guns in SAM’s fall behemoth: Manet, Renoir, Monet, Cézanne, Degas, Pissarro, Gauguin, van Gogh, and more. Traveling from the National Gallery, the 68 works have a net worth approaching that of Bill Gates. Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $12–$19. 10 a.m.-5 p.m.

Weds.-Sun. (Open to 9 p.m. Tues.)

Ends Jan. 10.

■ TORI KARPENKO His tribute to Beat poet Gary Snyder, called The Lookout, includes both paintings of the North Cascades—where Snyder worked two summers in a fire lookout during the early ’50s—and a full-size wooden re-creation of one of those structures. 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 Dec. 23.

STUCKINPLASTIC.COM

ROY HARGROVE QUINTET THURS, DEC 3 - SUN, DEC 6

SEATTLE WEEKLY • NOVEM BER 18 — 24, 2015

hard luck and poverty on the Aurora strip in North Seattle. Kakao, 415 Westlake Ave. N., 432-1118. Artist reception, 6-9 p.m. Wed. LOCAL GEMS Over a dozen Seattle artists are featured, including Tina Albro , Matthew Behrend, Kathryn Booze, Elinor Maroney, Sarah Parent, and Juliette Ripley-Dunkelberger.

Opening reception, 5-8 p.m. Sat. Columbia City Gallery, 4864 Rainier Ave. S., 760-9843, columbiacitygallery.com. 11 a.m.-7 p.m. Weds.-Sun. Ends Jan. 10.

PRATT HOLIDAY ART SALE The annual event, showcasing students and instructors, begins with the First Dibs Party (6-9 p.m., $50, Thurs.).

Pratt Fine Arts Center, 1902 S. Main St., pratt.org. 11 a.m.-7 p.m. Fri.-Sun. Ends Nov. 29 “What would a world be like where more of your products were made by someone local to you, from materials which were locally available?”

Opening reception, 5-8 p.m. Wed. (RSVP via website.) Jacob Lawrence Gallery, UW Campus, artsuw.org/ venue/jacob-lawrence-gallery. 10 a.m.-5 p.m. Tue.-Fri. 1-5 p.m. Sat. Ends Dec. 19.

“A serious jazz artist who takes the whole enterprise to another level.” - New York Times

30

Openings & Events

TOWARD A DEMOCRACY OF MAKING This group show asks,

TIERNEY SUTTON BAND: A CENTURY OF SINATRA TUES, DEC 1 - WED, DEC 2

JOIN US FOR JOIN THE US GBFOR NIGHTLIFE! THE GB NIGHTLIFE!

VISUAL ARTS JEFF BAERGEN & AUSTIN GRISHAM They show images of

JAZZ ALLEY IS A SUPPER CLUB

MATT WILSON CHRISTMAS TREE-O TUES, DEC 8 - WED, DEC 9

calendar

COURTESY OF WARP RECORDS

Wimps

Oneohtrix Point Never

MUSIC Thursday, Nov. 19

BLITZEN TRAPPER started as an experimental ensemble from Portland, playing with sound and songcraft in a manner that—borrowing from a friend’s description— evoked Wilco on acid. In the decadeplus since, the band has settled into a folk-rock stance that plays to the strengths of lead songwriter Eric Early, whose talents as a storyteller and poet push and pull at the ear on the band’s latest full-length, All Across This Land. The album also comes close to capturing the band’s live experience, a raucous, highenergy affair that still makes room for those prog-rock flourishes and atmospherics that got this whole thing started. With Phoebe Bridgers. The Neptune. 9 p.m. $18.50 adv./$21.50 DOS. All ages. MARK BAUMGARTEN

Friday, Nov. 20

MURDER VIBES closes out a big year that saw the band ride its excellent debut full-length of dark, atmospheric and deeply human pop songs onto playlists alongside Depeche Mode and Garbage and onto stages alongside our town’s ascendant collection of gothic pop acts. After this show, Peter Hanks and Jordan Evans will return to their apartment studio and spend the long, dark, and depressing winter working on the follow-up. Expect a sneak peek at some of that material tonight. With Lazer Kitty, Noddy. Barboza. 7 p.m. $8 adv. 21 and over. MB

Seattle’s AYRON JONES AND THE WAY is through and through

a throwback blues-rock act, which is why it’s a little surprising that the band’s biggest fan is Sir Mix-A-Lot. The avowed big-butt devotee was so blown away by the trio’s rockroots guitar stylings when he saw them in 2012, he decided to produce

for a crazy cassette-tape release/ roster showcase with FFU members Diogenes, Wizdumb, Able Fader, Imprints, Andrew Savoie, and a whole whole lot more. If you want to brush up on local hip-hop in hurry, tonight’s a great night to wade into a golden pool of it. Vermillion. 8 p.m.

Free. 21 and over. KS

Saturday, Nov. 21

■ The songs played by PLANES ON PAPER have the sound of contem-

You know those grunge heshers who claim new music will never be as pure as it was in the ’90s? Those people with graying goatees who talk about how soulless all “this pop garbage” is that the kids listen to nowadays? Those people will probably love Olympia’s STRANGE WILDS, whose new Sub Pop LP Subjective Concepts might as well be called Nevermind 2. The loud/quiet/ loud structures, the fuzz bass, the disaffected Cobain vocal melodies—it’s all here. The trio certainly aren’t innovators, but you have to give them credit— they do a damned good Nirvana impersonation. If PNW grunge is truly a craft, the guys in Strange Wilds are obviously devoted students—and their tunes hit hard because of it. “Pronoia” is an indisputable ripper, even if you’ve heard it before. With Sashay, Private Room, Smiling. Highline. 9 p.m. $10.

21 and over. KS

■ At the end of December, the lease on Capitol Hill’s Redwood Tavern will run out, and the storied dive bar first staffed by members of Band of Horses (and still staffed by members of Seattle heavies like S, Chastity Belt, and Pony Time) will close its doors forever. This sucks big time, y’all. No more free peanuts.

No more cutesy Timbertoes-style signage. No more weird movies projecting on the wall. Ride out the bar’s last month with a bang at the first weekend of REDWOOD’S 10TH ANNIVERSARY PARTY, a big blowout/love-fest that features a great lineup of up-and-coming local acts. Dræmhouse’s sultry Steely Dan vibes, Bod’s noodly, arpeggiated indie, and Versing’s swoon-tastic chill janglepop will be present to soundtrack your final Redwood pints and all the tears you’ll cry into them. With Black Whales. Redwood Tavern. 8 p.m. $7 with RSVP/$12 without. 21 and over. KS ■ FILTHY FINGERS UNITED is a

crazy-prolific collective of 50-plus producers from across the country that puts out high-quality monthly beat-tapes for free online. They also just so happen to be based in Seattle. Tonight, to celebrate the massive crew’s second anniversary, the squad is taking over Vermillion

plation at their core. As heard on the Yakima duo’s sole EP, Ruins, Navid Eliot and Jen Borst use delicate harmonies, well-wrought lyricism, and a deep understanding of pop songcraft to patiently explore ideas and landscapes that bloom from banal to unforgettable.

Those who listen closely will emerge from this performance with the kind of everyday epiphanies that have become largely lost in our digital age.

With Christopher Paul Stelling. Ballard Homestead. 7:30 p.m. $10. All ages. MB

Sunday, Nov. 22

If you are signing on to see PUBLIC IMAGE LIMITED, you really are just

signing on to witness the unbridled rhetorical stylings of John Lydon, the experimental art-rock band’s storied lead singer. And the band’s latest, What the World Needs Now . . . , provides ample source material as it features Lydon at his manic, frothing best, whispering and ranting his way through a worldview that has only intensified since his entry into the annals of pop with the Sex Pistols almost 40 years ago. Showbox. 9 p.m. $29.50 adv./$35 DOS. All ages. MB

Tuesday, Nov. 24

■ The word “experimental” gets thrown around a lot in music writing, often without merit. Electronic producer/composer ONEOHTRIX POINT NEVER ranks as one of the rare contemporary musicians who truly deserves that label. Garden of Delete, OPN’s brilliant brand-new LP, is what I imagine the endless streams of data parcels being exchanged via media torrent networks across the world might sound like if reconstituted into little soundbites, then crammed into confusing pop structures. To make things even more beguiling, Daniel Lopatin, the man behind the project, claims the record was written in collaboration with a teenaged, acne-riddled alien named Ezra (who has a song named after him), and was influenced by a fictional “hypergrunge” band called Kaoss/Edge, for which Lopatin built a fake website. Garden of Delete is a deep, dark rabbit hole worth diving into. With James Ferraro. Neumos.

8 p.m. $20. All ages. KS

SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

CHANCE THE RAPPER filters Kanye’s bombastic, optimistic The College Dropout and Late Registration-style production through his own hallucinogenic, posi-vibe Disney universe. The guy even covered the Arthur theme song.

The Chicago rapper’s breakout 2013 debut, Acid Rap, is full of showtunestyle glitz and plenty of his trademark cartoony “AH!” exclamations peppered throughout. Since then he’s released a mixtape with Lil B and a soulful full-band record with Donnie Trumpet & The Social Experiment, Surf, which, unsurprisingly, is very trumpet-heavy. The Paramount.

7 p.m. $40.75 adv./$46.25 DOS. All ages. KELTON SEARS

their record. The group is working on a new record now with Barrett Martin of Screaming Trees, and the lead single, “Boys From the Puget Sound,” sounds like vintage Lenny Kravitz waxing poetic about stormy Northwest weather. With Young Evils, the Hollers. Tractor Tavern. 8 p.m. $20. 21 and over. KS

31

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FILM Opening Friday

BY THE SEA Angelina Jolie Pitt writes, directs, and stars alongside hubby Brad in this L’Avventuraesque film about a failing marriage in early-’70s France. (R) SIFF Cinema Egyptian, others CRIMINAL ACTIVITIES A new crime movie starring John Travolta, Michael Pitt, and Jackie Earle Haley (who also directs) promises laughs and thrills. (R) Sundance HEART OF A DOG Artist Laurie Anderson muses on pets and death.

(NR) SIFF Cinema Uptown

Jennifer Lawrence finally brings the Hunger Games franchise to a close.

THE HUNGER GAMES: MOCKINGJAY PART 2 The end is

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FILM NEWSLETTER The latest reviews and inside scoop on upcoming films.

NOV 21–25 GR ANDILLUSIONCINEMA.ORG ���� NE ��TH STREET | ���-����

WWW.SEATTLEWEEKLY.COM/SIGNUP

“SHEER JOY IN CINEMATIC FORM, Full Of Fine Actors Giving Rich Performances With Endlessly Layered Characters.”

Scott Mendelson,

here for this hugely successful franchise. Jennifer Lawrence, Julianne Moore, and Philip Seymour Hoffman (in his final performance) star. (PG13) Opens wide ■ IN JACKSON HEIGHTS From legendary documentarian Frederick Wiseman, a sprawling, 190-minute portrait of one of the most diverse areas in the country: Jackson Heights, Queens. (NR) Northwest Film Forum SECRET IN THEIR EYES A remake of the 2010 Argentine Oscar winner, starring Chiwetel Ejiofor, Nicole Kidman, and Julia Roberts, about an old murder case newly reopened. (R) Opens wide (T)ERROR Despite the title, not another found-footage horror flick.

Instead, it’s a doc about a failed FBI counterterrorism sting operation.

(NR) SIFF Film Center

Local & Repertory

■ INTERNET CAT VIDEO FESTIVAL Traveling from the Walker

Art Center in Minneapolis, this shorts fest is fast becoming an annual tradition, welcomed by cineastes and cat-lovers alike—possibly a redundant description. (NR) SIFF Cinema Uptown, $7-$12. Runs Mon.-Wed. See siff.net for showtimes.

■ JAMES BOND-ATHON

Showtimes aren’t given, so maybe these 007 movies are on continuous loop. This Sunday it’s Skyfall (2012), Daniel Craig’s third Bond film. The movie aims to flesh out the backstory of the spy, with the globe-trotting terrorist hunt this time literally revisiting the site of the childhood trauma that apparently pushed Bond to seek out that license to kill. From Shanghai to Macao, Bond gets up to the usual daring escapes and zipless nightcaps. M (Ralph Fiennes), trying to drag MI6 into the age of Anonymous, contends that the agency “can’t keep working in the shadows—there are no shadows.” It’s a POV contested by the film’s most visually stunning action scene, a relatively simple duel in a darkened Shanghai skyscraper.

KARINA LONGWORTH (PG-13) King’s Hardware, 5225 Ballard Ave. N.W., 782-0027, kingsballard.com. Free.

Sundays through Nov. 29.

■ NIGHTFALL An innocent artist (oddly cast Aldo Ray) is suspected of murder in Jacques Tourneur’s 1957 Nightfall, which gives its title to SAM’s fall noir series. (NR) Seattle Art Museum, 1300 First Ave., 6543121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m.

Thursdays through Dec. 10.

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Candy memorably co-starred with Steve Martin in this fondly remembered holiday comedy from 1987, written and directed by that master of suburban sarcasm (and sentiment), John Hughes. (R) Central Cinema, $7-$9. 7 p.m. Fri.-Tues. & 3 p.m. Sat.

THE ROCKY HORROR PICTURE SHOW Tim Curry and company

do their thing. (NR) SIFF Cinema Egyptian, $7-$12. 11:55 p.m. Sat.

ROMANIAN FILM FESTIVAL

Seven films are on the schedule, beginning with Aferim! (7 p.m. Fri.), about a 19th-century cop hunting for a runaway Gypsy slave. (NR) SIFF Cinema Uptown, seattleromanianfilmfest.com. $8 individual, $40 series.

Runs Fri.-Sun. THE ROYAL TENENBAUMS All happy families are alike, but unhappy families are unhappy in their own locked-in-amber mid-’70s fashion.

Such is the case with Manhattan’s Tenenbaum clan, whose parents (Gene Hackman and Anjelica Huston) raised three child prodigies— financier (Ben Stiller), playwright (Gwyneth Paltrow), and tennis star (Luke Wilson). But the team has fallen on hard times, explains our narrator (Alec Baldwin). All converge at a family mansion with its own Circle-T pennant fluttering atop the roof and a push-button intercom to announce regular crises. The whole 2001 movie thus feels constructed as if from old New Yorker cartoons and museum dioramas. Wes Anderson fetishizes the details like so many Joseph Cornell boxes; each scene is a chapter, a specimen, really. Though as the enjoyably rascally, conniving, uncontrite Royal (Hackman) tries to reingratiate himself with his family, individual laughs do abound, and Owen Wilson is a gas. BRIAN MILLER (R) Central Cinema, $7-$9.

9:30 p.m. Fri.-Tue.

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, 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 a schlub doing his job. The frozen peas ’n’ carrots world rings true even if you don’t remember these things firsthand. Clearly, Spielberg should’ve directed a Mad Men episode. ROBERT HORTON (PG13) Pacific Place, Lincoln Square, Kirkland, Vashon, others

BURNT While it adds nothing fresh

to the food-film canon (disgraced chef, clattering kitchen, redemption, etc.), this culinary comeback story does offer some reliable pleasures.

First, Bradley Cooper is actually quite good as newly sober hotshot chef Adam Jones, who’s looking for a second chance (and third Michelin star) in the London hotel eatery run by an old pal (Daniel Brühl, also fine), who happens to be in love with him. But Adam has little time for love (which Sienna Miller’s kitchen lieutenant will eventually supply); he just wants to restore his good name—which involves much screaming at his underlings because, dammit, he’s just so very passionate about food! (Be more arrogant, he tells one apprentice.) John Wells’ direction and Steven Knight’s script are entirely routine; and with one notable exception, all characters behave according to template. Still, however predictable, Burnt is imbued with commitment to craft. The bustling shouty kitchen is like an acting troupe, and each night is a performance (one reason that Cooper and company seem so naturally connected to the material). When Adam, anticipating of a career-destroying review, ends up sobbing on the floor of a rival chef’s kitchen, that fear of failure knifes through the movie’s bland fillet. MILLER (R) Meridian, Thornton Place, 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; after we’ve spent time with Watney, who has a complete lack of introspection and neurosis, it’s no wonder. Apart from his survival efforts, The Martian 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. Its jokes are telegraphed a mile away, and its many inspirational moments are underscored by hearttugging reaction shots. HORTON (PG13) Meridian, Majestic Bay, Thornton Place, Lincoln Square, others ■ ROOM 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

MURRAY CLOSE/LIONSGATE

“You’re under a spell when you see this film.

Be careful not to break that spell.” Jean Renoir “A Miracle” Indiewire

calendar

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. Adapted by Emma Donoghue from her 2010 novel, 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.

To be vague about the plot, which takes a big turn after an hour, Jack’s task, like Alice’s in Wonderland, is to understand the rules—or their absence—in two different realms.

He’s like a refugee, an almost alien visitor. Joy is meanwhile 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. Lenny Abrahamson, of Frank, provides direction that’s both sure-handed and dry-eyed. MILLER (R) Guild 45th, Pacific Place, Lincoln Square

SPECTRE The 24th James Bond movie carries a strong awareness of its own brand halo. 007 (Daniel Craig) is in disgrace as usual, while MI6 (still led by Ralph Fiennes’ M) is itself threatened by an upstart new spy agency. There’s also a self-satisfied new villain (Christoph Waltz) who goes by different names, and a new Bond girl, Dr. Madeleine Swann (Léa Seydoux), also trying to escape her past. Spectre has a signature look and operating system that reinforce the Bond brand: quality, familiarity, lack of surprise (though many delights), and a design consistency that leads inexorably to the next product launch. It looks back, beginning with the famous theme and gun-barrel intro, then swoops forward in a seamless one-take assassination sequence in Mexico City. The filmmakers must show they can keep up with the Bourne and Mission: Impossible pretenders breathing down their necks. To this Bond-ophile, Spectre’s best moments after the Mexico City hit are familiar polishings of old 007 tropes. Boat

chases helicopter, plane chases cars, Jaguar chases Aston Martin, and so on. This enjoyably overstuffed entertainment, also directed by Skyfall’s Sam Mendes, again has Bond reluctantly excavating more of his fraught/repressed past, much of it having to do with his boyhood orphan years with the Austrian Oberhauser family. Yet amid these sticky snowdrifts of memory, one suspects that Ian Fleming would have little use for all the talk of wounded heroes and stolen childhoods. MILLER (PG-13) Cinerama, Sundance, Big Picture, Meridian, Bainbridge, Majestic Bay, Ark Lodge, Admiral, Kirkland, others ■ SPOTLIGHT Arriving at a time when our culture appears to have embraced the idea that it is better to believe what you want to believe and that “the media” is not to be trusted, Spotlight creates excitement out of the day-to-day business of recognizing uncomfortable facts.

Tom McCarthy’s extremely well-cast ensemble drama follows The Boston Globe’s Pulitzer-winning 2002 exposé of the Catholic church’s cover-up of

widespread sexual abuse of minors by priests. He relates the story from the multiple viewpoints of editors (John Slattery, Michael Keaton, Liev Schreiber) and reporters (Mark Ruffalo, Rachel McAdams, Brian d’Arcy James). The approach allows us to see how the scandal permeates every level of Boston society, from blue-collar Catholic neighborhoods where disgraced priests are hidden to tony golf courses where church attorneys share the links with Globe editors. Given such explosive material, McCarthy (The Visitor) mostly lays off the hard sell. (If anything, Spotlight is a little too respectable; McCarthy and co-screenwriter Josh Singer hit each scene exactly on the button, and then move on to the next one.) This movie excels at digging into the nooks and crannies of deepseated corruption and making those shadowed places come to credible life. (R) HORTON Meridian, Lincoln Square, Sundance, SIFF Cinema Uptown, others SUFFRAGETTE This fictionalized account of the English suffrage

movement, circa 1912, incorporates real historical figures and makes one composite its heroine: the unschooled laundry worker Maud Watts (Carey Mulligan), who’s got a small son and a sympathetic husband (Ben Whishaw). Maud is drawn to the stone-throwing example of her co-worker Violet and becomes, to her astonishment and her husband’s “shame,” a suffragette. That maligned group is led by firebrand Emmeline Pankhurst (Meryl Streep), who spends most her time hiding to avoid arrest. A few scenes of the her donning disguises and ducking in and out of speaking halls suggest the kind of thriller Suffragette might’ve been.

Pankhurst (a real figure) is like the Malcolm X of her day, but Streep zips through her few scenes. The bulk of the movie belongs instead to Maud the martyr, with indignities and outrages stacked predictably upon her.

This dull, uplifting classroom movie makes her more the victim than inspiring example. MILLER (PG-13) Seven Gables, Pacific Place, Lincoln Square, Ark Lodge, others

TRAINWRECK Playing Amy

Townsend, a New York journalist, Amy Schumer is less a serial seducer than a steamroller, with a proven system for bedding guys and refusing sleepovers. That pattern works fine until Amy’s assigned to profile an earnest, dorky orthopedic surgeon, Dr. Aaron (Bill Hader). And here is where Schumer’s unapologetic, contrarian humor—call it feminist if you must—gets switched to the Hollywood mainline. Trainwreck is directed by reigning comedy czar Judd Apatow, and he mandates the formulas that Schumer so brilliantly spoofs on her Comedy Central show.

He also dilutes her humor with testosterone—presumably to keep guys interested in a chick flick—by introducing jocks John Cena, LeBron James, and Amar’e Stoudemire.

They’re actually quite charming, but this is not why we’re paying to see an Amy Schumer comedy. Though it’s not the breakthrough that Bridesmaids was, Schumer’s fans won’t be unhappy with this movie.

MILLER (R) Crest

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33

odds&ends

The Lone Reefer

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he sky has not fallen because we have legalized marijuana in Washington.

Is it going to work long-term? I don’t know; we’ll have to wait and see. But clearly, what we were doing before—the War on Drugs—did not work, so it was time to try something new. The citizens suggested legalizing marijuana—and I support it.”

It’s a reasonable-enough statement, but somewhat surprising in that it comes from our own King County Sheriff, John Urquhart.

“I still think it was a good decision for the citizens of Washington,” Urquhart told me in an interview last week. “The initiative [I-502] passed statewide with 56 percent supporting it, and 63 percent in King County, so that’s clearly what the citizens wanted.”

Urquhart’s outspoken support of legalization isn’t being taken all that well by some members of law enforcement. Urquhart did a TV ad last month on behalf of the (successful) Oregon Measure 91, and members of the Oregon State Sheriff ’s Association took him to task. “How dare he use his position as a sheriff to spoon-feed Oregonians blatantly false information about Washington state,” said Clatsop County Sheriff Tom Bergin, “right before an Oregon election.”

Jefferson County Sheriff Jim Adkins not only didn’t like Urquhart’s ad, he went NIMBY gunslinger with a zinger. “You don’t see any Oregon sheriffs going up to Washington to weigh in,” Adkins blasted in a statement. “He needs to get his nose out of our state and show some respect.

The issues we face are different.” Like neck beards and living on a swamp-river, I presume.

Members of the Oregon Sheriffs Association claimed Urquhart’s statements were misleading, citing state patrol reports that showed stoned driving arrests had increased. In the ad, Urquhart rightly claims tax revenue is up, wasteful arrests have been eliminated, and DUIs in our state are down, implying that legal weed may have something to do with all these results.

While it’s true DUIs are down overall (DUIs have dropped 25 percent since 2009), arrests involving pot and driving are up. The most current stats from the Washington State Patrol show that cannabis-related DUIs since December 2012 (when we legalized it, man) have gone up, from 988 in 2011 to 1,362 in 2013. A Washington Traffic Safety commission report last week showed the frequency of drivers in fatal crashes who tested positive with THC in their systems (alone, or in combo with booze or other drugs) was highest in 2014 (75) as compared to the previous four-year average (36).

“There have been more arrests for driving with marijuana in their system,” Urquhart admitted, “but, overall, fatality crashes have not gone up. There haven’t been any studies in Washington where there’s a direct causation from legalizing marijuana [to road fatalities]. There might be a correlation, but we’ll need more research on that.”

HIGHER GROUND And the reason for more stoned drivers?

“Well, for one, we’re looking for stoned drivers.

Because of all the publicity around it. And now we have a per se standard. So we’re watching for that—and obviously there will be more arrests.

As they test more blood—they’re gonna find more people with THC. The question then will be, how long has it been in their system? Did it affect their ability to drive? And what other drugs might be in their system?—including alcohol.”

But surely, since ganja has gone legal, officers in the field have constantly had to tackle out-of-control stoners at sex-crazed parties, right?

“No. Not at all. From what I’m hearing from my deputies, it’s a big yawner.”

I asked the Sheriff if it was strange to be a voice for legalization. “To be honest, it’s very, very weird. I have been a cop for 40 years; I spent a good amount of that time doing drug investigations, BRIANNA CASH and was a street-level IN narcotics investigator.

And now, in some quarters, I’m the face of all this. Most police chiefs and sheriffs don’t want to speak out on this, regardless of their what their personal feelings are.

And of course, the police chief has to kowtow to who the mayor is. A sheriff has more freedom. I just don’t care, to tell you the truth.”

Urquhart isn’t actually a Lone Ranger on

legalization. Founded in 2002, LEAP (Law Enforcement Against Prohibition) is a group of over 5,000 current and retired cops, judges, and prosecutors committed to ending decades of failed drug policies. Like Urquhart, they don’t like the trillion dollars spent on the failed War on Drugs or the $80 billion spent on incarceration in the U.S. each year—which could instead go to rehabilitation, job training, and education.

At a press conference last month, executive director Major Neill Franklin explained LEAP’s position: “As our nation’s top police and prosecutors reflect back on their careers, we have come to understand that many of the so-called tough-on-crime principles to which many of us gave our lives are flat-out wrong,” said Franklin. “We can reduce crime and incarceration at the same time, but to do that we need alternatives to arrest, balance in our laws, and continued improvement in community relations.”

Every 45 seconds a person gets busted for marijuana. This adds up to more than 700,000 pot-related arrests in 2014 alone. Of 1,561,231 total drug arrests last year, weed made up 45 percent of ’em. Of the 1,700 daily cannabis busts, 88.4 percent were solely for possession. Still, Urquhart understands that not all law enforcement will agree with his stand on legalization, and he’s fine with that—so long as they have ideas of their own on failed policy.

“The only thing that gets me pissed off is when police chiefs criticize the decision that the citizens of Washington made, for legalizing marijuana, but offer no alternative to that. They all know the War on Drugs doesn’t work. What are we going to do differently? Marijuana is one small step. Let’s see if it works. It’s a grand social experiment. And it appears to be taking hold.” E For more Higher Ground, visit highergroundtv.com.

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REQUEST(S): Clearing and Grading Permit File No(s).: GRDE15-0187 Applicant: Veronica Castro Location: 7149 Perimeter Road South Seattle WA 98108 Proposal: Grading for proposed Landmark Aviation Commercial Building Project Manager: Ramon Locsin 206-477-0299 COMMENT PROCEDURES: DPER will issue an environmental determination on this application following a 21-day comment period that ends on December 18, 2015. Written comments and additional information can be obtained by contacting the Project Manager at the phone number listed above. _________________________________________________________ Published this 18th day of November 2015

BOTHELL

Bazaars/Craft Fairs

SEATTLE

HOLIDAY BAZAAR

Gifts, Crafts, Baked Goods, Treasures and much more...

Friday, 11/20, 9am-4pm Satur., 11/21, 9am-3pm BALLARD NW SENIOR CENTER, 5429 32nd Avenue NW, Seattle, WA 98107 (2 blocks North of Locks) VASHON ISL.

Bazaars/Craft Fairs RENTON.

SAT, NOV 21st, 9 TO 3 ANNUAL ST. ANDY’S Gals Holiday Bazaar!

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

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

MY FRIENDS & MORE Holiday Bazaar! Join us to Celebrate our 16th Anniversary of Community Fun with Fabulous Local Artisans! Saturday, November 21st, 10am to 5pm, one block North of Home Depot (18701 120th Ave NE).

Santa arrives at 1pm!

Parents bring your Camera for Free Photos with Santa! Pets Welcome! Free Admission, Free Parking, Free Refreshments and Free Children’s Craft and Play Area Provided! Tour Buses Welcome. Full Wheelchair and Stroller Access. www.craftybug.com

Sat 11/21; 10-4

VENDORS; A FEW SPACES STILL AVAIL. 55+ Tables; Crafts, Gifts, Bake Sale, Music, & Refreshments.

9329 SW Cemetery Rd McMurray Middle School Molly 206-329-4708 Auto Events/ Auctions

BIG D TOWING Abandoned Vehicle Auction Wednesday 11/25/15 @ 11AM. 3 Vehicles Preview 10-11am.

1540 Leary Way NW, Seattle 98107

Employment Computer/Technology Full Stack Engr sought by FiftyThree, Inc. in Seattle, WA to dsgn/dvlp/tst/shp sftwr prods.

BS in CS, Comp Engg or rltd fld +3 yrs of exp. Know of dsgn (includg clr thry, typography) & usability princpls (includg perceived perf). Exp solvg engg prob (includg optimstc rendering). Undrstndg of how web app wrk w/ web brow, web srvrs, dbs. Exp archtg end-to-end web (includg isomorphic rendering, precompiled assets).

Exp w/ Node.js. includg the JavaScript & CoffeeScript prog langs, the Exp web framewrk, asynchronous ctrl flw tools incl Strmline.js, asset pipeline tools incl Browserify. Exp dvlp sftw usg git, GitHub, & npm (Node.js packge mngr). Know of data strctrs incl grphs & hash tables.

Know of pttrns & paradigms incl obj-orntd & funcl prog. Exp w/ tst runrs & frmwrks, incl Mocha & Jasmine. Know of sys admn tech incl Unix & Bash, deplymnt tools incl Ansible, & log & monitrg serv incl Splunk. Req occ travel to NY off for meeting & wrking sessions. In lieu of BS, Emplr will accpt a sngl deg or any comb of degs, diplomas, or prof credentials dtrmd to be equiv to BS by qualfd evlntn serv. Perm U.S. wrk auth. Aply @ www.jobpostingtoday.com 50484.

Inovant, LLC, a Visa Inc. company, currently has openings in our Bellevue, Washington location for: - Senior Information Security Analysts (Job# 156396) to help drive the successful adoption of Secure Software Development Lifecycle practices across Visa’s product development teams and help build foundational application security capabilities.

Help implement pre-defined Secure Software Development Lifecycle practices for all Visa technology projects throughout the planning and delivery cycles. Apply online at www.visa.com and reference 156396. EOE

n o s u w o M l l A o R f G A T INS @ SE ATTLE WEEKLY • N OVEMBER 18 — 24, 2015

KING COUNTY DEPT. OF PERMITTING & ENVIRONMENTAL REVIEW (DPER)

FREE TO LISTEN

PUBLIC AUCTIONS 2 STORAGE FACILITIES

Announcements

You won’t be disappointed

Auto Events/ Auctions

BIG D TOWING Abandoned Vehicle Auction Monday 11/23/15 @ 11AM. 1 Vehicle Preview 10-11am.

1540 Leary Way NW, Seattle 98107

WA Misc. Rentals Rooms for Rent Greenlake/WestSeattle $550 & up (1st/last/deposit) Utilities included! busline, some with private bathrooms • Please call Anna between 10am & 8pm • 206-790-5342

Auctions/ Estate Sales

35

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Earn $200 per qualified plasma donation and help advance medical research! 425-258-3653 - plasmalab.com

Psychic, Palm & Tarot Card Readings $15 Special. 425-789-1974 Temporary, Temporary-to-Hire & Direct Hire Do you have administrative experience? We place:

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SEATTLE WEEKLY • NOVEM BER 18 — 24, 2015

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Employment Computer/Technology

Employment Computer/Technology

SAP Basis Administrator sought

by Zuliliy LLC in Seattle, WA. Req a BS in Cmptr Sci, or rlt fld +5 yrs of exp. Exp running SAP in Windows/SQL srvr envir.

Strng trblshtng ablty. Ablty to wrk in fst-paced team envir.

Req ocsnl dom trvl to othr Zulily off loc. Aply @ www.jobpostingtoday.com Ref #47358

Software Engineer: Design & devp sw apps for visual analytics suite of sw util high-level prog languages & tools, incl C, Java, Eclipse, & Agile devp methods. Req MS or foreign equiv in Comp Sci, or rtd field.

Req educ or exp in: design & devp comp sw apps util highlevel, obj-oriented prog languages, incl C, Java, Python, Eclipse, & Agile devp methods, incl Scrum; design & devp UI for SW apps using Windows; design, implement & write unit tests for sw components; troubleshoot & debug sw defects; & investigate issues rtd to sw apps, analyze code for origin of bugs, & perform troubleshoot & debug. Position at Tableau Software, Inc. in Seattle, WA. To apply, please e-mail resume to Jobstableau@tableau.com and ref Job ID: SE2.

Senior Software Engineer: Design & devp sw for next-gen Visual Analytics & Collab suite util obj-oriented design patterns, incl Java, C++, & Ruby.

Req MS or foreign equiv in Comp Sci, IT, or rtd field, & 3 yrs exp as SW Eng, which incl exp in: design & devp major components, apps & API’s using obj-oriented design patterns, incl Java SE, Java EE, C++, & Ruby, & Spring framework, Ant build sys & JUnit for unit & integration tests; design dbases & devp dbase components for relational, multidimensional, column-based storages & data warehouses using SQL, PL/SQL, MDX, JDBC, Hibernate, SQL query optimization, SQL table normalization & de-normalization, star schema, OLAP & BI; design & implement distrib sys & components using SOA, REST, JSON, XML, XML Schema, Linux & Windows shell scripting, perform optimization & profile tools, & memory leak troubleshoot; design & implement front-end components using HTML, CSS, JavaScript, & jQuery; owning app & component security, threat model, review security-sensitive code changes, & design highly avail fault tolerant svcs; and reqmts gathering, & conduct design reviews, code reviews, security reviews, & sys deploy changes.

Position at Tableau Software, Inc. in Seattle, WA. To apply, please e-mail resume to Jobstableau@tableau.com and ref Job ID: SSE1.

Software Engineer: Design & devp framework for testing visual analytics sw util high-level, obj-oriented prog languages, incl C#. Req BS or foreign equiv in Comp Sci, Comp Eng, or rtd field, & 2 yrs exp as SW Eng, incl exp in: design, devp & implement auto test scripts & test report using obj-oriented prog languages, incl C#; design & test highly interactive webbased apps that use HTML5, JavaScript & CSS3; design & devp test plans, test scenarios, test cases, test reports & doc for manual & auto tests; write functional, unit & integration tests for back-end apps using APIs & auto test suites; investigate prod issues, troubleshoot, analyze layers of code for origin of bugs, debug, & recommend sols to cross-functional teams; & perform data analytics using RDBMS, Data Structures, incl dictionaries & linked lists, & relational dbases. Position at Tableau Software, Inc. in Seattle, WA. To apply, please e-mail resume to Jobstableau@tableau.com and ref Job ID: SE1.

SOFTWARE salesforce.com, inc. has openings for the following positions in Seattle, WA: Software Engineers-Systems: Research, design, develop, and/or test operating systemslevel software for enterprise cloud computing applications.

May Telecommute. Must be available to work on projects at various, unanticipated sites throughout the U.S. Ref# J15D20.

Software Engineers-Applications: Develop, create, modify and/or test enterprise cloud computing applications focusing on Customer Relationship Management (CRM). Ref# J15D07 Mail resume to salesforce.com, inc., P.O. Box 192244, San Francisco, CA 94119. Resume must include Ref. #, full name, phone #, email address & mailing address. salesforce is an Equal Employment Opportunity & Affirmative Action Employer.

VP - Lead Cnslt - Tech App Engin sought by Bank of America.

Reqs: BS & 5 yrs exp; & exp w/5 yrs of app prgrmng exp w/Java; 3 yrs exp w/RESTful websrvc; Exp w/Entrprse App Intgrtion frmwrk such as Mule or Camel; At least 2 yrs exp in No-SQL solutions such as MongoDB or Cassandra; Wrkng knwldg of apprprte or comprble solutions in the Spring, JMS, iBatis or MyBatis; At least 2 yrs of exp w/Struts, JSP & Srvlts; Deep undrstding of OO dsgn; Basic DB & SQL skills; Exp w/the dvlpmt mdls such as Agile & SDLC; Knwldg of test driven dvlpmt; Must be able to handle mltpl tasks & adapt to a constantly changing envrnmt.

Job site: Seattle, WA. Ref #9CDQRX & submit resume to Bank of America, NY1-050-0301, 50 Rockefeller Plaza, New York, NY 10020-16050. No phone calls or e-mails. Must be legally authorized to work in the U.S. w/o sponsorship. EOE.

Employment Services WANTS TO purchase minerals and other oil & gas interests.

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

Employment General

Employment General

Multi-Media Advertising Consultant Puget Sound Region, WA Do you have a proven track record of success in sales and enjoy managing your own territory?

Are you competitive and thrive in an energetic environment? Do you desire to work for a company that offers uncapped earning opportunities?

Are you interested in a fast paced, creative atmosphere where you can use your sales expertise to provide consultative print and digital solutions? If you answered YES then you need to join the largest community news organization in Washington. The Daily Herald/La Raza is looking for a candidate who is selfmotivated, results-driven, and interested in a multi-media sales career. This position will be responsible for print and digital advertising sales to an exciting group of clients from Bellingham to Tacoma.

The successful candidate will be engaging and goal oriented, with good organizational skills and will have the ability to grow and maintain strong business relationships through consultative sales and excellent customer service. Every day will be a new adventure! You can be an integral part of our top-notch sales team; helping local business partners succeed in their in print or online branding, marketing and advertising strategies. Professional sales experience necessary; media experience is a definite asset but not mandatory. If you have these skills, and enjoy playing a pro-active part in helping your clients achieve business success, please email your resume and cover letter to: hreast@soundpublishing.com ATTN: LARAZA in the subject line. We offer a competitive compensation (Base plus Commission) and benefits package including health insurance, paid time off (vacation, sick, and holidays), and 401K (currently with an employer match.)

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

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

Clinical Affairs Safety Associate:

FT Tree Climber $1,000 Incentive after 30 days as FT Climber Full Time- Year Round Work We perform Residential Tree Trimming, Pruning & Removal work. Climbing Gear, Vehicle & DL Req. Company Sponsored Medical Avail. & Voluntary Dental Email work experience to recruiting@treeservicesnw.com 1-800-684-8733 ext. 3434

Monitor clinical safety data for clinical trial protocols. Requires BS in Bio, Biomed Eng, or related or FDE; Advanced degree in medicine, nursing or related or FDE; 1 year specific prof clinical study exp focused on safety monitoring. Position with Fred Hutchinson Cancer Research Center in Seattle, WA. For complete description & requirements & to apply: http://www.fredhutch. org/en/careers.html (Job #6608).

Order Generator Work for the Northwest’s Largest Tree Preservation Service.

No Experience Necessary.

Must enjoy working with people and being outdoors Set Your Own Schedule.

Paid Orientation, Marketing Materials & Company Apparel Provided • $500-$750/ Week Average, Top Reps earn $1000+ • Daily Travel & Monthly Cell Phone Allowance Available • Group Medical & Voluntary Dental Plan Avail Email resume to recruiting@evergreentlc.com 1-800-684-8733 ext. 3434

Business Opportunities

Turn Key Restaurant For Sale Glass Alley Cafe, 5575 Harbor Ave., Freeland Family Tragedy Forces Owner to Move out of State Dear Whidbey Island Community & All of Our Devoted Patrons It is With Great Sadness that I am selling my successful wellestablished restaurant.

See why Glass Alley Cafe has attracted a steady following; visit website: glassalleycafe. squarespace.com Established Return Clientele!

This is a rare and exciting opportunity to earn, learn & be your own boss with such a fine establishment such as Glass Alley Cafe! $59,000 For your serious inquiry & personal tour appointment directly with owner, please contact Debbie at: (360) 969-2320 maytopcat@cox.net Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance.

Financial Aid avail for those who qualify 1.800.321.0298

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