Issuu

FOOD SUPER SIX’S EVOLVED HAWAIIAN/ASIAN FUSION PAGE 17 MUSIC THE JOSEPHINE GETS A RECORD-STORE MAKEOVER PAGE 23

THE

N O I T C E L E E D I GU T THA S P M U R T ALL PAGE 11

Fungus Among Us

Failure to Launch

An illustrated guide to the Pacific Northwest mushroom harvest. By James The Stanton Page 25

The Steve Jobs movie succumbs to a fatal system error. By Brian Miller Page 32

OCTOBER 14-20, 2015 | VOLUME 40 | NUMBER 41

SEATTLEWEEKLY.COM | FREE

SEATTLE WEEKLY • OCTOBER 14 — 20, 2015

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VOLUME 40 | NUMBER 41

SEATTLEWEEKLY.COM

October 14-20, 2015

THE ANTI-EYMAN

BY JOHN STANG | Meet Andrew

Villaneuve, who’s keeping a sharp eye on the state’s most fervent—if not always successful—antitax crusader. Plus: a developer is accused of trying to game a City Council race.

11 ELECTION 2015

31 Editor-in-Chief Mark Baumgarten EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears

BY SW STAFF | All you need to know:

Editorial Operations Manager Gavin Borchert

the candidates, the ballot measures— and who has nothing to worry about.

Staff Writers Sara Bernard, Ellis E. Conklin, Casey Jaywork

food&drink

17 GRINDING IT OUT

BY JASON PRICE | Behind the scenes

of our city’s “hyper-competitive” coffee ecosystem. 19 | THE WEEKLY DISH 20 | RESTAURANT REVIEW 21 | THE BEER HUNTER

arts&culture

23 BALLARD REBIRTH

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

BY DUSTY HENRY | An underground

PRODUCTION

experimental-music venue reopens as a record store.

Production Manager Sharon Adjiri

25 | COMIX 27 | CONVERSATION | Designer

Michael Cepress.

SAM gets pretty; the year’s first essential movie; Hanks as spy; combative Jews; a “Gothic space geisha.”

35 CALENDAR 35 36 38 40

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SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

29 REVIEWS

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Photos by Mark Kitaoka

news&comment

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Ba B aaaca card rd dddiiiZZo mb m bbie iie ie 77755L LLL ... .................................................................................................................... ....... 110 10 444999 Ba B card ca rd i---Zo Zom om mb m bbie ieee 111.7 .7 55L ... ................................... .....................10 ..10 1000.4 .4 Ba B card ca rd iiZZo om mb m bbie iie .7 55L ... ..... ....... ..10 110 .4 JJi i m Be e am -D D ev v il il’s l ’ ’s s C u ut t 7 5 50 0 m ml l . .. . . .... .. . .. .... . .. . . .... .. . .. . . .. ... .. ... . .. . . .. . . . .. . 1 18 8 .9 Ji J i m Be e am -D D ev v il il’s l ’ ’s s C u ut t 7 5 50 0 m ml l . .. . . .... .. . .. .... . .. . . .... .. . .. . . .. ... .. ... . .. . . .. . . . .. . 1 18 8 .9 JJiim Beeam-D -Devvil’s ill’s ’s Cut ut 750 50ml ml .......... ...... .......................... ...............18 18.9999999 FFire Fi Fire i r re e ba b bal a l ll l C in i n na a m mo o n W Wh h is i isky s k ky y 1 .75L .7 7 5 5L L . . .... . . ... .. . .. . .... . . .. . .. . .. . . .. . .. . . .. .. . . 29 2 999.9 999999 F Fi Fire i r re e ba b bal a l ll l C in i n na a m mo o n W Wh h is i isky s k ky y 1 .75L .7 7 5 5L L . . .... . . ... .. . .. . .... . . .. . .. . .. . . .. . .. . . .. .. . . 229 .9 Fire Fi rebal bbaallll Ciinnnaamo mon Wh Whisky iissky ky 1.7 .75L 75L 5L ..... ....... ...... ............................229 .9 Kr r a aken ak k e en n B l la a c ck k S p pi ce c e ed d Ru R u m 1 1. . 75 7 5 L . .... .. . .. .. . . .. . . .. . .. .... . .. . . .. . . 2 23 3 .9 Kr r a aken ak k e en n B l la a c ck k S p pi ce c e ed d Ru R u m 1 1. . 75 7 5 L . .... .. . .. .. . . .. . . .. . .. .... . .. . . .. . . 2 23 3 .9 Krrak aken aken en Bla lack ck Spi p cceeedd R Ruum 1. 1.7755L .......... ............... ...........23 23.9999999 C Cr r rys ys y s t ta a l He H e a ad ad-V d -V V o od d k ka a 7 50 0 ml m l . .. . . . .. . .. . ... . . .. . ... .. ... . .. . . .. . . .. . . .. . .. . .. . . .. ... . . 4 47 47.9 999999 C Cr r rys ys y s t ta a l He H e a ad ad-V d -V V o od d k ka a 7 50 0 ml m l . .. . . . .. . .. . ... . . .. . ... .. ... . .. . . .. . . .. . . .. . .. . .. . . .. ... . . 4777.9 47 .9 Crrys Cr yyssta tal H Heead-V ad-V ad Vod odka ka 7500m mll ............ .......... .... ............................ ....47.9 447.9 47 .9

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NURTURE • YOUR • CALLING

PORTRAIT BY KYU HAN / PHOTO-MONTAGE BY BRENNAN MORING

chatterbox

MASS AND THE MEDIA

Last week, Daniel Person wrote about UW professor Cliff Mass’ controversial effort to bat down what he considers over-hyping of climate change’s impact. Mass argues that by attributing too many extreme weather events to climate change, climate advocates have lost the public’s trust, and a more measured approach to the topic would yield better results. But others see Mass as encouraging those who question man’s role in rising global temperatures. Readers, too, were split. I have followed Cliff for years, but I think he is not serving the greater good. I am a Seattle native, which he is not, and I can see the effects on climate change in my lifetime of almost 50 years. The evidence is proving that climate change is undeniably real and happening much more rapidly than Cliff would like to admit. He is missing the forest through the trees. Jane boe, via seattleweekly.com

not only learning about “ I’m nutrition, I’m learning about

“Mass opposes lying to the public to get them to ‘do the right thing.’ Do you want the truth? If so, you might read his blog.” pan out in a few decades? Stan Rodnick, via seattleweekly.com WHAT DO YOU SAWANT?

Ellis E. Conklin examined Pamela Banks’ campaign to unseat Kshama Sawant in the newly created City Council District 3. Banks was considered a strong contender when she entered the race, to the delight of those unimpressed by Sawant’s activist approach to governance, but there’s plenty of doubt that she’ll make a good showing when the votes are tallied in November. Readers shared their thoughts on why.

treating people with integrity and care.

”

Ellie Freeman, MS (2013)

Create a Healthier World Degrees Include: • Naturopathic Medicine • Public Health • Acupuncture

Learn more:

Bastyr.edu/Info • 425-602-3330 Kenmore, Wash. • San Diego

There is an appetite in America for left-leaning, “populist,” pro-worker candidates and, yes, even socialists. I really hope that Pam Banks, with her exclusionary politics, “insider” politics, fails in a most emphatic way. It’s time. pattreid, via seattleweekly.com

OCTOBER 29, AT 7:30PM

UNDER THE JAZZ INFLUENCE CO-PRESENTED WITH EARSHOT JAZZ FESTIVAL

Ludovic Morlot leads this genreblending concert featuring the Seattle Symphony with renowned jazz guitarist Bill Frisell, acclaimed vocalist Shaprece and a world premiere by Wayne Horovitz. Plus, the Roosevelt High School Jazz Band and composer Derek Bermel. Media Sponsor: S E C O N D I N V E R S I O N . O R G

NOTHING LIKE IT ANYWHERE ELSE. 206.215.4747 | SEATTLE SYMPHONY.ORG

SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

The fact that Kshama Sawant had to compromise and play well with others, like with the mayor on Mass IS serving the public good. Mass opposes the $15/hour minimum wage so lying to the public to get them to that the mayor can cater to corpo“do the right thing.” Do you want Send your thoughts on rations and phase it in for them, the truth? If not, follow headlines. this week’s issue to proves she works with others. If so, you might read his blog. Ronald Hawkins, via seattle letters@seattleweekly.com Banks doesn’t know Sawant, and if she really cared about the people of weekly.com this city, she would have run for a different seat to work with Sawant instead of critiCliff Mass best exhibits what I call “climate cize all the good that Sawant has done for this city. centrism,” which believes that “both sides are too extreme” in this debate, and all we need is some Jack, via seattleweekly.com kind of happy, mutually agreeable middle ground. I have seen people kvetch about “extremists” Who gets shit done? Sawant? Not so much. She for a long, long time about many, many issues. did start the $15 campaign, and then almost There is a certain mindset that falls into the trap deep-sixed it because she did not like how it was of believing that what the world really needs is done! She has been AWOL on almost every just some great moderating leveler to remove all other issue where publicity was not the goal. the “crazies” and just let “common sense” come Stephen Schwartz, via Facebook through. Good luck with that. I’m sure in 50 years we’ll all look back and say, “Gosh, I just WE’RE SO GLAD WE HAD THIS TIME TOGETHER wish the climate-change alarmists were a little And lastly, how great was Carol Burnett, whom less shrill in their choice of headlines. Then we Gavin Borchert paid tribute to last week? wouldn’t be having this global catastrophe.” Mass is quixotic and obsessive over this. His I just wanted to thank you for two terrific storelentless and pointless focus on the content of ries over the last week on [ John] Coltrane and newspaper headlines ignores the importance Carol Burnett! Funny juxtaposition, but anyway that public attention and understanding plays in I enjoyed reading about Carol, as her show effecting political change. used to keep me laughing during not-so-happy times. I guess you had to be of a certain generaAlexandre_Rousseau, via seattleweekly.com tion, raised on entertainment that evolved from vaudeville. The story on Coltrane was so fasciHow can society plan how to deal with climate nating to read, just as a mood piece that took change if decision makers are not given the best me back to a time and place not yet forgotten. I available information? Those concerned with haven’t read another piece like that one. climate change think that hyping the impacts will get folks to “act.” But what if decision makers use Kevin Feigen, via e-mail E the hyped information to make poor (and expensive) decisions, like building reservoirs too big (or Comments have been edited for length and clarity, small)? And what happens when the hype doesn’t but not for fawning. Kevin, we’re blushing.

news&comment OLYMPIA

An Eye on Eyman

Since before he could vote, Andrew Villaneuve has been one of the antitax crusader’s most incessant critics. BY JOHN STANG

Villaneuve grew up in Redmond, the son of two

liberal teachers who loved to talk politics and civic responsibilities. Those talks sunk in early. In 2002, the Seattle Post-Intelligencer reported that Eyman had shifted to a personal account $165,000 raised for a successful campaign to limit motorvehicle excise taxes, which would have had the actual effect of trimming extra local tax money that paid for road maintenance and transit in King, Pierce, Snohomish, and Douglas counties. The state Public Disclosure Commission fined Eyman $50,000 and banned him for life from being involved in a political action committee’s financial accounts. That year, the 15-year-old Villaneuve, a teenage light-rail supporter and a co-leader of his school’s website club, got into an argument with another club leader, contending that the scandal would kill Eyman’s initiative. The ninth grader was shocked that his classmate still supported Eyman. He came to decide that no one was paying serious attention to Eyman, and that he needed to fill that role.

“For some reason, fighting Eyman was not a priority for other progressive organizations. . . . Eyman has more mentions in The Seattle Times’ archives than [House speaker] Frank Chopp or [former Senate majority leader] Lisa Brown or any other legislators. The idea that if we ignore him he will go away just doesn’t work. . . . He needed an archenemy. He needed year-round opposition,” Villaneuve says. Eyman, 49, a Washington State graduate who was a watch salesman in Mukilteo, entered the political arena in 1998 with a successful initiative to prohibit affirmative action in state government and state university hirings. In all, Eyman has proposed 21 initiatives and collected enough signatures to get 17 of them on statewide ballots. Ten have passed—with a possible 11th awaiting a vote this November. But six of the 10 initiatives that passed—mostly concerning requiring two-thirds approval of both the House and Senate to pass any tax increases—were later declared unconstitutional. Eyman’s 21st initiative on the ballot is Initiative 1366, which would require the Legislature to send a constitutional measure to the voters in 2016 requiring all tax increases to have a two-thirds majority in both the House and Senate for enactment. If the lawmakers do not launch this constitutional referendum, I-1366 will trim the state sales tax by one cent from its current 6.5 cents per dollar. This lost penny would cut $1.4 billion a year in state revenue, according to state Office of Financial Management estimates. If voters approve the measure, a probable outcome will be an appeal to the Washington Supreme Court with the argument that I-1366 should be declared unconstitutional because it puts two separate actions within one initiative—an argument that has worked in previous appeals against successful Eyman antitax measures. Villaneuve has been one of I-1366’s most outspoken opponents, penning the “con” op-ed in the Sunday Times two weeks ago. And he’s become the go-to source for reporters looking for a response to Eyman’s latest maneuvering.

Meanwhile, Eyman has raised $1.72 million for

I-1366, spending $1.37 million of that to collect signatures to get the measure on the November ballot. This year, four donors provided $840,000 of I-1366’s $1.72 million war chest. The biggest single donor is Vancouver real-estate developer Clyde Holland, whose firm’s projects total about $2.5 billion. This is the first time that Holland has been a major Eyman contributor; his donations total $540,000. Villaneuve speculates that Eyman attracted financial support this year with stories of Gov. Jay Inslee and legislative Democrats’ unsuccessful push for a capital-gains tax in 2015—with the likelihood that proposal will be revived in the 2016 legislative session. Villaneuve has criticized the due diligence of Eyman’s backers, arguing that they appear to ignore the fact that Eyman has not scored a constitutionally viable victory since 2004. And he contends that Eyman does not have the motivation to put together a constitutionally viable initiative because he gets paid simply for running a campaign. “He is in it for the money and glory. He gets a thrill out of it, and he gets paid. . . . Tim gets financial rewards at the end of the year whether he wins or not,” Villaneuve says. Those financial rewards popped up in September to haunt Eyman when a PDC report concluded that he sent $623,000 to a Maryland firm in 2012 to collect signatures for his last twothirds-majority-to-raise-taxes campaign. But the Maryland company returned $308,000 of that $623,000 to Eyman, who then spent $200,000 of the $308,000 on a separate initiative that many of his antitax donors did not support. At every step of the PDC investigation, the NPI shot out press releases and blog posts to highlight Eyman’s alleged financial irregularities. “The most dangerous place in Washington State is no longer between Tim Eyman and a television camera, it seems,” Villaneuve crowed in a recent blog post. “The notoriously brash initiative profiteer, who has in previous years been so eager to get on TV that he has crashed opponents’ press conferences, has suddenly become camera-shy, and is choosing to fire off e-mail missives from home rather than appear in public, where he might be asked uncomfortable questions.” The PDC concluded that Eyman kept $170,000 of the antitax-initiative donations for his own personal use. The PDC has asked the Washington Attorney General’s Office to consider

» CONTINUED ON PAGE 10

Fast takes from the news desk Accounts and Accountability

On Thursday, Seattle police Chief Kathleen O’Toole tried to justify to the City Council why she eased the discipline for Officer Sandra Delafuente, who, against department policy, pepper-sprayed a teacher during a peaceful march on Martin Luther King, Jr. Day. Count the teacher among those unpersuaded by the chief’s explanation. The spraying occurred on January 19, as Garfield High School teacher Jesse Hagopian was returning home after addressing thousands of Martin Luther King, Jr. Day marchers outside the federal courthouse in South Lake Union. The Office of Professional Accountability recommended a one-day suspension for Delafuente; O’Toole lowered that to an oral reprimand and some training. The reduced punishment drew fast rebuke from Hagopian and his supporters; as one Black Lives Matter lawyer put it: “Accountability looks like a lot more than just a verbal reprimand.” O’Toole justified the reduced punishment by noting that Delafuente had acknowledged her mistake, and that police command staff had failed to support Delafuente in a difficult situation. So some of the blame was on command staff. Does that mean some of the punishment went up the chain of command as well? Hardly. It’s a neat accounting trick. While shifting blame from Delafuente to her superiors, the consequences seem to have evaporated into thin air. CASEY JAYWORK

JEREMY DWYER-LINDGREN

SEATTLE WEEKLY • OCTOBER 14 — 20, 2015

f this were basketball instead of politics, Andrew Villaneuve plays a tight man-to-man defense on controversial antitax-initiative guru Tim Eyman. If Eyman says something in public, Villaneuve has a press release out within an hour to slam it. Villaneuve has studied and criticized Eyman for 13 years. He can be safely called Eyman’s arch-nemesis. In 2002, he created a political outfit called Permanent Defense as a liberal opponent of Eyman’s conservative initiative-promoting venture Permanent Offense. In 2003, Permanent Defense evolved into the Northwest Progressive Institute, a small nonprofit think tank that focuses on initiatives it supports or opposes and on various state government issues. Villaneuve says the Institute focuses on Eyman only when he is pushing one of his initiatives—which he does almost annually. But Villaneuve—a 28-year-old Redmond resident whose frumpy T-shirted appearance screams “political nerd” and “computer geek”—denies he is obsessed with Eyman. “I’m not obsessed,” he says. I am relentless.”

Villaneuve, left; Eyman, right.

MICHAEL O’LEARY/THE HERALD

LINCOLN POTTER

Despite his efforts, there’s still a lack of formal opposition to Eyman this year; opponents have raised roughly $49,000 so far, according to the Washington Public Disclosure Commission. Of that amount, $40,000 has come from teachers and state employees’ unions whose salaries and workloads would be affected by the proposed two-thirds requirement. Villaneuve’s organization does not have money to donate, but is supplying research and publicizing information for the anti-I-1366 forces.

SeattleBriefly

Exit McClendon.

It’s Not Lloyd, It’s Us

You can’t fire Edgar, obviously. But Mariners manager Lloyd McClendon, along with most of his coaching staff, got the boot on Friday. “I just didn’t feel it was a good match,” the team’s new GM, Jerry Dipoto, told MLB.com. The takeaway is clear: Dipoto has more authority than any single person in M’s franchise history. He’ll decide who plays for the Mariners, and he’ll hire a manager who’ll have them play the way he wants. The Mariners are going all-in with Dipoto. It’s a gamble. But the Mariners needed to give someone the authority to remake the organization. During the Mariners’ history, the relationship between coach and general manager has been adversarial. The GM got the best players he could within his budget, and then the coach won as many games as he could with those players. You can see how the conflict arises. Dipoto didn’t need to go through that. Even though McClendon was a successful field manager—one of only two M’s managers ever with a winning record—he’s gone because Dipoto wants his own man. For an organization that has always emphasized collaboration and the importance of multiple viewpoints, this is unprecedented. And for Dipoto it’s an unprecedented opportunity. If it goes well, it could make us all very happy. SETH KOLLOEN E news@seattleweekly.com

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Scared and Stupid An inept ploy shows how nervous Seattle developers are. BY ELLIS E. CONKLIN

ed roce s supp ll p

DANIEL PERSON

t or

come to meet with campaign volunteers. “He didn’t just ‘bump into me,’ as The Times said. He knew I’d be there,” Grant said. “He told me that he disliked [Triad cofounder John] Goodman, too. He was trying to build trust with me. And then he said he could make it [the $200,000 independent The property in question. expenditure] go away. So I said, ‘I sincerely doubt that. The guy has a $200K IE out on me,’ and Allen or the burgeoning brood of Seattle said, ‘Right, well, if we can sit down and work out residents fed up with downtown develthe legal stuff, I can make it go away.’ ” opers, the news this week that Triad Late Tuesday afternoon, Allen sent the Weekly Capital Partners appears to have offered this e-mail: a political quid pro quo to a City Council candiFirst and foremost, I want to apologize. Triad date vindicates their long-simmering suspicions is working with the City of Seattle to build a Civic that the system is rigged to protect developers’ Square that will result in $10 million to the City to property interests. be used for affordable housing. This is a great project. The Seattle Times reported Tuesday that Jon I talked with Jon Grant for the purpose of settling a Grant, engaged in a heated campaign with lawsuit against this project, nothing more . . . There Council President Tim Burgess for one of the is no independent expenditure planned against Mr. city’s two at-large seats, was told by a representaGrant’s campaign by Triad or John Goodman and I tive of development firm Triad that the company should never have mentioned it. would make certain a $200,000 independent Best, Brett. expenditure to oppose Grant would “go away” if Burgess told the Weekly on Tuesday that he Grant would contact a Tenants Union attorney has had “absolutely no involvement at all” in the he used to work with and urge him to settle a committee behind the $200,000 independent lawsuit against Triad. expenditure, a committee whose membership The revelatory story appears to be emblematic remains unclear. of the fear that Seattle developers harbor over One wouldn’t think Burgess needs the help— the specter that the City Council is veering too unless of course he’s seen some worrisome poll far to the left. Many worry that if Grant, the data—considering that the eight-year Council former head of the Tenants Union and a staunch incumbent has outraised his opponent by a advocate of rent control, is elected, he’ll likely be 6-to-1 margin, amassing, as of Oct. 12, $360,000 part of an ultra-liberal coalition on the Council to Grant’s $60,000. that includes stalwart lefties Kshama Sawant and Mike O’Brien. “The developers and chamber-of-commerce At issue is a lawsuit filed in January, with the types are terrified of the idea of losing control full support of the Tenants Union of Washof the City Council,” Grant told Seattle Weekly ington while Grant was executive director. The on Tuesday. “For them to spend $200,000 to try suit argued that Seattle city officials gave Triad and defeat me, that’s nothing to them. I think favored treatment on their $400 million Civic this whole thing symbolizes that Seattle is not Square project, and had violated city law the immune to the corruption of money in politics.” month before when they renewed a land-use perPhilip Locker, political director for Sawant, mit allowing the company to build a public plaza, who is very supportive of Grant’s candidacy, said, at a cost of $25 million, on city-owned property “This is a naked attempt at bribery and corrupbetween Third and Fourth Avenues and James tion, and underlines Sawant’s message, shared by and Cherry Streets. Jon Grant, that big money and big business have The suit was dismissed by a King County too massive an influence on city politics.” Superior Court Judge, but is being appealed. Triad has until December 31 to finalize the sale of the property or it goes back on the open market. Here’s how the story has unfolded to date: Knoll Lowney, the Seattle attorney who filed On October 7, The Stranger reported that the petition on behalf of a group called Displaced an independent-expenditure committee called Tenants for Accountability and Transparency, Seattle Needs Ethical Leaders had registered told the Weekly that much is at stake for Triad. with the Seattle Ethics and Elections Com“If the lawsuit is successful, the project will mission and—according to the group’s contact person, Jason Bennett—was to be “a pro-Burgess, stop,” Lowney said. “If Triad would go to these lengths,” the attorney added, alluding to the anti-Jon Grant” effort. The $200,000 was to be independent expenditure effort, “they must be used mostly for print advertising. Over coffee at an International District coffee- very worried that our suit will be successful.” In the middle of this political scrum is none house on Tuesday, Grant recounted to the Weekly other than former Mayor Mike McGinn, whose that on Saturday, Oct. 10, Brett Allen, senior vice urbanist group Great City once worked out of president of Triad, was waiting for him at the Victrola Café on Beacon Hill, where Grant had » CONTINUED ON PAGE 10

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news&comment Eye on Eyman » FROM PAGE 6 filing formal charges against Eyman. The Attorney General’s Office has not yet made a decision one way or another. Meanwhile, the normally publicity-loving Eyman has kept a low profile since this issue surfaced, refusing to answer questions on the matter. He did not respond to requests for comment on this story. “It’s legitimate not to like taxes. Tim wouldn’t get in as much trouble if he was honest, if he was transparent,” Villaneuve says. Villaneuve notes that after the similar scandal occurred in 2002, Eyman failed to collect enough signatures to put two 2003 proposed initiatives on

the fall ballot. He speculates that a similar scenario could occur again in 2016. But he doesn’t rule out Eyman recovering. “He has a knack of coming back. He has the nine lives of the proverbial cat,” Villaneuve says. Which means more work for Villaneuve. He says he does not get paid for his work with the Northwest Progressive Institute, nor does its small volunteer staff. He says the NPI’s annual budget is in the “tens of thousands of dollars” and is not enough to pay anyone. It has taken many years to grow from a small informational group to a legitimate nonprofit with a board. Villaneuve earns his living as a Web security expert—a subject that fascinates him as much as politics. The NPI plans over the next five years to find enough money to pay two or three full-time staff-

ers. “We don’t want to build a huge organization,” says State Rep. Gael Tarleton, D-Seattle, an NPI board member. And Villaneuve and Tarleton both stress that the NPI is not an Eyman-only venture. For years it has been involved with progressive-oriented initiatives. It researches subjects such as tax breaks; a proposal to change the state government’s budget process to treat tax breaks as expenses; and a proposal to exempt property owners from taxes on the first $200,000 of their property’s value. And it does polling and coordination for progressive groups. “He’s not obsessed with Tim Eyman,” Tarleton says of Villaneuve, echoing Villaneuve’s own comments. “He is relentless to prevent Tim Eyman from harming the state.” E

news@seattleweekly.com

Scared and Stupid » FROM PAGE 9 the same offices as Triad, which is how he got to know Brett Allen. It was Allen who asked McGinn to get a message to Grant, whom McGinn endorsed two weeks ago, telling him of Triad’s interest in having Grant help them get out from under the lawsuit. McGinn called Grant that same Saturday, following the campaign event at Beacon Hill. The Times quoted from the phone texts that Allen, who graduated with honors from Harvard, sent to McGinn. They are indeed remarkable, in a clumsy and crass kind of way, and complete with Seattleite passive-aggressiveness. “Hey Mike, it’s Brett. Any luck in getting Grant to a sit-down? I realize 100% of his focus [is] on election— but nothing else he does today could translate into as many votes. Definitely worth an hour of his time . . . Just in case I wasn’t clear yesterday: any deal would be contingent on the 200k IE going away. Please tell him that we’re sincere in our desire to get this resolved before any major damage done. We need him to show leadership. As an alternative, Grant could simply instruct his attorney . . . to accept our offer on the table (or make a counter offer). Deadline is Monday @ noon—after which certain bad things can’t be undone. Thanks again for your efforts to try to help us both! And Go Hawks!” Allen says now that this text was “inappropriate.”

SEATTLE WEEKLY • OCTOBER 14 — 20, 2015

Grant’s campaign manager, John Wyble, says

the Grant campaign is exploring various legal avenues, and may bring a complaint to the political-corruption division of the Seattle Elections Commission. Though Burgess has an enormous fundraising advantage over Grant, he is taking nothing for granted. On October 6, the day before news surfaced about the formation of the independentexpenditure committee, Burgess sent a letter imploring his supporters to help raise $35,000 by October 15 to purchase additional TV advertising (His first TV ads went up last week.) In the letter, Burgess wrote: “My opponent rails against our local businesses and me, mimicking the class-warfare rhetoric and approach of Kshama Sawant.” (Burgess and his wife Jolene have contributed $1,200 to Sawant’s opponent, Pamela Banks.) In a brief interview Tuesday, Burgess did not back off from his criticism. “My opponents clearly want to make it class warfare,” he said. Asked which opponents, Burgess cited Grant; Bill Bradburd, who is running against Lorena González for the other at-large seat; and, to a lesser extent, Democratic activist Michael Maddux, whose District 4 opponent is mass-transit advocate Rob Johnson. Burgess said he preferred that any questions about the Triad’s alleged attempt to shake down Grant be directed toward his political consultant, Christian Sinderman. “It is sad,” said Sinderman, “that at a time when there has been an historic alignment between developers and housing activists toward developing affordable housing with the ‘Grand Bargain’ and so on, that we have one bad apple [Triad] that would steal the headlines.” In the end, though, if the Triad Capital affair convinces enough voters that developers have seriously run amok, it may be Jon Grant who steals the headlines. Go Hawks! E

econklin@seattleweekly.com

DANIEL X. O’NELL

ELECTION GUIDE 2015

In the following pages, you will find an annotated guide he bums aren’t going anywhere. Neither is Ed to the faces that will soon make up this new city order: Murray. But have no doubt: City Hall is getting what’s important about them, what makes them tick, and ready for a big makeover. And our cover illustraour best guesses at who’s going to win. tion notwithstanding, we’re not talking about new hairdos. Seattle is shifting to district elections for the first time Several intriguing races bear watching closely. Look for a since 1908. Will those seven Council members elected by photo finish in West Seattle’s District 1, where Lisa Herdistrict be more accountable, more responsive? Or will we bold, who worked for almost 20 years at Licata’s legislative see our local lawmakers turned into horse traders, wheeling aide, and Shannon Braddock, an aide to King County and dealing for votes—say, a swimming pool at a Ravenna Councilmember Joe McDermott, finished in an almost flatcommunity center for a bike trail in Beacon Hill? footed tie in the primary. Both waged spirited and aggresWhile some predict the rise of parochial politics, othsive campaigns. BY SEATTLE WEEKLY STAFF ers say the consequence of district elections will increase Burgess, who was held to under 50 percent of the vote in the influence of the executive branch and give Mayor Ed the primary, is running hard and running scared for the atMurray a strengthened ability to set and implement his policy agenda. large Position 8 seat. Seattle lefties have been out for his head for years and are rallying around Grant, Back in February, when then-Councilmember Sally Clark announced that she would not seek who is pushing for renters’ rights and foreclosure protections. re-election, she told Seattle Weekly, “Ed will vastly increase his power now. The members will deal with The outcome of the contest in District 4 (U District, Roosevelt, Wedgwood, Sand Point), meantheir own district and cede the bigger vision, the bigger picture to the mayor.” while, could go a long way in determining which Council political bloc prevails: A victory by DemoWhatever the case, when the dust settles on November 3, the Seattle City Council is going to look cratic Party activist and passionate progressive Michael Maddux could fortify the far-left coalition led a lot different—much younger and potentially more liberal—than its current composition. You might by Mike O’Brien and Sawant, while a victory by Rob Johnson, the more moderate mass-transit enthuneed to buy a scorecard. Gone will be Nick Licata, Tom Rasmussen, and Jean Godden (defeated in siast, would likely strengthen the hand of the center-left bloc led by Bruce Harrell and Burgess. the August primary), who, along with Clark, account for more than 50 years of collective legislative Though the Council races are the main draw, keep in mind that two important public-policy initiaexperience. tives are also at stake. I-122 looks to curb the amount of money from corporate interests and lobbyists There will be at least four new faces—three of them women, most probably—and that number, by creating a publicly funded election system. Then there’s the city’s nine-year, $930 million transporthough the chances appear remote, could jump to six, depending on whether Urban League CEO tation levy (“Move Seattle”) on the line. Pamela Banks is able to beat feisty socialist Kshama Sawant, who’s raised a record-shattering amount Ballots were to be mailed out today, October 14, and must be returned by 8 p.m. Tuesday, Novemfor her re-election bid (more than $365,000 as of last week), and if tenants’-rights advocate Jon Grant ber 3. Remember to vote! ELLIS E. CONKLIN E manages to oust Council President Tim Burgess. news@seattleweekly.com

A LOOK AT CITY HALL’S BIG MAKEOVER.

Photo of Kshama Sawant courtesy of City of Seattle. All other candidate photos courtesy of the campaigns.

DISTRICT 1 West Seattle SHANNON BRADDOCK Mini-bio: Former King County Council

staffer, PTA mom, policy wonk.

Hashtag:

#totallybraddical Strengths: Braddock’s volunteer work has plugged her into West Seattle, and her experience as County Council staff means she knows how to play the game—er, collaborate. Weaknesses: An outsider at City Hall, Braddock knows where the water cooler is but not where the bodies are buried. Path to victory: Braddock lost to her opponent by two percentage points, sug

DISTRICT 3

gesting that this race (between candidates with nearly identical qualifications) is still up for grabs. Her favorite district hangout (according to her): Circa

pub and restaurant near Hiawatha Park.

The ideal voter in her district (according to us):

WASPy West Seattleites freaked out by the new Chipotle in the Junction neighborhood.

Seattle Times endorsement that could work against her:

“She smartly compares the recent activism against the Shell oil rig and a new King County juvenile-detention center as symbolic protests that obscure the large important issues at stake.”

LISA HERBOLD

Mini-bio: Longtime staff member of

dearly departing Council lefty Nick Licata.

Hashtag:

#rentistoohigh Strengths: Many see Herbold as an heir to Licata, who is stepping down at the end of this year. She’s had a hand in much of the progressive legislation that’s come out of City Hall in the past 17 years. Weaknesses: She’s Mr. Spock to her opponent’s Dr. McCoy: smart as hell, but not always oozing empathy. Path to victory: While she insists she’s independent, Herbold is riding the wave of progressive excitement that is

also propelling Kshama Sawant and Jon Grant. With a paper-thin lead in the primary, Herbold has her work cut out to clinch victory over her opponent. Her favorite district hangout (according to her): Endolyne Joe’s, a

surreal West Seattle diner.

The ideal voter in her district (according to us): Left-leaning West

Seattleites with a taste for confrontation.

Seattle Times criticism that could play well to voters: “Her authorship of

a council resolution asking the Legislature to lift the statewide ban on rent control suggests a strident government style.”

Central District, Capitol Hill, Madison Park, and Broadmoor

KSHAMA SAWANT Mini-bio: Software engineer-

turned-part-time community-college instructorturned-socialist. Hashtag:

#revolutionnow

of the vote in the primary, a number that will likely rise when more disaffected, rent-pricefreaked millennials turn out in November. Favorite district hangout (according to her): Saba

Strengths: The city’s

best-known politician, Sawant has assembled a veritable volunteer army to work on her behalf. The city’s fiery socialist is sticking it to The Man, and people love it. Weaknesses: She has a penchant for rubbing people the wrong way with her populist rhetoric and Trotskyist diatribes—and she doesn’t give a rat’s ass. Path to victory: She racked up 52 percent

Ethiopian Cuisine in the Central District.

The ideal voters in her district (according to us):

The guys and gals on Capitol Hill serving coffee drinks to well-off Amazonians wearing $299 Bose QuietComfort headphones. Our Beastie Boy tribute: Sa-wacha-wachawacha-want? Sa-wacha-want? (She gets so funny with the money that you flaunt.)

PAMELA BANKS

Mini-bio: Community activist, Seattle Urban League CEO, and past president for 10 years of the Seattle International Baseball League. Hashtag:

#collaborationnow

Strengths: A good-

hearted liberal with deep roots in the district, a tireless campaigner, and a woman who has dealt with issues of poverty so long that it’s hard for Sawant to label her a “corporatist.” Weaknesses: Her campaign lacks an inspiring message, besides saying she’ll be more cooperative and work better with

others than Sawant will. Come on, Pam, “inclusive leadership” is a yawner. Path to victory: Banks underperformed in the primary—but might an October surge be in the making? Favorite district hangout (according to her): Lake

Washington (“I love the outdoors”).

The ideal voters in her district (according to us): Home-

owning older married couples who tend to their lovely backyard gardens and buy their recreational marijuana at Uncle Ike’s Pot Shop at 23rd and Union. Our terrible pun: Unseating the highflying socialist? Don’t Banks on it.

DISTRICT 4 U District, Ravenna, Eastlake, and most of Wallingford ROB JOHNSON

Mini-bio: Urbanist to his core and as

wonky as Al Gore, Johnson is the longtime executive director of pro-bike, pro-mass transit nonprofit Transportation Choices Coalition.

Hashtag:

#carsare4schmucks Strengths: Wellinformed on the issues and with a very polished persona, Johnson is a doorbellringing fool who may hit every door in the district before Nov. 3. Weaknesses: He won’t stop talking about transit. Path to victory: Johnson came in first

in the primary, edging out opponent Maddux by eight points. He’s working hard to get an endorsement from defeated incumbent Jean Godden, which could tip this close race in his favor. Favorite district hangout (according to him):

Third Place Pub in Ravenna.

The ideal voters in his district (according to us): Young families sick of

getting stuck in traffic while taking their two adorable kids, Sophia and Mason, to soccer practice.

Product he could legitimately hawk on TV: Orthodontics. We want to know

his secret.

MICHAEL MADDUX

Mini-bio: Hard-charging Democratic

Party activist, Parks Levy champion, Eastlake renter, and dedicated bike commuter, seldom seen without his pant leg up.

Hashtag:

#illpokethebear Strengths: He is an engaging public speaker and extremely passionate on matters dealing with social justice for the poor, racial minorities, and the LBGT community. Wears his heart on his sleeve, which is a good thing. Weaknesses: He has a rap of being undisciplined, a loose-tongued bomb-thrower who maybe ought to dial it back a bit.

Path to victory: Maddux is crossing his

fingers that high voter turnout in the general election, attracting more deep-blue liberals, could put him over the top against his more centrist challenger. Favorite district hangout (according to him):

Changes in Wallingford.

The ideal voters in his district (according to us): The barroom regulars

shooting pool down at the Monkey Pub on Roosevelt who crave a candidate that’s straight-up and packs a punch. Editor’s Choice Award: Best districthangout answer given by any candidate, by a mile.

DISTRICT 5 North Seattle DEBORA JUAREZ

Mini-bio: Attorney who specializes in

Native tribal issues, economics wonk, and longtime North Seattle resident. Hashtag: #looknorth Strengths: Juarez has been an attorney for 28 years, served as a Superior Court judge, worked in the Governor’s Office of Indian Affairs, and even had a stint on Wall Street to develop a Tribal Finance Group, so she knows a whole lot about money, policy, and getting stuff done. Weaknesses: Some might balk at her time with Morgan Stanley, and kayaktivists won’t like her letter-of-the-law take on the Shell debacle.

DISTRICT 8

Sandy Brown by about 20 percentage points in the primary—and her in-depth knowledge of North Seattle could take her far. Favorite district hangout (according to her): Snappy

Dragon. “My kids were eating Snappy Dragon before they were off the bottle,” she says. Ideal voter in her district (according to us): Working

families in North Seattle; tribal-justice advocates; North Seattle College students grabbing takeout from Snappy Dragon. Coolest way to pay the bills: She put herself through college and law school selling fireworks.

SANDY BROWN

Mini-bio: Faith leader and social-justice

advocate; former executive director of the Church Council of Greater Seattle. Hashtag: #endhomelessnessnow Strengths: Brown co-wrote King County’s tent-city ordinance, was a founding member of the Committee to End Homelessness in King County, and helped create Initiative 594, which requires background checks for gun purchases. Weaknesses: Moving from issue-based advocacy work to the bullpen of Seattle’s city politics might seem like a big jump.

Plus, his short tenure as a District 5 resident (two years) is dwarfed by Juarez’s (25 years). Path to victory: Faint. He trailed Juarez by about 20 percentage points in the primary and needs a jolt from liberals wary of Juarez’s corporate background. Favorite district hangout (according to him): The Red

Robin in Northgate. (He’s been a loyal patron of Red Robin since college).

Ideal voter in his district (according to us): Moms for

gun control; LGBTQ church-goers; tent-city advocates.

Why we’d definitely take him hiking:

He’s an avid long-distance trekker (2,200 miles and counting) who just published a guidebook about a pilgrimage trail from Florence to Rome.

Seattle at Large

TIM BURGESS

Mini-bio: Council president and long-

time councilmember with a moderate agenda that some Seattleites call conservative. Hashtag: #imnot arepublican! Strengths: Burgess has a long history on the Council and a long list of accomplishments to back him, including some liberal catnip: Universal preschool, a gun tax, and (gasp) a few tenant protections. Weaknesses: Wearing a lighter shade of blue means that some on the Superleft want him booted. And he gave money to

DISTRICT 9

Path to victory: Juarez led opponent

John McCain’s 2000 presidential campaign. #neverforget. Path to victory: Trickier than it may seem. He led Grant in the primary by 15 percentage points, but failed to get a citywide majority. Favorite Seattle hangout (according to him): Ger-

aldine’s in Columbia City. The twice-fried French toast, he says, is to die for.

Ideal Seattle voter (according to us): Moderate Democrats;

Queen Anne homeowners; parents of preschool-age children; yuppies.

His comeback to accusations of being a “fake progressive”: “As they say, it’s the

silly season right now.”

JON GRANT

Mini-bio: Former executive director of the

Washington State Tenants Union; running in District 8 because he wants to defeat Tim Burgess. Hashtag: #realprogressive Strengths: Grant has rallied a considerable base around the hot-button issues for every #realprogressive in Seattle: rent control, affordable housing, campaign finance reform, police accountability, and the gender pay gap. Weaknesses: Running against an incumbent with plenty of corporate and main stream backing is hard. Path to victory: It depends on how many

voters for John Roderick (who got third in the primary) lean Grant.

His favorite Seattle hangout (according to him):

Jefferson Park.

His ideal Seattle voter (according to us):

Musicians trying to make rent; lefty politicos drinking drip coffee at Bauhaus.

His High School Yearbook “Most Likely” Award:

“To Succeed,” duh. He’s only 32, but has already spent years as an executive director, spurred changes in federal HUD legislation, and is now taking on an eight-year incumbent.

Seattle at Large

BILL BRADBURD

Mini-bio: So-called NIMBY activist who

combines social justice with slow growth for a peculiarly Seattleite platform. Hashtag: #neighborpower Strengths: Bradburd’s a policy geek with a preternatural grasp of the intricacies of city zoning and a long memory of how city politics work. He’s also gained the hearts and minds of those wary of condos, triplexes and up-zoning. Weaknesses: A political outsider, his preoccupation with the evils of development can smack of crank—especially running citywide. Path to victory: Daunting. Bradburd lost

the primary by a more than four-to-one ratio, and there’s scant evidence that the tide has turned since. His favorite district hangout (according to him): For music

and beer, it’s the Seamonster Lounge in Wallingford. For time with the family, it’s Leschi Beach.

The ideal voter in his district (according to us):

Grumpy homeowners freaked out by rapid development who long for the days of “old Seattle.”

Fantasy character he most closely resembles: A lovably grumpy goblin

trader and/or a high-strung Yoda.

M. LORENA GONZÁLEZ

Mini-bio: Former child laborer/social-justice lawyer and mayoral adviser who found broad appeal in Seattle. Hashtag:

#justtherightshadeofblue

Strengths: The child of

migrant farm workers, Gonzalez earned her first paycheck at age 8. Since then she’s racked up an impressive resume, from senior mayoral adviser to president emeritus of the immigrant rights group One America. Weaknesses: Impatience with “Seattle Process”—a character trait that could be crippling in the Land of a Thousand Conversations.

Path to victory: Clear. After spanking her

opponent by a more than four-to-one margin in the primary, Gonzalez would have to murder a puppy or get endorsed by a Republican to lose this race. Her favorite district hangout (according to her):

Talarico’s Pizzeria in West Seattle’s Junction neighborhood.

The ideal voter in her district (according to us): General voters

who want a general progressive who’s just generally competent and likable. Our solution to her weakness: She should take advantage of legal weed before, during, and after public meetings—call them “Joint Legislative Sessions.”

COMPOSED BY

PRODUCED BY

DIRECTED BY

BILL WHELAN

MOYA DOHERTY

JOHN McCOLGAN

THE SHOO-INS

ot to play kingmaker, or Nate Silver, over here, but three City Council incumbents are running in races in which “noncompetitive” is an understatement. Mike O’Brien, Bruce Harrell, and Sally Bagshaw all came in at least 37 points ahead of their opponents in the primary (Bagshaw beat hers by 63 points). Here’s why.

DISTRICT 2

South Seattle

BRUCE HARRELL

Elected to the City Council in 2008, Harrell has a strong hold on District 2 largely because of his status as a well-liked incumbent. He currently chairs the eclectic—yet obviously very important!—Public Safety, Civil Rights, and Technology Committee, through which he’s ushered legislation on everything from broadband access to the SPD’s hiring policies. District 2 is the city’s only majority-minority district, so his black and Japanese heritage and longtime efforts to discuss and promote racial equity come into play here. He’s won some points from liberal voters through both his longtime support of body cameras on cops and a job-assistance bill that added employment protections for people with criminal records. (He even got a begrudging endorsement from The Stranger for that one.) While Harrell’s leading opponent, Tammy Morales, has some good ideas and better intentions, she’s short on specifics, and trailed Harrell by 37 percentage points in the primary.

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DISTRICT 6

Ballard, Fremont, Greenwood

MIKE O’BRIEN

In 2013, O’Brien lost both a close ally in the mayor’s office (fellow Sierra Club alum Mike McGinn) and his place as the furthest-left member on the Council (newly elected councilmember Kshama Sawant has clearly claimed that seat). But neither development seems to have hampered the Fremont resident. He used his environmental chops to emerge as a face of opposition to the Shell Oil rig, which earned him a lot of free media exposure that played well to his eco-conscious northwest Seattle district; and he’s been a key ally of Mayor Ed Murray on affordable-housing legislation, clearly this election’s most pressing issue. Now the only thing to watch is whether O’Brien will be able to convert this momentum into a viable mayoral run, the subject of lots of scuttlebutt at City Hall. Plenty of issues could trip him up between now and then, but his council opponent, neighborhood preservationist Catherine Weatbrook, isn’t one of them. She’s running on a campaign opposing homeless encampments in Ballard and triplexes in single-family neighborhoods—each niches with their own constituencies, but nothing amounting to a winning platform.

DISTRICT 7

Downtown, Queen Anne, Magnolia

SALLY BAGSHAW

For our money, the best thing about the District 7 race was that it gave us the candidate Gus Hartmann, a software engineer who provided us this enduring quote about his fellow tech workers: “The little fuckers don’t vote” (“ ‘The Little Fuckers Don’t Vote,’ ” June 24). With Hartmann ousted in the primary (can’t say we’re surprised), incumbent Bagshaw faces Deborah Zech Artis, who managed to pull down 13 percent of the primary vote. Bagshaw is a Cessna-flying, sailboatowning Stanford University history major who hits all the right liberal notes on linkage fees to make developers ante up to keep Seattle more livable for lower-income residents—a good stance to hold considering that District 7 has a whole lot more renters than homeowners. Zech Artis’ family dates back 100 years in Seattle, but that hasn’t translated into major name recognition. She’s grabbed one endorsement this election: Humane Voters of Washington, a PAC devoted to backing candidates who support the humane treatment of animals. Incidents of animal abuse will have to rise very dramatically in the district for Zech Artis to have any chance beyond slim to none. E

news@seattleweekly.com

YOU MAKE THE LAWS!

By Daniel Person and Mara Silvers

I-1366

Blackmail the legislature into introducing a constitutional amendment on taxes.

KING COUNTY

CHARTER AMENDMENT 1

NICOLA/FLICKR

Make strong oversight of the King County Sheriff’s Office non-negotiable. As King County Councilmember Larry Phillips tells it, efforts to install strong oversight of the Sheriff ’s Office has been a tale of gains and losses. The Office of Law Enforcement Oversight was established in 2009 after years of bad press stemming from bad cops on the force.

INITIATIVE 122:

Give everybody in Seattle something called “democracy vouchers.”

This is a bit of a Rube Goldberg device to decrease the influence of money in Seattle politics. It would use a nominal property-tax levy to create a pot of money that candidates for city elections could access through “democracy vouchers,” which would be distributed to every resident in Seattle. People could then give those vouchers to candidates they support, who in turn could cash them in for real money to support their campaign. The idea is that by giving everyone a hundred bucks to pass on to candidates, the people who have lots of real money to spend on elections won’t have as outsized a voice in local politics. There’s a depressing logic at play here—that only those who donate to

Make possession of illegal endangered-species products even more illegal.

could be that, with oversight made nonnegotiable, the county executive could have to make up for it in the contract with better salary or benefits. But even that could be seen as a reasonable trade-off, since presumably those better-paid cops will be held more accountable on the job.

However, shortly after the office was created, a new contract with the police union essentially stripped it of all its powers. “It’s been a very rugged road, trying to get effective oversight for law enforcement at King County,” he says. Charter Amendment 1 would make the office and its powers part of the county’s version of the constitution, meaning that it can’t be compromised in the next round of contract negotiations. “The theory behind it is, if it is in the charter . . . that it will be very hard for any elected official to cut a deal with the police guild,” Phillips says. The downside

PROPOSITION NO.1

Don’t wait till kids are in jail to start spending money on them.

The recent Resolution for Zero Youth Detention (drafted by the people, passed by the City Council) was greeted with skepticism from a variety of angles. Some critics questioned the goal of completely eliminating youth detention (but what about those hooligans?!), while others asked for concrete proof that funds

campaigns stand to get represented at City Hall. But news this week of a developer threatening a candidate with a $200,000 super-PAC if he didn’t help grease the skids on a downtown development backs up that depressing logic. Bottom line: In the age of Citizens United, people are getting creative in getting money out of politics, even if that means putting a lot more money into it.

PROPOSITION NO. 1

Devote One. Billion. American. Dollars to transportation projects in Seattle over the next 10 years. Affordable housing is hot right now, but transportation is arguably Seattle’s defining issue—with everyone in agreement that we are not getting from point A to point B as we should be. This fact cuts both ways for Mayor Ed

Even though dealing in endangered-animal products is illegal under federal and international laws, I-1401 would give local authorities new resources to crack down on such products from circulating in Washington state. Based on the logic that cutting off the “extinction economy” will stop poaching overseas, this initiative makes it illegal to buy, sell, or trade any endangered-animal products from elephants, rhinoceroses, leopards, sharks, tigers, lions,

Murray’s nearly $1 billion transportation levy. An earlier draft of the levy put the price tag at $900 million, already dwarfing the $365 million “Bridging the Gap” levy it would replace. But at a press conference in Beacon Hill this spring, Murray explained that the levy’s price tag had been increased by $30 million after community input suggested $900 million was not enough. “It’s a rare situation for an elected official to go out with a large package and to hear ‘You’re not doing enough,’ ” Murray is quoted as saying. The levy would last nine years. But there’s also so much anger over transportation problems in Seattle that the

cheetahs, pangolins, marine turtles, or rays. As for antiques, animal products are legal only if they are over 100 years old and less than 15 percent of the animal. So who’s behind this savethe-animals guilt trip of an initiative? Paul Allen (who was accused last year of trying to smuggle giraffe bones into the country, an allegation he denies), the Humane Society, the Woodland Park Zoo, and some big-name conservation biologists. Opposed? The Legal Ivory Rights Coalition, the NRA (of course), and some animal-rights activists who say that criminalizing ivory and other poached goods only encourages the black market.

will be allocated to proactive, community-led programs to give youth support instead of punishment. It’s quite a bit harder to come up with valid opposition to King County Proposition No. 1: Best Starts for Kids, a prevention-first-based alternative to the school-to-prison pipeline. Costing King County taxpayers about $5 a month (a hell of a lot less than funding the prison-industrial complex), the Prop 1 levy is dedicated to “breaking cycles of poverty and punishment, saving money, and making sure every child can grow, learn, and thrive.” Best Starts focuses on funding prevention strategies through the following themes: early childhood support, behavioral intervention, and domestic violence prevention. Half of the levy dollars would focus on children under 5 and pregnant women. Another 10 percent would go directly to poor communities.

sheer size of the levy is seen in some curmudgeonly circles as another strike against transpo planners—a red flag of yet another Bertha-like boondoggle on the horizon. This can smack of self-defeating logic: If you hate the transportation situation now, why deny the city the money needed to fix it? Yet this argument has its own visceral appeal, one that will likely come up again when Sound Transit goes to voters next year with its own plan to fix the region’s transportation . . . at a cost of $15 billion. E

dperson@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

CITY OF SEATTLE

I-1401

MANDY GOLDBERG/FLICKR

STATEWIDE

You have to give Tim Eyman this much: Back him into a corner and he gets downright scrappy. In 2013, the state Supreme Court ruled that Eyman’s initiatives requiring a supermajority in the legislature to increase taxes were unconstitutional. So naturally he wants to change the constitution. The simplest way to do that is to have the Legislature approve a constitutional amendment (which requires a 2/3 majority vote), which then goes to the people for an up or down vote, which history suggests would pass with flying colors. The problem (for Eyman) is that the state House, controlled by Democrats, would never approve such an amendment under its own volition. So Tim added a provision to this initiative dictating that if he doesn’t get his way on the constitutional amendment, the sales tax in the state would automatically drop by a cent, costing the state an estimated $8 billion in tax revenue over the next six years. It’s blackmail, it’s probably unconstitutional itself, and knowing Eyman’s history, it will probably become law this fall.

ORAN VIRIYINCY/FLICKR

ccording to the National Conference of State Legislatures, 24 states in this union have no form of voter initiative, meaning laws there are completely controlled by elected officials. How bogus. We here in Washington are lucky enough to live in one of what we’ll call the Initiatin’ 26, and we’re always figuring out what wacky new codes we’ll be putting on the books. This year is no different. Here are the laws you can enact if you so choose this year.

GET

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With all the current talk about single-origin cof-

fees, it’s easy to lose perspective on blends. Much as winemakers in places such as Bordeaux do, roasters often excel at producing blended coffees that combine beans that complement each other to produce a superior product. Scott McMartin has seen the largest- and smallest-scale roasting productions you can imagine. While learning from famed coffee pioneer Alfred Peet in the early ’90s, he was moving up the corporate ladder at Starbucks, where at his career peak he was in charge of roasting and coordinating the purchase of 470 million pounds of coffee annually. Previous page: Jesse Nelson, founder of small local roaster Conduit Coffee Company, sits among his beans.

KYU HAN

enjoy my morning cup of joe, like the vast majority of my Seattle brothers and sisters. But I do not own an Aeropress, a Chemex, or any other scientific gadgetry that seems to have infiltrated our coffee scene in recent times. However, I do understand that the roasting process is critical to what ends up in my cup. And with a burgeoning force of more than 30 (and growing) small, local roasters in the Puget Sound area, I needed to know more about what they were doing to change the face of coffee in Seattle and beyond. In order to quench my thirst for coffee-roasting knowledge, I enlist a sherpa (or two) in the form of the Bean Box Boys, Ryan Fritzky and Matthew Berk. These tech geeks-cum-coffee entrepreneurs bring a variety of the freshest coffees, roasted right here in Seattle, to people all over the country. In the Seattle roaster scene, Berk explains, “There’s a wide spectrum in the community with respect to tradition versus innovation. Only a couple of years ago, people would say that Seattle’s a ‘very traditional’ town when it comes to appreciating dark roasts and blends—primarily for espresso-based drinks. On the other end of the spectrum you see a far less traditional, more innovative group of small-batch roasters like Slate, Velton’s, and Kuma. They roast a lot of interesting single-origin coffees with super-high quality and more of a lighter roasting profile.” I admit that on the rare occasion I go to Starbucks, I order the “Blonde Roast”—not because I’m looking for a light roast per se, but because it sounds appealing. Which makes me wonder if roasting terms are just another form of marketing. Many of Seattle’s small coffee roasters have already migrated from perceived traditional dark roasts to lighter, more vibrant roasts—one of whom is Jesse Nelson, founder (in 2011) of Conduit Coffee Company, located in a nondescript building off Westlake Avenue. “We get a lot of ‘I like Navy coffee’ people that want something thin and dark. People think that they don’t want acidic coffee, so they shy away from light roasts. But what they really don’t want is acidity in their belly. And most people like the citric-acid flavors on their palate in lighter roasts, whereas darker roasts will give them more bitterness,” he says. Fritzky from Bean Box echoes that sentiment: “I think that people are preset to say ‘I like dark, strong, bold coffees. I want your darkest coffee.’ The truth of the matter is that the darkness and strength of the coffee are opposites. When people say they want a dark roast, they are really getting less-caffeinated coffee.”

Conduit’s beans get roasted.

Now McMartin runs Fundamental Coffee Co. in SoDo, which produces small-batch roasts focusing on robust blends. He’s a self-proclaimed “dark roast guy” whose roasts focus on flavor development, savory sweetness, and richness. When I ask why he’s bucking the current roasting trend in Seattle, he explains, “The pendulum has swung so far to lighter roasts, and there’s this extremism that I believe has gone too far. There is a bit of a lost art in blending. My darkest roast is done at 355 degrees, and the result in the cup is a smoky, complex coffee with a lot of depth. It’s a blend I describe as a ‘huge beast of a coffee’ —and people want it.” He adds, “We want people to enjoy coffee and not have to be a connoisseur. It doesn’t have to be so complicated that it alienates people.” Sourcing is a personal process for McMartin. While large companies will lock in long-term contracts with big and small farms alike, small roasters like Fundamental have relationships with farmers in faraway countries who might produce only a few bags of coffee each season. “The thing that makes small-batch different is really how fast I can get my customers the freshest coffee possible,” says McMartin. When the supply chain is so enormous, it’s hard to do that. Big companies are giving their coffees a 36-week shelf life—that’s not fresh. There’s a care that is implicit with a smaller batch, and blending is done in a more intelligent way. My coffee has a shelf life of four weeks. And it’s vibrant and alive when you open that bag.” Each roaster looks for something different in sourcing. Some, like McMartin, prefer the robustness of Latin-American beans. “I focus primarily on Latin America, but I also buy

Sumatra’s and New Guinea’s,” he notes. “Ethiopian coffees are a bit overdone and relatively expensive to buy. There’s nothing wrong with them, but they are everywhere.” When it comes to the actual roasting process, each small-batch roaster has it’s own approach. “A lot of it is about the transfer of heat and evaporation of water,” Nelson says. “The process of protein-browning and caramelization and knowing where those reactions occur. There’s really a ton of trial and error, just like in traditional cooking. There are different ways to cook and knowing what you want and how to get there. Being open to change is key. I started with home roasting—learning about first and second crack, what they mean, roast profiles, etc. I bought a little roaster from Sweet Maria’s and a roasting pan, and learned from there.” While, I admit, I begin to muse about starting a roaster, Berk quickly throws a cup of cold coffee on that fantasy. “I don’t know a single roaster that has been doing it for less than three or four years that didn’t apprentice for someone that has been doing it for ages. It used to be that companies would roast because they owned cafes and wanted to increase margin.” Fritzky adds, “The current ecosystem is hypercompetitive. We see more specialization around sourcing and roasters are producing more shortterm, small lots. Kuma is an example of a roaster that will put something out for two to three weeks, and then it’s gone forever.” With that kind of here-today, gone-tomorrow atmosphere, it’s never been a better time to truly savor a quality cup of coffee. E

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I bought a single organic Bartlett pear from Whole Foods recently, after a couple weeks of bags of Gala and Fuji apples dominating our fruit bowl. I bought it because it felt right; weighted in my palm and with just a bit of give when I gently pressed its skin. I estimated it ready to eat in two days—and I was right. The pear was a bedtime snack for my daughter, and as I sliced it in the semi-darkness of the kitchen, my hands naturally pantomimed my grandmother’s as she turned a pear in a slow circle with one hand and, with a small paring knife, cut with the other—an act that looks dangerous (compared to lying the fruit down on a cutting board) but has never once injured me. Pears were my favorite fruit, and she always seemed to have them on hand. Apples are the fruit darlings of fall, but pears are its quiet, hopeful promise. A pear is more interesting to me than an apple for many reasons. For one, it coyly straddles the line between summer and fall, with its yellow skin faintly flushing golden red, its yielding flesh more similar to a peach or a berry than to a crisp apple. Its taste, too, conjures both seasons; there’s a brightness that speaks of stone fruits and citrus, and of flowers. Yet there is also the musk of autumn, which marries it with the fall baking spices as effectively as an apple or pumpkin. Its shape, too, is autumnal; almost gourd-like, rather than a perfect circular apple (excluding varieties such as Asian pear). But perhaps what makes a pear most intriguing is its secretive exterior. While the apple is straightforward, wearing its inner life on its skin, a pear can bear brown bruises and scrapes and yet, when sliced open, be a perfect, pristine white, unblemished, lacking any rot. It beckons you to trust it by smell and by touch, to take a chance on its homeliness. A well-chosen pear will rarely fail you. It will reward you with juice that drips down your chin, with flesh both soft and a tad taut, with a taste that is floral and sweet and tart all at once. A pear signals the arrival of fall without fanfare, but with its essence apparent at first whiff. You can buy a bag of apples, but I never advise doing the same with pears. They must be lightly handled and quaffed. You must trust your senses to find the keepers. A pear is a challenge. Take it. E

(10/13) Austin Kleon A Guide to Thinking Creatively

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SEATTLE WEEKLY • OCTOBER 14 — 20, 2015

Repairing America’s Broken Capitalist System

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food&drink

Marination Proliferation Super Six in Columbia City is an upgraded take on the brand’s Hawaiian/Asian fusion fare. BY NICOLE SPRINKLE

f you’re already a fan of the Marination collection (Marination Ma Kai, Marination Station, and Big Blue), you’ll probably like the latest incarnation, Super Six. Yes, this is another well-rehearsed Hawaiian/Asian comfort-food mashup with, wait for it—Pacific Northwest overtones?—but this is a slightly more upscale dining experience, as opposed to the casual lunch and dinner tacos and burritos found at the other Marination spots. Super Six is planted on a barren side street in Columbia City in a former auto-body shop. And while it’s not the only restaurant to take over a body shop (think RockCreek and Chophouse Row), it’s the first to fully capitalize on the space’s previous incarnation in its decor—and it’s super-fun (couldn’t help myself ). Inside the cavernous space, exposed wooden rafters hold up the high ceilings, while a huge black-and-white diagram of a spark plug hangs behind the bar. Old creepers (the trolleys mechanics use to lie on beneath cars) decorate walls and a collection of antique tool boxes line window ledges. Aside from a few vintage Polynesian paintings that stray from the car motif, the Marination folks have largely avoided the obvious tiki-bar style that befits the cuisine, which on the menu is broken into categories like Poke (Hawaiian sashimi), Pupus (appetizers), Vegetation, and Large Plates. It’s a given that you order at least one poke; we went with the traditional ahi tuna, which comes with slivers of sweet onion and scallion and is sprinkled with sesame and crushed macadamia nuts, beside a small bundle of ogo ( Japanese seaweed, with a surprisingly delicate flavor). It’s on the pricey side at $18 (wild shrimp or grilled mackerel poke was $12), but it was fresh, and four of us each got a few bites. While Super Six’s menu is certainly more expensive than those of its sister restaurants, it’s very reasonable considering the sizes and ingredients. For appetizers, given a choice between grilled kalbi short ribs or Hawaiian-style fried chicken wings, go with the latter. For just $9, you get about seven large wings, crispy and with the color and shine of a penny due to the coating of sweet char siu sauce (the seasoning that makes Chinese pork bright red). The ribs, in comparison, are $12 and bracingly salty. Fried oysters (three for $12) are zaftig and come with a kimchi tartar sauce and a seasoned soy sauce. We ordered them for an out-of-town guest who was keen on trying Pacific Northwest oysters, otherwise I’d have gone for a more interesting item like the Hawaiian quesadilla with country ham, jalapeño, pineapple, sharp Cheddar, cilantro, and crema. Still, I appreciate that they serve some off-theme options, like the oysters and an excellent beet salad, comprising thick slabs of cooked—not pickled—beets, small swirls of goat cheese, and several pieces of pickled cauliflower. The beets are smartly done al dente, which at first threw me until I realized that it allows their wonderfully vegetal, naturally

COURTESY OF SUPER SIX

(10/13) Town Hall Seattle and Doctors Without Borders: Global Sexual Violence Breaking the Cycle

Ahi poke

sweet flavor to unfurl and complement the cheap cut that when cooked for hours over cauliflower’s acidity. low heat yields fall-off-the-bone-tender meat. From the vegetable section, I couldn’t turn So I was surprised that here they’ve opted to down the opportunity to try the restaurant’s use the shank, which contains a lot of fibrous take on perhaps the most famous Hawaiian connective tissue. The chef also has chosen food, spam musubi, typically composed of a to slather it liberally with ssamjang, which block of rice topped with a slice of grilled makes the condiments rather obsolete. I prespam and tied together with a piece of fer a simple salting and brown-sugar nori. This version, dubbed “Disco rub on the pork, which contrasts Musubi,” layers rice over what they sweetly with the spicy, outspoken call their “signature non-meat”— sauces on the side. Bottom line: SUPER SIX some kind of hearty grain mixture 3714 S. Hudson St. If you’re a Momofuko devotee, which is battered and fried and don’t order it. Otherwise, it’s still Asian wrapped with seaweed. The result tasty and a great bargain at $21. Informal is like a really good three-inchI was bummed that the thick, rectangular veggie burger, kitchen ran out of the lilikoi chifgussied up with ginger and cilantro. fon pie (a lilikoi is a Hawaiian yelIt’s a meal unto itself, and just $4. There’s low passion fruit, and one of my favorite also a pork-belly musubi, but since I don’t care fruits). We got the fried donut instead, which to see pork belly again as long as I live, I can’t was some consolation since it came with a speak for it. wonderfully balanced lilikoi caramel sauce. Still, to make up for my disappointment, I ordered a second Royal Hawaiian cocktail: I have plenty, though, to say about the ssam, a gentle, herbal, not-too-sweet blend of gin, one of three large plates (besides salmon and a fresh pineapple, lemon, and housemade orgeat burger). First, a disclaimer: I make ssam a lot, (almond syrup). In retrospect, though, I don’t always using Momofuko’s recipe, which I find know why in the world we passed up a Super to be foolproof. Next a quick primer: Ssam is a Six on the Beach: dark rum, lemon, pineapple, traditional Korean dish of meat and rice eaten passion fruit, and Angostura bitters served in in lettuce leaves and liberally seasoned with a a whole frozen pineapple for two. Restaurant variety of condiments, traditionally kimchi and regret is a terrible thing. Don’t make my misa thick chili sauce with sesame oil, bean paste, take. E garlic, and onion called ssamjang. Momofuko’s version uses pork shoulder, a flavorful but nsprinkle@seattleweekly.com

BEER HUNTER

Berry Cider Boom Our favorites from the PNW. BY JACOB UITTI

Schilling Pomegranate Cranberry Cider (Seattle): Two

fruits come together to bring this dark-pink cider to life. Schilling’s is a mellow concoction, and tastes the most like regular ol’ (fizzy) juice than any on this list, making it supremely drinkable. It’s supersmooth despite the dry cranberry and pomegranate notes. Tieton Cherry Cider

(Yakima): This blood-mooncolored beverage is a touch sweeter than the others on this list, but that flavor is offset with a pinch of spice and cin-

Delicious... and beautiful.

namon. While it drinks easy, it clocks in at about 7 percent ABV (alcohol by volume), so be careful when you’re knocking a few back. Atlas Blackberry Cider (Bend, Ore.): The darkest of all the ciders on this list, this deep-purple concoction is überrich and carries a distinctive vitamin-C flavor, almost like one of those extrahealthy candies you had as a kid. The recipe also includes elderberries to round out its rich base, the deliciously tart Northwest blackberry. Locust Cider Dark Cherry Cider

(Woodinville): If you walk by a glass of this sitting on a table, do not be alarmed. It is not a rosé. Despite the “dark” in the name, this berry cider is a bit lighter in color and body than these others. Made with Washington cherries and Locust’s “dessert” apples, it’s a puckery blend with a kiss of sweetness, and one of the company’s most popular. Seattle Cider PNW Berry

(Seattle): Made with raspberries, blueberries, and blackberries, this robust cider is best paired with a dessert or a fabulous stinky cheese. It’s a seasonal drink, available only in summer, so remember to keep it on your radar. Apples used to make this beauty include Granny Smith, Fuji, and Red and Golden Delicious. E

beerhunter@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

ashington produces more apples than any other state—nearly two-thirds of all those grown in the U.S., in fact. As a result, this region is rich in hard ciders, and their popularity is on the rise. Part of that skyrocketing appreciation has to do with aversion to gluten (a whole other story) and a veeringaway from beers of all variety. Either way you slice it, apple cider is finding its way to more and more taps in bars and restaurants across the Pacific Northwest, with some places especially dedicated to them, like Capitol Cider on Capitol Hill, which popped up in 2013. While dozens and dozens of choice ciders are available in the region, I want to talk about one variety here: delicious, dark, and tart berry cider. In the beginning, it seemed as though the first wave of ciders was the simple apple variety, and more often than not they were overly sweet. (For the record, any drink called a “cider,” by definition, has apple in it. A “perry” is made from fermented pears.) Now brewers like Anthem, in Salem, Ore., are making hopped apple ciders, which are dry and sharp. Others, however, are brewing tart and balanced berry varieties using fruits to cut the traditionally cloying apple flavor. Here are five great berry ciders from the Pacific Northwest that you should absolutely try.

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arts&culture

COMIX25 CONVERSATION27 REVIEWS29 CALENDAR35

Sustainable

narchy

The Josephine plots a return with the opening of

Jigsaw Records.

BY DUSTY HENRY

“There were people when the Jo first shut down that said ‘You should just start another one in another spot with the same aesthetic, because anarchy is beautiful and this culture was taking care of it just fine and nothing bad ever happened,’ ” Stahl says. He sees honor in the bare-bones, DIY approach, and hopes others will continue that legacy. But for him, the history tied to The Josephine is too important to lose. As he’s gotten older with a family to think about, the financial strain and effort of running a venue became something he felt he could no longer do without the security of legal, above-ground legitimacy— though he hopes the record shop will continue the building’s legacy as a center for community. Jigsaw Records owner Chris McFarlane shares Stahl’s goal of creating a community space. He started Jigsaw in 1995 as a mail-order record label and purveyor while he was living in New England, continuing it when he moved to Seattle in 1999. His tastes lean a bit more toward the obscure, creating a similar outlet for outsiders as The Josephine did. “My goal has always been to promote and distribute small bands and labels from around the country and world that I like,” McFarlane says via e-mail, “to introduce people to bands they might not have heard otherwise.” This isn’t McFarlane’s first go at a physical shop in Ballard. Following a brief hiatus in the

SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

the Woodland Theater. It screened silent films building’s tenants wanted out of their lease. On during the Depression, banding with other busithe day Stahl and co. moved in, The Josephine nesses to give away food, clothing, and coupons officially had its first show. “Industrial bluegrass” during matinee intermissions. From there, Stahl band Caroliner Rainbow came up from San says, the building housed many hard-to-define Francisco and covered every surface of the room or “urban legend” communities before becoming with poster-sized mandala black-light paintings the base of operations for legendary cult experithat they illuminated before playing a frantic mental-rock act Sun City Girls. The band lived, brand of noise and fuzz rock. rehearsed, and recorded in the space, and also ran “It was beautiful,” Stahl says. “It was a great it as a venue under the name The Chumway to christen the place for us, for our mery, until 2007, when the band’s usage.” drummer, Charles Gocher, sucThe venue gained notoriety over cumbed to cancer. He passed away the years for its willingness to take Jigsaw Records in The Chummery’s back room, Grand Opening in bands of every genre and level With Clyde Petersen, surrounded by close friends and of popularity—and also for letJacob Jaffe, Corey Bowl, bandmates. Soon after, The ting guests smoke indoors and and others. The Josephine, Chummery was no more. bring in their own beer. 608 N.W. 65th St. Free. “As much as it looked very All ages. 11 a.m. - 8 p.m. weathered by the act of being a “The place is basically Sat., Oct. 17. show space and was very specific hallowed, I guess you’d say,” Stahl aesthetically, it was kind of a blank slate. says. “It’s important. It’s an important Anybody could go in there and kind of historical place, and it’s not the kind of take the space over and make it their own for that history that is readily accepted by the city . . . It period of time,” Stahl says. It’s this core idea that kind of comes down to the people who knew he’s hoping to preserve with the new Josephine— and loved those people to try to keep it going in even if the smoking and drinking has to go. some shape or form.” For Stahl, going legit seems to be the only Stahl had been a force in Seattle’s underoption that makes sense. He says he’s following ground scene, helping run venues like the S.S. a precedent set by the Central District’s HolMarie Antoinette on Westlake Avenue before low Earth Radio: setting as few rules as possible it too was closed. Stahl says he was tangentially while keeping their “legitimacy anchored to involved with the community at The Chumsomething that is unshakeable.” He calls it a mery via his friend Jason Glover, who worked “sustainable type of anarchy.” with the space. He alerted Stahl when the

DUSTY HENRY

n February 3, 2015, the city of Seattle closed The Josephine. The underground venue at 608 N.W. 65th St., on the literal and figurative fringes of Ballard, was a refuge for experimental music—a place where noise rockers could cover themselves in tar to express themselves or metalheads could drone out while taking long drags off their cigarettes indoors. When noise complaints from new neighbors got the venue shut down, it was an all-too-familiar feeling—another DIY space taken away, likely to be replaced by another somewhere else. However, 608 N.W. 65th St. wouldn’t die—it would reincarnate. After raising more than $10,000 through a GoFundMe campaign, The Josephine is returning—albeit in a different form. According to leaseholder and mastermind Malaki Stahl, the hope is to bring shows back to the space, but he and other Josephine show-runners are still figuring out how to make that work while complying with city codes. In the meantime, the front room is being converted into a storefront for local independent label Jigsaw Records, opening this Saturday—the first of many hopeful additions to the building. Kenneth M. Piekarski, head of Seattle label Off Tempo and freak-funk project Slashed Tires, is working out the possibility of bringing his recording studio, Weird Signals, into one of the Jo’s rooms. The Josephine is just one in a long lineage of artistic asylums at this Ballard address. The building, constructed in 1926, was originally known as

The legendary Ballard DIY haven’s front room is getting a facelift.

» CONTINUED ON PAGE 24 23

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Geist & The Sacred Ensemble play a pre-shutdown Josephine show.

’00s, he opened a Jigsaw flagship shop above Resolution Audio on Leary Way in 2010. When the economy crashed, Resolution Audio had to close its doors, and Jigsaw with it. Though he and Stahl had minimal interaction over the years, McFarlane attended and played shows at the S.S. Marie Antoinette and made his way through The Josephine a few times as well (though the smoke was a turn-off for him). On the shop’s opening day, the walls will be freshly painted and the mishmash of pianos that adorned the front room will be long gone. The shelves will be filled with vinyl records, cassettes, and CDs. McFarlane will also host the first musical acts The Josephine has seen since it closed in February. Among the in-store performers will be Your Heart Break’s Clyde Peterson, whom Stahl refers to as The Josephine ‘s “secret partner” and the main force pushing him to launch the GoFundMe campaign.

“The place is basically hallowed, I guess you’d say . . . It’s an important historical place, and it’s not the kind of history that is readily accepted by the city.”

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“It’s hard for anything to thrive without being part of a community (unless you’re some faceless corporation with a lot of money),” McFarlane writes. “People taking part and going to shows and buying records and just generally being around . . . We couldn’t really do anything successful without them!” This opening is the first step to a new era for The Josephine, but it’s going to be a long process. While the goal is always to bring back live music, Stahl worries that it will take a long time to sort out what the city’s codes and zoning will deem appropriate for the building. “The city is not famous for being real friendly for all-age venues, which is what we’re aiming to be. I don’t see an easy way forward, but I do see a way forward,” he says. In the meantime, he hopes people will carry on the DIY spirit that The Josephine has embodied. “I don’t want the scene to be holding its breath,” he adds. “I want it to open some more DIY spots, open some more basements, and keep going hard and strong, and we’ll be there as soon as we can.” E

music@seattleweekly.com

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conversation

BALLARD NOW OPEN

Utopia You Could Wear Counter-Couture curator Michael Cepress celebrates the garments of a freer time. BY BRIAN MILLER

7a – 9p Daily

o curate his first big museum show, It’s a utopianism writ small, in a tribal or comdesigner and UW instructor Michael munal sense? Cepress ventured back to an oftenThe garments are the most clear expression disparaged era before he was born. The of it. Even if you never spoke to these peobible for his exhibition of 100-plus garments and ple . . . you could simply look at them and get a artifacts is the 1974 Native Funk & Flash: An Emerg- sense of their agenda. Because clothing has that ing Folk Art, by Alexandra Jacopetti Hart, which he amazing power to speak volumes about a person’s discovered in high school. Later he befriended the lifestyle, without their needing to say a word. The California author (who attended the show’s openLove Israel Family is a great example . . . a group ing last month), and began rummaging through that truly had a holistic approach to creating a attics and trunks to find the handmade (or modiculture of their own. fied) clothes of the ’60s and ’70s that had become Yet today that back-to-the-land movement, deeply unfashionable in the decades after. What we like organic food or DIY, is labeled “authentic,” see in Counter-Couture: Fashioning Identity in a term co-opted by corporate marketers. But it’s a very honest authenticity. I don’t the American Counterculture is a revival of the optimistic old hippie spirit, of DIY think it’s a word that has too many individualism from the Whole Earth snags attached to it. Today it’s been Bellevue Catalog era, and a rejection of the logo commodified, and now it’s everyArts Museum worship and commodified style that where. A very pure and true sense 510 Bellevue Way N.E., would follow. (The show continues of authenticity—finding who you 425-519-0770, bellevuearts. at Bellevue Arts Museum, where are, being the very best you you org. $5–$10. 11 a.m.–6 p.m. Tues.–Sun. Ends Jan. 10. he’ll give a talk on November 13.) can be, and sharing it with the world—that’s a beautiful thing.

I think that “fashion” can be a bit dictatorial. You’re following a guidebook when you’re following the rules of fashion. The businesses at the top tell you what to wear. When it comes to this moment in the ’60s . . . [fashion] starts on the street and influences upward from that. I think that if there was pushback, it was against other social pressures or the Vietnam War. This is very much an antiwar exhibition. There’s some work [in the show] that is overtly antiwar. There are expressions of peace.

If baby boomers couldn’t end the war or solve other social problems, then at least they could manifest their idealism via personal style?

Absolutely. Along with the individuality of that generation, there comes this really strong quest to prove that an alternative was possible. A stepping-away from the predictable ways of doing anything, and creating an alternative in every possible aspect of your life. Escaping the city and living on the land, how to grow your own food and build your own home.

Can we connect that bygone spirit to the present day, overcome cynicism and notions of what’s fleetingly “cool”?

People are rediscovering the pleasure of knowing how to make something. It’s finding that sweet balance between the pleasure of making things and finding yourself through that process. There’s a million examples today of people doing just that—wanting to grow their own food, things like Etsy, and this new craft revival, especially here in Seattle with all the various maker fairs and the DIY movement. All the more reason why a show like this is relevant today, because we need that optimism again. These things [in the show], part of their power in today’s context is that they still carry that sense of hope and optimism. That sunniness about them is just undeniably pleasurable. You can’t help but smile when you look at the clothes in that show. If you don’t want to go so far as to create your own utopia, and everything else is completely fucked, then you might as well go and have a great time. Look the way you want to look, and listen to the music you want to listen to. E bmiller@seattleweekly.com

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reviews

VISUAL ARTS

Monet’s Argenteuil

Impressions from SAM’s visiting Impressionists show. BY BRIAN MILLER

(The Mellon banking dynasty supplied much of the contents.) Still, if you’ve never visited that museum—present renovations allow these paintAccordingly, it is possible to ings to travel—SAM offers an excellent chance appreciate the succulent glow to see some sterling canvases. Go, but don’t of Renoir’s 1876 society portrait Madame Henexpect to be bowled over. riot, all décolletage and Anne Hathaway eyes, It’s worth remembering that without actually wanting to meet the “Impressionist” was once a putwoman. There’s not a lot of character, Seattle Art down, a term of disparagement. as in his Young Woman Braiding Museum The old guard of academy-trained Her Hair, but Renoir was a mas1300 First Ave., 654-3121, French artists—so fond of grand ter of surface, not depth. seattleartmuseum.org. themes from the Bible, myth, Far preferable for me are $12–$19. 10 a.m.–5 p.m. or history—was dismissive of the crisp specificity of Manet’s Wed.–Sun. (open until impertinent Renoir, Monet, and Oysters or the interior brooding 9 p.m. Tues.) company, who emerged in the of Fantin-Latour’s Self-Portrait. Ends Jan. 10. 1860s and ’70s. The Impression(You could imagine the latter ist label wouldn’t come until later; giving way, three decades later, to even then, it served a mostly chronological Munch’s The Scream.) They’ve more subfunction—like Post-Impressionist (van Gogh, stance than the decorative scenes by Bonnard, so Gauguin, etc.), from which we also see a few like Laura Ashley pillowcase prints. The English selections here. expat Sisley is mostly insipid, at once scenic and Key to both groups—if they really are two prosaic. If I never see one of his blandscapes distinct groups—is the freshness of real, lived life. again, it’ll be too soon. Bonnard? The less said There are no great men on horseback or dying the better. Wrapping paper at best. saints. During the relatively peaceful interim Earliest in the show’s timeline (which SAM between the Industrial Revolution and World really ought to have delineated on one of its War I, these French painters turned their eye unused corridor walls, a lazy oversight), Boudin toward novel scenes of recreation, idleness, and hints at a changing France, with smokestacks pointless beauty—as ordinary as Instagram today. poking into pristine blue skies near lake scenes. They taught us nothing about history or religion, He doesn’t dare paint a gauche locomotive and what a relief that must’ve been to the new (unlike Turner), but he and his cohort were

Vollon’s Mound of Butter

direct beneficiaries of steam power. Without the railroads, how else could they have escaped sooty Paris to paint peaceful seaside and nature scenes? Still, his work is today best suited to placemats and coffee cups. Monet expresses the same dichotomy, only better; his 1872 Argenteuil manages to be both romantic and realistic. Sailboats and smokestacks exist in the same serene frame, the one necessarily the product of the other. Yacht basins, casinos, and horse tracks were the new attractions for the smart, moneyed set, who might appreciate being painted in such flattering pursuits. (In the distance, the cash register discreetly ka-chings its melody.) Everything gets better, in my book, with Cézanne. His Still Life With Milk Jug and Fruit, painted at the century’s pivot, can’t be improved upon. But then, he’s turning the corner to the Post-Impressionists. Vuillard and the “Nabi” movement come last among six chronological galleries, but that’s an evolutionary dead end. The future lies with van Gogh’s flower beds and Vollon’s butter block—color and shape starkly asserting themselves against voluptuous form. The Impressionists became the vital agents of their own undoing. E bmiller@seattleweekly.com

SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

ave you heard about the butter? Wandering ahead of the presspreview herd last month for Intimate Impressionism, the still life by the little-known Antoine Vollon was the first canvas among 68 small works that really grabbed my eye. In a sculptural heap, looking something like the Devil’s Tower in Wyoming, the yellow mass is flanked by two eggs with a wooden knife glommed onto its side. I loved it—none of the stereotypical fresh-air prettiness one associates with Impressionism, none of the rosy Renoir cheeks or sunny Pissarro country scenes. Then SAM curator Chio Ishikawa and the crowd caught up to me, and iPhones started snapping. Chio loves it! SAM loves it! Everyone loves Mound of Butter ! And the Times has already run the image. (Damn—too slow on the trigger.) For me, at least, nothing else here is terribly new or interesting. But boy, is this show pretty. Prettiness abounds. (Prettiness also prompted the current art-troll “Renoir Sucks” protest at Boston’s Museum of Fine Arts, a simple-minded, fill-in-the-blank “_________ sucks” contrarianism you could apply to any famous artist. Still, there’s a point to the provocation.) Unlike SAM’s comprehensive 2012 Gauguin exhibition, here you don’t feel the full force of an individual artist (flaws included). On tour from the National Gallery in Washington, D.C., Intimate Impressionism is an easier, greatest-hits kind of collection.

art-buying, salon-going bourgeois. Art didn’t have to be good for you! It just had to please the eye. (Imagine that same heretical notion being advanced today—pleasure for pleasure’s sake.)

NATIONAL GALLERY OF ART

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OCT 16-18 | VISITING PROGRAM

Filmed in a single uninterrupted shot, this audacious pulsepounding heist movie follows a young woman as she joins a group of rowdy thugs on a wild ride into Berlin’s criminal underbelly.

Tom Hanks stars in Steven Spielberg’s gripping tale of Cold War intrigue about a lawyer tapped by the CIA to negotiate the release of an American spy captured in Russia.

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Archie’s Betty

Filmmaker Gerald Peary searches for the real life insprations for “Archie” comics.

THU OCT 22

Exclusively in cinemas, Joanna Newsom’s new music video directed by Paul Thomas Anderson.

FINAL WEEKEND

The Decline

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OCT 19 & 21 | ENCORE SCREENINGS

Director Penelope Spheeris chronicles the late ’70s L.A. punk scene – Germs, Black Flag, X, Fear, Circle Jerks...

23rd Annual Seattle Polish Film Festival

NT Live: Hamlet

Academy Award nominee OCT 22 · SIFF Mini-Festival French Cinema Now Benedict Cumberbatch takes on

of Western Civilization: Part I

SIFF EDUCATION Crash Kids

OCT 23 · Stray Dog

the title role of Shakespeare’s great tragedy.

OCT 24 Day-long filmmaking challenge

OCT 23 · Deathgasm

TUE OCT 20 | 50TH ANNIVERSARY

Cinema Dissection

OCT 30 · The Animation Show of Shows OCT 30 · The Keeping Room

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Audrey Hepburn stars in the newly restored version of the beloved musical classic. Screens with bonus making-of featurette.

OCT 31 | Night of the Living Dead

Thanksgiving Filmmaking Camp NOV 23 - 25 | Ages 9 - 13

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From Trust to Dawn Why Sebastian Schipper’s continuous, one-take thriller Victoria is the first necessary movie of the year. BY BRIAN MILLER

simply hid the changing camera reels behind furniture. Here and in those prior examples, it must be said, the continuous action is best suited to crime thrillers—which Victoria, after an hour, turns out to be. The movie pushes relentlessly forward on a journey that, after 138 minutes, must end in some sort of catharsis. Whether that means laughter or tears we can only guess. Until that point, however, Victoria could almost be an overnight romance (Before Sunrise comes to mind). Back at her cafe, shy Victoria finally reveals to Sonne what she’s done with the past 16 years of her life, giving a violent impromptu Liszt recital that leaves him palpably stunned. He’s underestimated this girl, as have we. And later, when guns and gangsters appear, Sonne is gripped with guilt for having roped innocent Victoria along for their escapade. The movie’s tone turns darker just as day breaks; the nocturnal spell is broken. Roles are reversed: Victoria becomes the leader as Sonne turns weak and indecisive. Costa navigates the movie’s wrenching emotional turns with aplomb. Trepidation gives way to giddiness, and romance to fear. (Our gang doing lines of coke only intensifies the jagged mood.) Yet every performance cue is met, from intimate confessions to a panicked chase from the cops. Costa is brilliant in the role, both tremulous and steely, with Lau providing the steady bass line to her solos. Fickle Sonne grows ever more serious and finally remorseful. When he yells “How stupid are you?” at a cowering family, he’s really talking to himself. For both, true character emerges during this long night of the soul. If you love cinema, make a date with Victoria. E

bmiller@seattleweekly.com

P The Forbidden Room

Welcome Back (Way Back) to the Maddinverse!

In a recent Film Comment interview, the madcap Canadian filmmaker Guy Maddin describes the different movie genres he’s re-creating in The Forbidden Room. There’s the “virgin sacrifice volcano movie,” a submarine picture, a Western, the “Japanese shamed-father genre,” and of course “a lot of different vampire films, because they’re radically different from culture to culture.” Even this sampling—there are more—doesn’t hint at

SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

ceeded on the third budgeted try of three, each he would be easy to miss. Just like a theatrical performance.) The basic story another gastarbeiter in Berlin, meek is familiar, and I’ll be vague for those who and mousy, doesn’t even speak the haven’t read the early New York and festival language, paid a few euros per hour raves. But we start knowing nothing to make coffee and sandwiches in a about Victoria, fear the worst about touristy cafe. Yet Victoria, played by Sonne’s crew, and have no idea the astonishing Spanish discovery where the night will lead. That Laia Costa, is a girl worth noticVictoria our heroine is up for shoplifting, ing. A millennial whose strict Opens Fri., Oct. 16 at SIFF rooftop brews, and Sonne’s affecMadrid upbringing will later be Cinema Egyptian. tions marks her as a free spirit, explained, she first appears as a Not rated. 138 minutes. a rebel, possibly with a selfclubgoer on the prowl, in search destructive streak. (On the roof, of an adventure. The focus is to Sonne’s alarm, she’s inexorably druggy and soft when she materialdrawn to the parapet.) izes on the dance floor. She drinks too Sonne tells Victoria, “I’ll show you our much, flirts with the bartender—in English, world,” but what is that world? His pals are as is about half the dialogue here—then concheerful, typical louts: Boxer (ex-con), Blinker nects with four dumb but possibly dangerous (hyperactive), and Fuss (sleepy, like the Disney German dudes too unfashionable to be admitdwarf ). Yet Victoria is swept along with their ted to the club. energy, as we are. One of the movie’s running Sonne (Frederick Lau) is the charmer of jokes is that she keeps trying to say good-bye the rowdy group—drunkenly celebrating a (she’s got to open the cafe in the morning), birthday, they say, or possibly numbing thembut keeps getting lured back into the fun— selves for the near repayment of a debt. (One until the fun gives way to something entirely of their number, it will emerge, is freshly out different. of prison.) Victoria meets them around 4:30 in the morning, that murky point when looming hangovers and daytime responsibilities can None of these urgent questions, this terrible, yield to the determination to party to dawn. seamless suspense, would be possible without She has a job (the cafe), while Sonne and his the movie’s audacious technique. The nonstop bros offer more beer, more laughs, some cheerfilming device becomes the movie’s engine, its ful trespassing, and a ride in a minivan that source of momentum. Victoria’s uncertainty most certainly doesn’t belong to them. about the night’s outcome is ours, too. (Sturla Why the hell does Victoria go along with Brandth Grøvlen is the heroic cinematograthem? Victoria director Sebastian Schipper, pher.) We’ve seen this single-take approach before, from Russian Ark’s dreamy musing on who once acted in the kindred Run Lola Run, art history to the Colombian PVC-1’s chaotic devised a 12-page outline with two co-writers, hostage drama. Birdman used CGI stitching to then gave his cast the freedom to improvise suggest the same effect, and Hitchcock’s Rope during each 138-minute live take. (They suc-

Bridge of Spies feels like two movies laid endto-end, but both are so deftly handled that the divide hardly matters. The movie’s two faces also give director Steven Spielberg a chance to explore his dual interests: using history to comment on the present day, and executing oldschool suspense. The first section is the true saga of a New York lawyer, James B. Donovan (Tom Hanks), who was plucked from his profitable private practice to defend a Soviet spy, Rudolf Abel (Mark Rylance), in the late 1950s. Abel is obviously guilty of espionage—but not, as Donovan carefully points out, of treason—but what pricks Spielberg’s interest is the way Donovan is ostracized for performing a constitutional task. The Cold War lust to nail a Commie rat, and the contempt rained down on anyone who suggests that we ought to stick to American founding principles while nailing said rat, have an easy parallel in 21st-century history. Yes, sometimes Spielberg (working from the screenplay by Matt Charman and the Coen brothers) gets a little Voice of America on us, which would be grating if his moviemaking skills weren’t so thrillingly on-point here. The second part of the picture is Donovan’s unexpected role, a few years later, in negotiating a trade: Abel for Francis Gary Powers (Austin Stowell), the U.S. pilot shot down over Russia in 1960 while spying from his U-2 plane. This section is all snowy East Berlin alleys and tense meetings in unheated rooms—exactly Spielberg’s cup of borscht. Nicely complicating the situation is the way Abel, the enemy, comes to be a sympathetic figure. The British stage giant Rylance (Wolf Hall ) gives a marvelously detailed performance as the kind of guy Spielberg appreciates— a schlub doing his job. The director’s casting prowess is watertight, with every tiny role evocatively filled. The excellent Amy Ryan is underused as Donovan’s wife, but she sure looks the part; the rest of the roster is crowded with unfamiliar faces who precisely embody CIA agents or mid-level German functionaries of the late Eisenhower era. The frozen peas ’n’ carrots dished up for evening dinner, the way the men’s suit jackets hang a little loose around the middle—the film’s world rings true even if you don’t remember these things firsthand. (Clearly, Spielberg should’ve directed a Mad Men episode.) Even if it is two movies squashed into one, Bridge of Spies is an exemplary throwback. (Sundance, Majestic Bay, SIFF Cinema Uptown, Pacific Place, Oak Tree, Lincoln Square, others. Rated PG-13. 142 minutes.) ROBERT HORTON

» CONTINUED ON PAGE 32 31

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this gleeful mishmash, which presents a series of fever-dream glimpses of Maddin’s imagined world of old movies. This thing is either for straight-up surrealists or fans of long-gone movie styles. That’s a narrow margin, but within it, Maddin thrives. As in previous films like Careful and The Saddest Music in the World, Maddin makes his material resemble antique film footage, rescued from the floor of some poorly maintained storage vault. Co-directing with Evan Johnson, Maddin flits from one scenario to the next, eventually nesting the various stories inside one another. Or sometimes not. The onscreen silent-movie intertitles are gloriously exact reproductions of the typography and language of distant eras, with some laugh-out-loud flourishes. The scenes themselves are lovingly close to their original genres, until they run off the rails. When the trapped sailors in the submarine must conserve oxygen, they utilize the air pockets found within pancakes. The lumberman who stumbles into the rituals of an ancient tribe is challenged to tests of prowess that include finger-snapping and “offal-piling.” Two men turn into blackened bananas in the middle of a sequence. And yet they keep speaking. Maddin made the film in Paris and Montreal in front of live audiences, for some reason. (The Paris material was shot by Seattle cinematographer Ben Kasulke.) Some recognizable people briefly float by, such as Charlotte Rampling and Mathieu Amalric. Plus, there’s arthouse mainstay Udo Kier in a variety of roles; he also croons a song, which I assume is called “Another Derriere,” about a man obsessed with bottoms. The only rap I can make against this daft exercise is that two hours is a long time to navigate the Maddinverse. Evidently the film inspired many walkouts when it showed at Sundance earlier this year, and I guess I can see why. A movie that detours into the dreams of a dead man’s mustache is surely not for everyone. (Northwest Film Forum. Not rated. 130 minutes.) ROBERT HORTON

P Mississippi Grind

Ben Mendelsohn Comes Up Aces

SEATTLE WEEKLY • OCTOBER 14 — 20, 2015

Two Ways To Save At Sundance Seattle

Monday is $6 ORCA Day Show Your Orca Card and ALL Seats are $6 ($7.50 for 3D).

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MISSISSIPPI GRIND SICARIO THE INTERN TRAINWRECK

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THE WALK in 2D / 3D

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Even in our small world, a great actor can be hidden from mainstream view by geography. When the 2010 Aussie crime picture Animal Kingdom banged out from Down Under, it boosted a group of veteran performers—Jacki Weaver and Joel Edgerton among them—onto Hollywood short lists. The big revelation was a slightly built actor with a weak chin, one Ben Mendelsohn, who burned a hole in the screen as a frightening psycho. Mendelsohn was over 40 and well-traveled when that film came out; he’s grabbed visible roles in high-profile movies (The Dark Knight Rises) and TV (Bloodline) since. But Mississippi Grind is the performance that erases any doubt that Mendelsohn is one of the most exciting people on screen these days. When his character, Gerry, introduces himself, it’s to note that his name is spelled with a G, “like Gerald Ford”—as though to confirm his status as a second-rater. Gerry is a gambler, which is to say he is a loser. A deadbeat dad, in serious hock to bad people (unexpectedly but splendidly embodied in a single-scene turn by Alfre Woodard), Gerry needs a miracle. He thinks he spots one in a confident stranger, Curtis (Ryan Reynolds), who seems to bring good

KINO LORBER

» FROM PAGE 31

Maddin’s “Brain Island” segment.

luck. They’ll travel down the Mississippi, and Gerry will try to win enough along the way to enter a high-stakes poker game in New Orleans. It won’t be that simple, as writer/directors Anna Boden and Ryan Fleck know all too well. This is by far their best film since Half Nelson, full of seedy atmosphere, neon-lit sadness, and blues music. There’s also a nod to Robert Altman’s California Split (1974), a near-classic buddy gambling picture. Like that film, this one has as firm a grasp of male friendship as it does of the mania of laying a bet. Mendelsohn strikes up a lively rapport with Reynolds, a sometimes facile actor who really gets in the groove here. (Curtis is just as mixedup as Gerry.) The movie’s sentimental tendencies, such as the pair of escorts the boys relax with in St. Louis, are colored in by quirky touches—in that case by the bittersweet performances of Analeigh Tipton and Sienna Miller. Above all, the movie offers the electric snap of an actor stretching out in his full powers. Ben Mendelsohn just went all in. (Sundance. Rated R. 108 minutes.) ROBERT HORTON

Steve Jobs Failure to Launch

There is so much talent behind this oddly structured dud: Oscar winners Aaron Sorkin (script) and Danny Boyle (director), plus the title role’s Michael Fassbender, who’ll one day earn a statuette (though not for this). So why doesn’t the highly anticipated movie work? In part because the market is so glutted: the recent Alex Gibney doc, the Mike Daisey monologue, and several books (Walter Isaacson’s 2011 biography is the credited source here). And the sheer success of Apple—the world’s most valuable brand—means that the posthumous gospel of St. Steve and his gadgets is daily pounded into our heads (or pockets). Everyone loves the devices, yet we’re now coming into a fuller portrait of the selfish megalomaniac who created—or claimed credit for creating—the closed and interdependent Apple-sphere. It’s easy to absolve an asshole after he’s gone, but would Jobs be so forgiving of this unwieldy film? I don’t think so. Steve Jobs gives Steve Jobs three chances to make amends and treat people decently. Sorkin, of The West Wing and The Social Network, has written a deliberately repetitive tripartite study in karma: the frantic backstage drama before

product launches in 1984 (Mac), ’88 (NeXT whatever yawn), and ’98 (candy-colored iMac). All the same figures recur, beseeching King Steve for favors. He knows the value of his time (scant) and good graces (even slimmer), and doles them out accordingly. He lords his status over others, even in the amusing middle chapter when it emerges that the emperor is wearing no clothes. This perfectionist’s delay is a strategy, only NeXT’s investors won’t be laughing. Inevitably, per Hollywood formula, our prickly egotist will grow and mature. (Cue the adorable bastard daughter, played by three young actresses over the years.) And somehow through that learning process, we’ll warm to him—see the human core behind his imperious armor. Again and again, our hero will be presented with the opportunity to correct past mistakes. It’s a great idea for a movie, and that movie was Groundhog Day. Boyle (Slumdog Millionaire, Trainspotting) first embraces Sorkin’s cloistered conceit—we’re not leaving the lab until we get it right!—until he, or his editors, begin to realize it’s a fatal system error. Suddenly, in chapter two, graphics are beamed onto the walls to illustrate Jobs’ grand speeches. Flashbacks—all more interesting than the present context—flood in. Bizarrely, in profiling such an outspoken futurist, the film keeps ransacking the past for Rosebuds; it’s the same sin Jobs damns in Steve Wozniak, who can’t let go of his beloved Apple II. Each chapter loops back to the last, ouroboros-style, as though we can’t remember what came before. Jobs may have the ability to compartmentalize or trash certain memory files, but not us. Kate Winslet, as Jobs’ long-suffering marketing chief, fares the best here. (Her ’80s eyeglasses took me back to Tootsie.) Casting Seth Rogen as the cuddly/wounded Woz is rather too easy, though effective. Sorkin’s universe is one of smart people trampling on one another’s feelings in pursuit of excellence, then finally accepting—if not quite forgiving—their differences. Jobs in theory should fit right in. His essential mantra: Love my products, not me. But this shiny, mediocre movie only succeeds in proving the wisdom of Pepsi-to-Apple CEO John Sculley ( Jeff Daniels): Nothing sells like sugar. (Pacific Place, Lincoln Square. Expands Fri., Oct. 23. Rated R. 122 minutes.) BRIAN MILLER E

film@seattleweekly.com

THEATER Works by Nørgaard, Beethoven and Schnittke

The Chosen Shrew

A secular-religious rift divides the mourners of Bad Jews. Did we mention it’s a comedy?

BY MARGARET FRIEDMAN

NOV 4

Meany Hall | 206-543-4880 | uwworldseries.org

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SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

n exploring the pros and cons of Jews’ adhesion to their “tribe,” Joshua Harmon’s 2012 comedy skewers the smug sanctimony of insider-ism while also gently celebrating its comforts. Yes, the characters in Bad Jews are mostly Jews; and yes, the one who’s guilting everyone else about their insufficient Judaism is a lying, sneaking, manipulative Daphna (Kasabyan) overshadows everyone, harpy of a rabbiincluding Melody (Corcoran), at rear. to-be. (She’s described by the playwright as “two-thirds body, Unlike most playwrights of his generation, one-third hair.”) But at its core this is a canny Harmon knows how to sustain a scene without play about family, minority dynamics, inclusion, cutting to black whenever the tension rises. exclusion, and what (and who) defines a “true” He also writes very funny dialogue and situamember, regardless of which tribe. Oh, and it’s tions. Directed by Shana Bestock, this young hilarious. And, by the end, strangely moving. and unfamiliar (to me) cast mines the script’s The flamboyant central character— humor—and its requisite quotient of seriousness. 22-year-old Daphna Feygenbaum, Even so, the lines come a little more slowly played by Anna Kasabyan with and deliberately than needed, a bit overSeattle luxuriant vulgarity (and hair worarticulated. Still, it beats mumblecore. Public Theatre thy of Louis XIV in a lightning And in the central contest, Kasabyan 7312 West Green Lake storm)—is a piece-of-work antiand Bond summon the chops to Dr. N., 524-1300, heroine. Kasabyan’s pugnacious deliver the most mutually withering $17–$34. 7:30 p.m. slouch, Bronx-tough patois, and indictments. In comedic terms, they Thurs.–Sat., 2 p.m. Sun. vicious takedowns sear into the killed. (Corcoran also gets a chance Ends Oct. 25. imagination. Harmon gives her to kill, albeit with song.) darts to speak, and she dips them in Well-camouflaged as an outrageous unctuous poison. Nonetheless, it’s hard family comedy, Bad Jews is ultimately a medinot to pity Daphna, who rejected her given name tation on group identity versus individualism. It’s of Diana for being insufficiently Jewish. There’s a hot topic in current theater, the most notable pathos as well as pique in her desperation to example being Ayad Akhtar’s Pulitzer-winning corral the chosen. Disgraced (2013), about a secular Muslim feeling In this 90-minute one-act, Daphna and her the undertow of Islamic tradition. (It comes to secular Jewish cousin Liam will battle for posthe Rep this winter; buy your tickets early.) session of a religious pendant called a chai. It was For his ingenious finale, Harmon arranges owned by their grandfather, Poppy, whose funeral those two warring notions—Daphna’s privilegeprecedes the opening curtain. Daphna is staying guarding cultural absolutism versus Liam’s with Liam’s younger brother Jonah (Ben Phillips) assimilationism—right at the chai-line of scrimat the costly Upper West Side studio his parents mage. (And there is literally a scrimmage.) It’s bought him—just a short umbilical cord’s length almost impossible not to side with the politidown the hall from their own place. Daphna cally correct Liam for 95 percent of Bad Jews, immediately bullies the conflict-averse Jonah, who since Daphna is so obstreperously off-putting in Phillips’ interpretation is so meek and slow as to about her faith. But that final 5 percent reveals appear stoned. Daphna, we soon realize, is buildunexpected nuances among the play’s less vocal ing a case that she is the most ideologically and characters. Like all good Talmudic midrash, that culturally deserving specimen of Judaism in the 5 percent throws everything back into question. family, in order to get Poppy’s chai. Unfortunately, And some advice about that finale: The tiny tradition suggests the keepsake goes to the oldest stage is cramped further with an archipelago of boy, Liam (Ian Bond), who missed the funeral mattresses, and the final scrimmage occurs close while skiing at Aspen with shiksa girlfriend Melto the floor; so book a seat in the middle to see ody (adorable Molli Corcoran). When they arrive details that are easy to miss. E in Daphna’s crosshairs, the battle royale begins. stage@seattleweekly.com

EARSHOT

JAZZ FESTIVAL

Seattle’s Jazz Festival October 9 – November 18

EVENTS THIS WEEK:

THURSDAY, OCTOBER 15 MEANY STUDIO THEATER, 7:30PM

Ted Poor Quartet / Gregg Belisle- Chi

The newest UW jazz professor is joined by first-call New York musicians and a student ensemble. (Presented by UW School of Music.) FRIDAY, OCTOBER 16 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM

Edmar Castañeda / Jovino Santos Neto Rare solo sets by the amazing Colombian harpist and Seattle’s brilliant Brazilian pianist.

FRIDAY, OCTOBER 16 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Kareem Kandi Trio

Steaming, blues-drenched B-3 jazz with Delvon Lamarr and Adam Kessler. SATURDAY, OCTOBER 17 TULA’S RESTAURANT AND JAZZ CLUB, 7:30PM

Mark Taylor & Dawn Clement Group Sure proof that Seattle jazz outshines most American cities. SATURDAY, OCTOBER 17 TOWN HALL SEATTLE, 8PM

Charles Lloyd, Wild Man Dance

Another riveting séance – brilliant and transcendent – as Gerald Clayton, Kendrick Scott, & Reuben Rogers help the master bring the jazz tradition deeper into the mystical. SUNDAY, OCTOBER 18 SEATTLE ART MUSEUM, PLESTCHEEFF AUDITORIUM, 8PM

Myra Melford’s Snowy Egret

The singular pianist with towering talents: Ron Miles, Liberty Ellman, Stomu Takeishi, and Tyshawn Sorey. MONDAY, OCTOBER 19 PONCHO CONCERT HALL, CORNISH COLLEGE OF THE ARTS, 8PM

Kris Davis Trio

The darkly energetic and nuanced pianist with her new trio of Tom Rainey and John Hébert. TUESDAY, OCTOBER 20 ROYAL ROOM, 7:30PM

The Big Band Music of George Stone

One of the premier jazz composers with 17 of Seattle’s finest jazz musicians. WEDNESDAY, OCTOBER 21 CHAPEL PERFORMANCE SPACE, 8PM

Gary Stroutsos: Tribute to Paul Horn

A tribute to the Taj Mahal suite, inside in the pristine acoustics of the Chapel. THURSDAY, OCTOBER 22 NECTAR LOUNGE, 8:30PM (DOORS OPEN 8PM)

Pedrito Martinez Quartet / Picoso

FRIDAY, OCTOBER 23 ROYAL ROOM, 8PM

Seales Brothers Band

A festival-only throwdown w/ Marc and Jesse Seales, Tom Marriott, Moyes Lucas Jr., and Evan Flory-Barnes.

COMING UP...

Tomeka Reid, Nicole Mitchell, Mike Reed, Frank Catalano Quartet, Being John McLaughlin, Julian Priester 80th Birthday Celebration, The Westerlies / Skerik, Jessica Lurie Ensemble, Monktail Creative Music Concern 15th Anniversary, Nate Wooley & Paul Lytton, Chano Domínguez Trio, Mimi Fox and many more...

More than 50 events in venues all around Seattle Buy tickets at www.earshot.org & 206-547-6763

A Drowning Gothic Space Geisha The head-turning Nightspace can perform like no other, but on record, there’s still work to do. BY KELTON SEARS

ountless performers assume that by virtue of being onstage, people will watch them. Strum some chords and make enough of those scrunched-up “feeling-it” facial expressions, and ta-da! You’ll sell out clubs in no time! In reality, nothing is more disrespectful to an audience than showing up with your guitar and just standing there. I don’t care how cool you are—looking like you are about to fall asleep onstage is not cool. Even anti-pop god Kurt Cobain knew you had to sell your songs—the guy would at least jump around, and sometimes he even put on a nice dress. But for some reason, especially in Seattle, that pervasive “I am performer—worship me while I stand here” attitude still prevails. You don’t need MÖtley Crüe pyrotechnics and spinning drum risers, but if you want people’s attention, you do have to sweat a little. Seattle, then, should be very thankful for 20-year-old Bailey Skye, who unquestionably sweats his ass off at all his solo performances as Nightspace. Hailing from the Microsoft and Nintendo stronghold of Redmond, Skye has been generating deserved buzz in town by writhing and voguing through crowds dressed up like a gothic space geisha, squealing like a possessed child along the way. Propelled by Crystal Castles-indebted dark electronica, the bedroom butoh of Nightspace has certainly captured people’s attention, whether at his notable 2015 Sound Off performance at the EMP or in the murky depths of downtown dance club Kremwerk. As Skye previously told Seattle Weekly, he too is tired of lackluster live shows, especially coming from the electronic world—one that often presents “people with their computer, just standing there. It’s not as much of a performance, and you’re just listening to this recording that they made, like, a week before or a few months before.” That said, divorced from its performative context, listening to Nightspace’s debut Untrue EP (out this Friday on Flat Field Records) is something of a let-down. Without the agender Klaus Nomi pageantry staring you in the face, the songs Skye so effortlessly slithers on top of in person get lost in a shapeless mush on record. The spontaneous banshee wails that punctuate Nightspace’s

live set sound messy and loose on “Sacrifice,” mired in a reverb- and distortion-drenched bog. “Mean Kids” drowns under its own weight, Skye’s vocal melodies gasping for air beneath crushing washes of moody synth. Plenty of dark-leaning acts, whether electronic, noise, or metal, have found ways to wield suffocating atmospheres to their benefit—but for an act as serpentine and athletic as Nightspace, that uncontrolled menace overwhelms Skye’s very controlled artistic identity. When the record does give itself some room to breathe on “Untrue,” things start to look up. Buoyed by a creepy, languid synth line and Skye’s whispered sighs, Nightspace’s character—the tortured, glamorous, glow-in-the-dark creature slinking beneath your bed at night—starts to come to life. The odd cat meows that dot the tune and the breathy weightlessness are all pitchperfect and synchronous with the Nightspace Skye presents in person. Tellingly, that might be because it’s the only song on the album Skye produced a music video for. In the delightfully DIY clip, he drowns in a tub of blue milk like a mutant Ophelia, cradles a pink flamingo surrounded by bedsheet ghosts, drips blood down his back dressed as a frightening nun, and robotically makes out with a partner who, like him, has a head swaddled in bandages. “Untrue” is proof that Skye, when thinking visually, can still deliver the goods on record. If Nightspace ever releases a Beyoncé-style visual album, tumblr will collectively swoon. But until then, Nighstpace, while full of future promise, still has plenty of room to grow—and at age 20, Skye’s songwriting chops have lots of time to rise to the level of his preternatural performance skills. Whose first EP was ever solid gold anyway? E BRADY HARVEY

SEATTLE WEEKLY • OCTOBER 14 — 20, 2015

High-octane Cuban percussion with hip-hop and jazzgroove sensibilities.

MUSIC

ksears@seattleweekly.com

calendar

PICKLIST

OCTOBER 14

Wednesday In May, our now-famous kayactivists mobbed the gigantic Shell oil rig near Harbor Island, using their flotilla to protest Arctic drilling. Last month, owing to falling international prices, Shell abandoned the $7 billion project. Safe to say, liberal Seattle feels pretty smug about both developments, and our carbon-conscious city has long been a favorite stop for Klein, appearing tomorrow at Town Hall’s sold-out celebration of The Nation and tonight for this screening of This Changes Everything, based on her recent climate-change book. With director Avi Lewis also in attendance, the doc promises to pair Klein’s savvy research with stirring testimony from the regions most impacted by climate change— many of them communities of color in the global south. Klein, of Shock Doctrine and No Logo, is always a fierce critic of the destructive nature of global capitalism; and therein lies the problem for us Prius-driving, organic-kale-eating fans. It’s easy to oppose fossil fuels and support green energy in theory, harder to divorce ourselves from the market. Klein’s book (and companion movie) force a reality check. Thus I plan on seeing This Changes Everything with the slightly masochistic hope of being made to feel uncomfortable and called to think more critically about how living in a capitalistic system inherently causes environmental degradation. Pass me a compostable container full of organic popcorn, please. SIFF Cinema Uptown, 511

Queen Anne Ave. N., 324-9996, siff.net. $10–$15. 7:30 p.m. MARA SILVERS

OCTOBER 15

Thursday Emily Johnson

ontheboards.org. $25. 8 p.m. SANDRA KURTZ

Seattle South Asian Film Festival

Now 10 years old, SSAFF is celebrating its tin anniversary with 32 feature films and 27 shorts unspooling over 10 days. Director visits, forums, and various panels are part of the fest, which this year carries the theme “Coming Home.” Topics among the features and docs include women’s rights, immigration, and social justice. Nine countries will be represented, including Bangladesh, India, Nepal, Bhutan, Pakistan, and Sri Lanka. The openingnight gala title is the Indian dramedy For Here or to Go?, about a Silicon Valley tech worker (Ali Faizal, expected to attend the fest with director Rucha Humnabadkar) trying to extend his visa, survive the

We can’t get AlunaGeorge out of our head.

Great Recession, and find love. The festival runs through October 25 at venues including SIFF Film Center, Northwest Film Forum, and Renton’s Roxy Cinema and Carco Theater. (Most tickets $12; $50–$150 for passes.) Pacific Place, 600 Pine St., tasveer.org. $35–$45. 7 p.m. SCOTT JOHNSON

OCTOBER 16

Friday

Sara Bareilles

Over a million records sold, hit singles galore, and international acclaim: Her track record is both straightforward yet daunting to the average fan. How can we relate to such a star? But Bareilles offers a surprisingly organic and approachable life story in Like Me: My Life (so far) in Song (Simon & Schuster, $28). In eight chapters inspired by eight thematic songs, she documents a journey from California childhood to global fame. Her worthwhile book includes personal memories and lettersto-self, expressing limitless vulnerability. Most refreshing, perhaps, is Bareilles’ refusal to be anyone but herself. She doesn’t overstate or understate her struggles or successes, but simply tells her most salient stories honestly. It is the simple but profound issues that Bareilles puts center stage: self-esteem, self-image, love, heartbreak, loneliness, and growth. Whether or not you’ve listened to every album or tracked every tweet, Bareilles’ book is thoughtprovoking, sweet, and often raw. As she writes, “Life is staggering, and all we can do is our best.” Elliott

Bay Book Co., 1521 10th Ave., 624-6600, elliott baybook.com. Free. 6 p.m. MARA SILVERS

OCTOBER 17

Saturday All Monsters Attack!

Run for the hills, or the Grand Illusion, because the monsters are coming! The annual fright- and creature-fest continues tonight with 1984’s very influential A Nightmare on Elm Street by the recently departed horror-master Wes Craven.

( Johnny Depp, that obscure character actor now in Black Mass, also has a small role.) Other must-see flicks include the campy 1989 Canadian-horror curio Science Crazed (Oct. 21), about biomedical engineering gone terribly wrong. Local filmmaker John Portanova will introduce his rather less groan-tastic Valley of the Sasquatch in a double bill with the 1976 Bigfoot movie Creature From Black Lake (Oct. 22). The fest also includes a European horror anthology, a secret program curated by Scarecrow Video, a documentary tribute to Hollywood creature crafter Jack Pierce (who designed Universal’s Frankenstein’s monster, Mummy, Wolfman, and other famous ghouls), and bloody ephemera from the VHS-VCR era. Concluding the series on Halloween night is a screening of the 1957 B-movie classic Invasion of the Saucer Men, plus prizes, vintage trailers, and shorts. (Through Oct. 31.) Grand Illusion, 1403 N.E. 50th St., 5233935, grandillusioncinema.org. $6–$9. 7 p.m. (also 8 p.m. Mon.) SCOTT JOHNSON

OCTOBER 18

Sunday

AlunaGeorge

Two years after its release, I still find myself absentmindedly whistling hooks from Body Music as I walk down the street. Such is the sticky pop power of AlunaGeorge. The British electronic/ R&B duo accomplish this earworminess without the contemporary tool kit—there are no massive Katy Perry crescendoes or crazy buildups and bass drops. Singer Aluna Francis is decidedly cool and collected in her delivery, drawing her power instead from some brilliantly athletic, rhythmic vocal melodies that bob and weave like a prizefighter within George Reid’s retro-futurist minimalist production. It’s near-impossible to resist the tightly wound swagger of “You Know You Like It” and “Attracting Flies,” especially if you grew up on the pop-and-lock palette of ’90s-era TLC. To completely connect all the dots, the duo went so far as to cover Montell Jordan’s classic 1995 “This

Is How We Do It” as a bonus track on Body Music, a nod to the forebears whose DNA the group so effortlessly re-engineers into modern mutations. With Rome Fortune. The Crocodile Cafe, 2200

Second Ave., 441-4618, thecrocodile.com. $22 (all ages). 8 p.m. KELTON SEARS

OCTOBER 21

Wednesday The Body/Thou

At some point in most attentive people’s lives comes a moment when you realize how completely and irrevocably messed-up the world is. How terrible the people who lead us are; how much we’ve destroyed the planet; how deep systemic injustice runs; etc. The Body and Thou, two of the metal world’s most unclassifiable experimentalists, seem hell-bent on stewing in that inevitable dark epiphany, spewing it back at anyone who dares listen, and pushing the boundaries of extreme music in the process. Rather than look away from the void, they shriek at it like fire-engulfed banshees on songs like “Night of Blood in a World Without End” and “Ode to Physical Pain.” Given the two bands’ shared sonic adventurousness, dedication to DIY, philosophical nihilism, love of Dungeons & Dragons, and Southern roots (The Body is from Arkansas and Thou from Louisiana), it makes complete sense that the two would join forces to plunge listeners into new hellish depths. Their new collaboration album, You, Whom I Have Always Hated, is indeed a doozy, erupting with suffocating bile and transcendental doom—there’s even a Nine Inch Nails cover in there. The last time I saw The Body, the band’s sheer sonic brutality literally blew the hat off the guy in front of me, so I can only imagine what they’ll do in this collaboration set with Thou. Hold onto your pants. With Heat Dust, Dreamdecay, Negative Standards. The Black Lodge (ask a punk for directions and price). All ages. 8:30 p.m. KELTON SEARS E

SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

Her Yup’ik ancestors danced as part of their culture—to celebrate, worship, and teach. And they danced to create their community. Johnson brings some of that spirit with her as she creates communities through multifaceted performance events; SHORE is an example. Beginning last summer, she called on local participants to join her, first as volunteer singers and now as stage performers. Her ongoing project has also included a reading at Hugo House and community action at Daybreak Star Cultural Center. Its the next phase, running tonight through Saturday at OtB, will be followed with a Sunday potluck feast. (Daybreak Star Indian Cultural Center, Discovery Park, 285-4425, free, 2 p.m.) On the Boards, 100 W. Roy St., 217-9888,

VAGRANT RECORDS

Naomi Klein

CALENDAR Anne Allgood and Erik Gratton (front) and the Mr. Burns cast, opening at ACT.

Current Runs

THE ADDAMS FAMILY The musical based on the “altogether ooky” sitcom family. Burien Actors Theatre, 14501 Fourth Ave. S.W., Burien, 242-5180, burienactors theatre.org. $10–$20. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends Nov. 1. THE ART OF BAD MEN Vincent Delaney’s new WWII POW camp drama is based on interviews with actual prisoners—German ones, from a camp in Minnesota. theLAB@ Inscape, 815 Seattle Blvd. S., maptheatre.com. Name your own price. 7:30 p.m. Thurs.–Sat. Ends Oct. 17. ■ BAD JEWS SEE REVIEW, P. 33. BLACK FLAG Jet City’s “interactive pirate comedy” asks for your help with the details. 5510 University Way N.E., jetcityimprov.org. $12–$18. Opens Oct. 1. 8 p.m. Thurs.–Fri. Ends Nov. 20. CAMPFIRE Unexpected Productions improvises ghost stories. Market Theater, 1428 Post Alley, unexpectedproductions.org. $10. 8:30 p.m. Thurs. Ends Nov. 19. DRACULA A new adaptation of Bram Stoker’s vampire classic. Taproot Theatre, 204 N. 85th St., 7819707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends Oct. 24. ELEPHANT & PIGGIE’S “WE ARE IN A PLAY!” This new musi-

cal 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 Nov. 29. HAIR “The American tribal loverock musical” gets its hippie on once again. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts.org. $19–$27. 7:30 p.m. Fri.–Sat., 3 p.m. Sun., plus 7:30 p.m. Mon., Oct. 19. Ends Oct. 25. LISTENING GLASS Seattle Immersive Theatre invites you to 2724 Sixth Ave. S. to watch a realistic-as-possible police interrogation. seattleimmersivetheatre.org. $35. 8 p.m. Thurs.–Sun. Ends Oct. 30. MOLLY SWEENEY A blind woman regains her sight in Brian Friel’s 1994 drama. Presented by KTO Productions. Theater Puget Sound, 305 Harrison St., brownpapertickets. com. $15–$18. 7:30 p.m. Thurs.–Sat. Ends Oct. 24.

JOHN ULMAN

SEATTLE WEEKLY • OCTOBER 14 — 20, 2015

SKID ROAD: ASH TO GOLD

THEATER Openings & Events ACTS OF DESPERATION This

revue promises “macabre magic and mystic mayhem.” Spooked in Seattle, 102 Cherry St., creepymagician.com. $30–$45. 7 p.m. Thurs., Oct. 15. DEAR ARMEN “An interactivetheatre experience blending traditional Armenian dance, erotic performance, monologue, and live music” that “weaves together the voices and struggles of three generations of gender-nonconforming Armenians” is not something you see every day. Youngstown Cultural Arts Center, 4408 Delridge Way S.W., brownpapertickets.com. $15–$20. 8 p.m. Sat., Oct. 17. CAMERON ESPOSITO Stand-up comedy and storytelling on LGBTQ topics. The Neptune, 1303 N.E. 45th

St., stgpresents.org. $22.50–$42.50. 9 p.m. Sat., Oct. 17. 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., Oct. 21. HONK! StoryBook Theater reimagines the tale of the Ugly Duckling as a musical. Studio East, 11730 118th Ave. N.E., Kirkland, studio-east.org. $13–$15. Opens Oct. 16. 7:30 p.m. Fri., 2:30 p.m. Sat.–Sun. Ends Nov. 1. IN MY LIFE The Beatles’ story through manager Brian Epstein’s eyes. Kirkland Performance Center, 350 Kirkland Ave., Kirkland, kpcenter. org. $40. 7 p.m. Tues., Oct. 20. INFINITY BOX Four playwrights are paired with four biologists to discuss issues of humanness. Here are the provocative results. Ethnic Cultural Theatre, 3940 Brooklyn Ave.

THIS IS HALLOWEEN Burtonesque

N.E., infinitybox.org. $5–$10. 7:30 p.m. Thurs., Oct. 15–Sat., Oct. 17, 2 p.m. Sun., Oct. 18. LITTLE RED As in Riding Hood. She and the wolf learn cooperation from her grandmother. Runs Sat. & Sun., Oct. 18–Nov. 22, in various venues; see storybooktheater.org for schedule. $11.

burlesque: This cabaret spectacular is based on The Nightmare Before Christmas. The Triple Door, 216 Union St., thetripledoor.net. $25–$45. Opens Oct. 16. 7:30 p.m. Tues.–Thurs. & Sun.; 7:30 & 10:30 p.m. Fri.–Sat. Ends Oct. 31.

TRIC PLAY Anne Washburn’s dark, post-apocalyptic comedy riffs on our favorite villain from The Simpsons. ACT Theatre, 700 Union St. $15–$20. Previews begin Oct. 16, opens Oct. 22. Runs Tues.–Sun.; see acttheatre. org for exact schedule. Ends Nov. 15. SAUCED Cafe Nordo salutes Depression-era cocktail culture in this revival of their 2010 noir thriller. Nordo’s Culinarium, 109 S. Main St., cafenordo.com. $65–$99. Opens Oct. 15. 7:30 p.m. Thurs. & Sun., 8 p.m. Fri.–Sat. Ends Dec. 20.

their family show. Teatro ZinZanni, 222 Mercer St., 802-0015. $20–$25. Opens Oct. 17. Runs 11 a.m. some Sat. & Sun.; see zinzanni.com/seattle for exact schedule. Ends Dec. 27. WATERFALL A new musical love story, set in the 1930s and based on the Thai novel Behind the Painting. 5th Avenue Theatre, 1308 Fifth Ave., 625-1900, 5thavenue.org. $15 and up. Preview Oct. 14, opens Oct. 15. 7:30 p.m. Tues.–Wed., 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat., 1:30 & 7 p.m. Sun. Ends Oct. 25.

■ MR. BURNS, A POST-ELEC-

TEATRO ZINZANNI: LIGHTER THAN AIR Recess Monkey headlines

Seattle’s lowdown roots, revisited improv-style. Market Theater, 1428 Post Alley, unexpectedproductions. org. $12–$15. 8:30 p.m. Fri.–Sat. Ends Oct. 31. SNAPSHOTS A new musical revue built on the songs of Stephen Schwartz (Wicked, Godspell). Village Theatre, 303 Front St., Issaquah, 425-392-2202. $40–$68. Runs Wed.– Sun.; see villagetheatre.org for exact schedule. Ends Oct. 18. (Plays in Everett Oct. 23–Nov. 15.) SUDDENLY LAST SUMMER

Tennessee Williams’ lurid tale (I know, that doesn’t exactly narrow it down) of sexual secrets and a monstrous mom. Theater Schmeater, 2125 Third Ave., 3245801, schmeater.org. $22–$29. 8 p.m. Thurs.–Sat. Ends Oct. 10.

■ TEATRO ZINZANNI:

HOLLYWOOD NIGHTS Plus-one

called it the best ZinZanni show he’s seen, and I see no reason to disagree. The company channels silver-screen glamour as Ron Campbell plays movie director Cecil 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. I wish all opera singers were as comedically ferocious as soprano Juliana Rambaldi, who then turns around and delivers a sumptuous “Con te partirò.”And I still can’t figure out how Wayne Doba makes tap-dancing so affecting; his “Rainbow Connection” number is the show’s emotional high point, and I’ve never even liked the song. 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.

■ A VIEW FROM THE BRIDGE

Arthur Miller’s well-wrought lyrical tragedy still resonates, though at different frequencies than in 1956. Eddie Carbone (Mark Zeisler)—part everyman longshoreman, part figure of mythical torment—loves his niece Catherine (Amy Danneker), whom he and his devoted wife Bea (Kirsten Potter) have been raising since the 18-year-old’s parents died when she was a child. Eddie loves Catherine a lot, which is to say too much (can we say obsession?), while she loves him about the right amount (normal filial affection). Into this imbalance pour Bea’s two cousins, straight off the boat from Sicily: Marco (Brandon O’Neill) and Rodolpho (Frank Boyd). The latter falls for Catherine, Eddie hits the roof, and the rest of the play follows the chain reaction—surprisingly engrossing, though surprisetragedy—as the volatile human ingredients detonate. Scott Bradley’s set for this kitchen-sink downfall is a striking collage of disparate elements, like the neighborhood it synecdochizes, Brooklyn’s Red Hook waterfront. Together they frame a living, breathing 3-D family portrait with epic overtones, realized with great tension and sensitivity by Braden Abraham. MARGARET FRIEDMAN Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 4432222. $17 and up. 7:30 p.m. Wed.– Sun., plus 2 p.m. weekend matinees; see seattlerep.org for exact schedule. Ends Oct. 18. WHAT WE TALK ABOUT WHEN WE TALK ABOUT LOVE As we

know from last year’s Birdman, things didn’t go so well for Michael Keaton’s insecure movie star when he tried to mount a Broadway adaptation of Raymond Carver’s hallmark short story. Noses were shot off, sets destroyed, and sanity lost. So this is a bold choice for Book-It’s new season (its 26th), with Jane Jones again directing her adaptation of Carver’s famed 1981 collection (updated from its last staging in 1998-99). Andrew DeRycke, Tracy Hyland, Kevin McKeon, and Carol Roscoe enact the title story and three others from the same career-defining collection. With his flinty economy of words, the Port Angeles–based Carver (1938–1988) was both unsparing yet compassionate toward his flawed blue-collar characters and hard-luck cases. Though fame came late, he was this state’s biggest literary star, an icon of Northwest letters. Hollywood has had mixed results with his canon (see Robert Altman’s Short Cuts, Will Ferrell in Everything Must Go), where old grudges and resentments lurk as ominously as the Cascadia Fault Line. Action comes rarely and devastatingly in his stories; yet if you flip back the pages and look, the emotional

cause was always there. Carver described everyday catastrophes in the plainest of terms. BRIAN MILLER Center Theatre at the Armory, Seattle Center, 216-0833. $25–$50. 7:30 p.m. Wed.–Sat., 2 p.m. Sun., plus other matinees; see book-it.org for exact schedule. Ends Oct. 18.

■MEN IN DANCE Their annual

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

adjudicated showcase; participants include Gierre Godley, Peter de Grasse, and others. Velocity Dance Center, 1621 12th Ave., menindance. org. $16–$20. 8 p.m. Fri., Oct. 16–Sat., Oct. 17. DAIPANBUTOH Joan Laage’s new Borderline: Kantor’s Dead Class pays homage to the work of Polish theater director Tadeusz Kantor. Revisited Taoist Studies Institute, 225 N. 70th St. $12–$15. 8 p.m. Sat., Oct. 17.

DANCE

CLASSICAL, ETC.

for already-existing play sets—in this case, that of 99 Ways to Fuck a Swan. Choreographers are Wade Madsen and Babette DeLafayette. 12th Avenue Arts, 1620 12th Ave., washingtonensemble.org. $10. 10 p.m. Thurs., Oct. 15–Fri., Oct. 16. ■ EMILY JOHNSON SEE THE PICK LIST, P. 35.

Multimedia works from this flutist and composer/sound designer JeanBaptiste Barriere. PONCHO Concert Hall, Cornish College, 710 E. Roy St., cornish.edu. $5–$20. 8 p.m. Thurs., Oct. 15. SEATTLE SYMPHONY AllGershwin, including lots of songs and Rhapsody in Blue. Benaroya Hall, Third Ave. and Union St., 215-4747, seattlesymphony.org. $21–$121. 8 p.m. Fri., Oct. 16–Sat., Oct. 17, 2 p.m. Sun., Oct. 18. ■ BREAKTHROUGH SEE EAR SUPPLY.

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■ OPENING DOORS: CELEBRATING 50 YEARS OF DANCE AT THE UW The dance

program is marking a big birthday with a big bunch of events, from master classes and lectures to alumni films and choreography, all anchored by its Chamber Dance Company’s annual showcase of dance history. This year it’s a sampling from 100 years of modern dance—artistic director Hannah Wiley says she was thinking of lifting off in a hot-air balloon from the Paris Exposition (and Loie Fuller’s debut) and touching down to see the highlights from Martha Graham to Mikhail Fokine, Doug Elkins to Shapiro and Smith. SANDRA KURTZ Meany Hall and other venues; see dance.washington.edu for full schedule, Thurs., Oct. 15–Tues., Oct. 20.

■ CAMILLA HOITENGA

NORTHWEST SINFONIETTA

David Lockington conducts Beethoven, Copland, and Mozart to open their season. Benaroya Recital Hall, Third Ave. & Union St., nwsinfonietta.org. $20–$55. 7:30 p.m. Fri., Oct. 16 (free pre-concert recital at 6:15 p.m.) ■ THE MET: LIVE IN HD Verdi considered retiring after Aida, but he couldn’t resist tackling Shakespeare, giving his Otello a towering tenor role. Bartlett Sher directed this production. Various venues, metopera.org. 10 a.m. Sat., Oct. 17.

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■ SEATTLE MODERN

ORCHESTRA Varèse, Feldman,

Julia Wolfe, and a premiere from Orlando Jacinto Garcia. Chapel Performance Space, 4849 Sunnyside Ave., N., seattlemodernorchestra. org. $10–$20. 8 p.m. Sat., Oct. 17. GALLERY CONCERTS Bach chamber music. Queen Anne Christian Church, 1316 Third Ave. W., galleryconcerts.org. $15–$30. 7:30 p.m. Sat., Oct. 17, 3 p.m. Sun., Oct. 18. ■ SEATTLE OPERA Bizet confected a fairly standard soprano/ tenor/baritone love triangle in The Pearl Fishers, but after hearing their luscious duet, you may end up rooting for the two guys. McCaw Hall, Seattle Center, seattleopera. org. $25 and up. Opens Oct. 17. 7:30 p.m. Wed. & Sat., plus 2 p.m. Sun., Oct. 18 & 7:30 p.m. Fri., Oct. 30. Ends Oct. 31. RAINBOW CITY BAND

Halloween-appropriate music. Broadway Performance Hall, 1625 Broadway, rainbowcityband.com. $12–$20. 2 p.m. Sun., Oct. 18. OPERA ON TAP Vocal favorites; drinking encouraged. Rhein Haus, 912 12th Ave., operaontap.org. 8 p.m. Sun., Oct. 18. IVETA APKAINA Bach, Glass, Shostakovich, and more for organ. Benaroya Hall, Third Ave. and Union St., seattlesymphony.org. $20–$31. 7:30 p.m. Mon., Oct. 19. ■ JONATHAN BISS From this pianist, Schoenberg’s ground-breaking Six Little Pieces, op. 19, plus Mozart and Schumann. Meany Hall, UW campus, uwworldseries.org. $41– $46. 7:30 p.m. Tues., Oct. 20.

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ancien régime; Bologne, who had inherited the title Chevalier de Saint-Georges from his father, was placed at the head of a regiment of free soldiers of color who fought on the Republican side. It all sounds like a swashbuckling novel, but it happened, and Morris is devoted to bringing this musical pioneer to broader attention—for example, in this week’s screening/lecture-recital. Seattle Art Museum, 1300 First Ave., quintonmorris.org. Free. 7 p.m. Fri., Oct. 16.

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SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

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The son of a French plantation owner and one of his slaves, Joseph Bologne (1745–99) was brought from his birthplace of Guadeloupe to France for his education, which led to success on two career fronts, both unprecedented for a man of his ethnicity: music and the military. It was as a violinist and composer that Bologne inspired Seattle violinist Quinton Morris, whose short film Breakthrough is a fanciful re-enactment, music-video style and in modern dress, of imagined scenes from his life. Morris plays excerpts from Bologne’s violin sonata in G minor, which shows the mastery of rococo style that made him a highly popular musician in Paris just before the Revolution (the title above was one contemporary epithet): genteel, graceful, with just a touch of pathos, like a diamond teardrop on a noblewoman’s powdered cheek. In addition to several sonatas and concertos for his instrument, Bologne composed a handful of operas; and among the orchestras he led was the one for which Haydn wrote his grand and brilliant symphonies nos. 82–86. His career change came with the end of the

AC 2 AN INTIMATE EVENING WITH

calendar VISUAL ARTS Openings & Events

ANNUAL SMALL WORKS SHOW

Some 80 artists are represented. Opening reception, 5:30 p.m. Sat. Howard/Mandville Gallery, 20 Park Lane (Kirkland), 889-8212, howardmandville.com. Open daily. Ends Nov. 8.

(BUTTER)FLY ON THE WALL

Locals Wynia, Ron Reeder, and Thomas Schworer show new works in photography, glass, and collage. Opening reception, 1 p.m. Sun. Stacya Silverman, 614 W. McGraw St., 270-9465, stacyasilverman.com. Call for hours. Ends Dec. 31. SUSAN RINGSTAD EMERY The local artist, of Iñupiaq Scandinavian descent, shows paintings rooted in both cultural traditions. Opening reception with the artist, noon Weds. Ethnic Heritage Art Gallery, Seattle Municipal Tower, Third Floor, 700 Fifth Ave., seattle.gov/EthnicArtGallery. 7 a.m.-7 p.m. Mon.-Fri. Ends Jan. 12. NORMAN LUNDIN The two cura-

tors give a talk on the ongoing group show Observing Observing (a White Cup). Prographica, 3419 E. Denny Way, 322-3851, prographicagallery. com. 7 p.m. Thurs. (The show continues through Oct. 31. Hours: 11 a.m.-5 p.m. Wed.-Sat.)

IVERSON Forms of Japan offers elegant black and white scenes from the veteran local photographer Kenna. Also on view, Iverson paints nature scenes with sinking container ships and gridlines superimposed in You and Me in the Aftermath. She gives a gallery talk at 1 p.m. Sat. Both shows open Fri. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery. com. 11 a.m.-5 p.m. Wed.-Sat. Ends Nov. 28. BRIAN MCGUFFEY Antlers and occult rituals figure in meet me on the other side, which the artist says was “inspired by the Autumn Harvest and the Druid celebration of Samhuinn.” Opening reception, 6 p.m. Wed. Gunnar Nordstrom, 800 Bellevue Way N.E. (Bellevue), 425283-0461, gunnarnordstrom.com. 9:30 a.m.-8 p.m. Mon.-Sat. Noon-5 p.m. Sun. Ends Nov. 7. MONSTROUS This group show offers work in ceramics from E. Valentine DeWald II, Carol Gouthro, Paul Metivier, and Kathleen Skeels. Opening reception, 6 p.m. Fri. Kirkland Arts Center, 620 Market St., 425-822-7161, kirklandartscenter.org. 11 a.m.-6 p.m. Tues.-Sat. Ends Dec. 5. EVAN NESBIT He pushes paint through burlap to achieve the large abstract color compositions in Headstand. Also on view, the group show And There Is an End 2, with a dozen-odd works selected by California curator Bennett Roberts, who says, “Notions of the authentic are explored through imagistic work produced by divergent fissions and decay. Through an unencumbered idea-to-material action, a calculated ‘stream of consciousness’ response is postured.” Opening reception, 6 p.m. Thurs. James Harris Gallery, 604 Second Ave, 903-6220, jamesharrisgallery.com. 11 a.m.-5 p.m. Sat. Ends Nov. 21. OPEN STUDIOS Over 30 artist open their doors for your inspection, with music from Seattle Modern Orchestra and Inverted Space. Athena’s will also have a food truck on site. Building 30 West, Magnuson Park, 7448 63rd Ave. N.E. 1-5 p.m. Sun. ARIANA PAGE RUSSELL The Los Angeles artist’s Interior Optics features large colorful images of her

JAMIE ADAMS In Cooper’s

Beastiary, he makes colorful new prints inspired by type designer Oswald Coope. Cloud Gallery, 901 E. Pike St., 720-2054, cloudgalleryseattle.wordpress.com. 10 a.m-7 p.m. Mon.-Fri. 10 a.m.-6 p.m. Sat. 11 a.m.-5 p.m. Sun. Ends Nov. 30.

Mozart and Spiderman

new exhibit, originating at TAM, that chronicles 30 years of art made in response to the AIDS epidemic. Artists include David Wojnarowicz, Shimon Attie, Bill Jacobson, and dozens more (many of them sadly deceased). Tacoma Art Museum, 1701 Pacific Ave., 253-272-4258, tacomaartmuseum.org. $12–$14. 10 a.m.–5 p.m. Tues.–Sun. Ends Jan. 10. ■ BETWEEN PLACES Considering notions of terrain and location are Michael Boonstra, Andrew Myers, and Sarah Fitzsimons. Best among the disparate works are the latter’s series of photos of a spindly house outline, rendered out of aluminum, that she drags into various nature scenes for assembly and documentation. They suggest volume, domesticity, and impermanence—something like an architect’s 3-D CAD rendering for a house that can’t be built in such locations. Yet there it is, or at least the idea of it. Also on view: Nola Avienne’s MRI-derived art in Bain Maps. SOIL Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Noon-5 p.m. Thu.-Sun. Ends Oct. 31 SAM BIRCHMAN He shows new figurative paintings. Form/Space Atelier, 98 Clay St., 349-2509. See formspaceatelier.com for hours. Ends Jan. 3. LAURA BRODAX Garniture shows her ner work on tile. Baas Art Gallery & Framing, 2703 E Madison St., 3244742. See baasframingstudio.com for hours. Ends Nov. 14.

Pianist Dawn Clement talks weird gigs and motorcycles. BY ALEXA PETERS

longtime Seattleite, adjunct professor at Cornish College of the Arts, and versatile pianist, Dawn Clement has fostered or gigged with many local musicians. On Saturday she’ll be teaching a community-center class on improvisation before rushing off to Tula’s for an Earshot Jazz Festival show. SW: What drew you to piano?

Clement: The church organist babysat me growing up, and I just loved watching her play. I became obsessed with the organ. What was your first piano teacher like?

My first teacher was an organ teacher and a professional ragtime pianist. I will never forget my dad driving me to a lesson on his motorcycle, and when we pulled in, my teacher just had this look of disgust, like, “How could you bring your daughter like this?” What got you into jazz?

I went to high school in Vancouver, Wash., and I was a very shy kid . . . and they needed a pianist for the stage band. I went and auditioned with Mozart because I hadn’t played any jazz. The band director, this crazy Italian guy, was just like “You’re in, you’re in!” But I was terrible! Why’d you keep at it?

What eventually drew me in was vocal stuff, like hearing Ella [Fitzgerald]. Then when I was 15, I played in a jam session and . . . I realized that I was expressing myself. There’s no feeling like that, really. Unless you’re a slam poet, or a baby. Have you ever done slam poetry?

SEATTLE WEEKLY • OCTOBER 14 — 20, 2015

■ MICHAEL KENNA & MARY

Ongoing

■ ART AIDS AMERICA An large

TH ESY OF E ARTIST URT CO

■ MICHAEL HOWARD &

own body, created via simulations “such as ‘two-photon excitation (TPE) fluorescence microscopy’ high-resolution laser imaging) that can detect and ‘read’ layers under the skin.” Opening reception, 6 p.m. Thurs. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 3232808, platformgallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Dec. 12. ■ JAY STEENSMA The late Northwest painter (1941-1994) is honored with a show including his colorful birds, fish, and landscapes. Opening reception, 5 p.m. Thurs. Sisko Gallery, 3126 Elliot Ave., 2832998, siskogallery.com. 11 a.m.-5 p.m. Fri.-Sun. Ends Nov. 22. THE THREE IMPOSTORS Bastien Lecouffe Deharme, Marcela Bolivar, and Samuel Araya hail from France, Argentina, and Paraguay, respectively. Krab Jab Studio, 5628 Airport Way S., 715-8593, krabjabstudio.com. 1-5 p.m. Wed.-Sat. Ends Nov. 7. TWICE BORN Jessica Damsky curates a show on mythology, including work from a dozen locals. Opens Mon. Steele Gallery, Gage Academy of Art, 1501 10th Ave. E., 323-4243, gageacademy.org. Ends Dec. 11.

David Campbell’s A Few of My Favorite Things, among the works to be discussed Thursday at Prographica. RIK ALLEN AND DANTE MARIONI Working in glass, the for-

mer often uses sci-fi imagery, while the latter creates delicate tabletop vessels. Traver Gallery, 110 Union St., 587-6501, travergallery.com. 10 a.m.-6 p.m. Tues.-Fri. 10 a.m.-5 p.m. Sat. Ends Oct. 31. ■ TINA AUFIERO She uses ceramics and text in happiness to create an “interplay of whimsy and weightiness.” The large cryptic central installation is a nine-part series of 1s and 0s, like digital code, that may or may not spell out the word happiness. Method Gallery, 106 Third Ave. S. (Tashiro Kaplan Building), 223-8505, methodgallery.com. Noon-5 p.m. Fri.Sat. Ends Oct. 31. ANNUAL PRINTMAKING EXHIBITION Local include Gary

Groves and Kristina Hagman. Roby King Gallery, 176 Winslow Way E. (Bainbridge), 842-2063, robykinggallery.com. 10 a.m.-5:30 p.m. Tue.-Sat. Ends Oct. 31.

STASIA BURRINGTON I Wonder If This Will Kill Me features her new paintings, some of them cropped nudes. Twilight Gallery, 4306 S.W. Alaska St., 933-2444, twilightart.net. 11 a.m.-7 p.m. Mon.-Fri. Noon-6 p.m. Sat. Ends Oct. 31. PATRICE DONOHUE Verge displays many wall-mounted relief works made out of burnt or charred paper. A change of state is suggested with these mutable materials (also including wax, cloth, and ink), as the artist seeks to explore “the edge toward something else.” Shift Gallery, 312 S. Washington St. (Tashiro Kaplan Building), shiftgallery.org. Noon-5 p.m. Fri.-Sat. Ends Oct. 31. BASO FIBONACCI He depicts flowers, bears, and other figurs from the natural world in neon-bright streaks of oil paint. Zeitgeist, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com. 6 a.m.-7 p.m. Mon.-Fri. Weekends vary. Ends Nov. 4.

No, but I audited a vocal class at Cornish and Mary Lambert was in the class—she’s a slampoetry girl. Speaking of Lambert, what’s it like to see Cornish students go on to find success?

I love seeing that. It’s so cool when someone can go through Arts College and come out with the confidence to do their art. There were some great students this last decade with Pollens, Whitney Lyman, Katie Kate, and Thunderpussy. What’s the weirdest gig you’ve ever done?

I used to do a four-hour hotel gig in Kirkland and it was all classical stuff like Chopin . . . [One time] I was playing “The Night Has a Thousand Eyes” and this sweet African-American man came up and tried to tip me $20. I insisted I couldn’t take tips and handed it back to him. Later, the whole lobby filled up for a Bobby McFerrin show and it hit me—it was Bobby McFerrin who was trying to tip me! How did I miss that?! Is there a song that’s frequently stuck in your head?

Yes, especially since I have kids. The classic is the theme song to Spiderman. You know what I had stuck in my head today, though? Curtis Mayfield’s song “People Get Ready.” That is a great song. E

music@seattleweekly.com

Saturday, Oct. 17

COURTESY OF THE ARTIST

■ Hey hey, did you know today is

Saint Pepsi

MUSIC Wednesday, Oct. 14

When THE DARKNESS emerged in 2003 on the back of the enormous and seemingly ridiculous single “I Believe in a Thing Called Love,” it sure seemed like a joke. The Freddie Mercury falsetto of leader Justin Hawkins, that preposterous guitar solo, that hair. And it was a good joke, because everyone could secretly love a song that reminded us of all the greatness that came with hair metal while also laughing at it. But it wasn’t a joke. The Darkness was real, and like any real band, it suffered greatly after falling from the heights of early fame, losing members, sending Hawkins to rehab, and breaking up. The band has been back at it for a few years, and its latest shows a kind of return to form with a variation on that old sound that Hawkins is calling “medieval rock”— there are mandolins. That might be a joke. We don’t know. With These Raven Skies. The Neptune. 8 p.m. $25 adv./$28 DOS. All ages. MARK BAUMGARTEN

Thursday, Oct. 15

■ Local dance collective/label Motor

is celebrating the release of its newest record tonight, NICK BARTOLETTI’s Chiaroscuro EP. Like his other project Crypts, the record is dark and industrial, oscillating and crackling with fried circuitry and menacing low frequencies. The EP sounds like a haunted skeletal spaceship drifting through the

Friday, Oct. 16

■ Out of nowhere, BULLY has

scorched onto the scene with short bursts of throwback indie rock that would’ve fit nicely between Dinosaur Jr. and the Breeders on 120 Minutes in 1993, when the band’s lead singer would have been 3. So, yes, there is not a lot new to the sounds and textures coming from this Nashville quartet, but the spirit of the entire enterprise is infectious and invigorating—attributes that never go out of style. Singer/ guitarist Alicia Bognanno possesses the kind of emphatic, earnest yawp that speaks volumes of personal pain and frustration, an approach she may have picked up during a stint working at Electrical Audio studio in Chicago under no-bullshit producer Steve Albini. Go to YouTube and search for the studio performance of “I Remember” off the band’s recent debut Feels Like. If that doesn’t make you feel something, you should probably just stay home. With Heat, Dead Soft. Barboza. 7 p.m. $12 adv. 21 and over. MB With Tom Douglas having just christened his latest venture The Carlile Room after the local musical phenom, and with her latest album The Firewatcher’s Daughter having pushed into the top 10 of the Billboard 200 over the summer, BRANDI CARLILE returns home for what should be a glorious two-night homecoming. Word is that during her current theater tour, Carlile has been translating the raw approach to her new collection of folk, rock, and country songs—some of which were first cuts, performed unrehearsed—into a stage show that swings from raucous to tender and back again. In at least one appearance, she performed the aching single “Beginning to Feel the Years” unassisted by any amplification. Let’s hope she does it again. With Secret Sisters. The Paramount. $31.25–$71.25. 8 p.m. All ages. MB DEATH is alive and well. The wildly successful 2012 documentary A Band Called Death launched the long-lost Detroit three-piece to stardom decades after their debut album ...For the Whole World to See was recorded in 1974— an album that remained unreleased until 2009. The film argues that the band is the true originator of the punk sound, predating the movement’s supposed origin by years. Well, Death is back with a new album, fittingly titled N.E.W., and while it’s certainly not treading any n.e.w. ground, it’s still a solid rock jaunt. New album or not, don’t pass up a chance to see these music legends. El Corazon. 8:30 p.m. $20 adv./$25 DOS. 21 and over. KS

DAWN CLEMENT SEE PAGE 38.

Tula’s Jazz Club and Restaurant. 7:30 p.m. $18. All ages.

Sunday, Oct. 18

The understated art-rock project of a bunch of Leeds lads, ALT-J has made the unlikely leap to juggernaut in just three short years. It started with the band earning a Mercury Prize for its 2012 debut, then came the blessings from Miley Cyrus (a sample of whom shows up on the band’s latest, excellent LP, This Is All Yours), and, tonight, an appearance at this city’s largest indoor venue. The band will be filling that cavernous space with loops, layers, and coos, as well as a jaw-dropping light show, during a spectacle of a show that on earlier tour stops has lasted 80 minutes—impressive for a band with just two albums under its belt. Chances are, whatever you want to hear, they’ll be playing it. With San Fermin. Key Arena. 8 p.m. $25–$45. All ages. MB While Seattle’s baroque poppers Friends and Family work in a sort of Arcade Fire-on-acid stadium, ANDY, the new project from frontman Benjamin Violet, is somehow even glitzier and weirder. Imagine Of Montreal’s freak-chic opulence married to Frog Eyes’ vibrato fever dreams and you’ll start to get the picture. I Can’t Wait to Be Beautiful Forever, the group’s debut, is an impeccably recorded trip through a schmaltzy, liquefying homecoming dance, on which Violet demands that you “fill me up with your magenta mystery” before erupting into operatic “ooOoOooos!” The live show promises to be just as titillating. Put on your shiniest sequined blouse and catch tonight’s album release before Andy takes off on tour with The Polyphonic Spree. With John Dillon, Shenandoah Davis. Columbia City Theater. 8 p.m. $8 adv./$10 DOS. 21 and over. KS

Wednesday, Oct. 21

Since two producers named WMD are making electronic music in Seattle, things can get a little confusing. The first makes glorious ambient techno, and the second (the one playing tonight) makes glorious ambient chillwave, loads and loads of it. Like fellow Seattleites Car Seat Headrest, WMD has become crazy popular on Bandcamp at a very young age through sheer persistence, putting out over 20 releases (a total of 260 tracks) in his short 18 years on Earth. He’s earned it, though—his tunes bear a startling emotional depth and sound just like the beautiful rain-strewn Seattlescapes he often uses as album covers. Check out this future Seattle superstar before his popularity inevitably leaps up from the Internet and into real life. With Polyamory. Substation. 9 p.m. $6. 21 and over. KS

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WILL DOWNING THURS, OCT 15 - SUN, OCT 18

The Prince of sophisticated soul returns in support of his new release Chocolate Drops!

FRANK GAMBALE TUES, OCT 20 - WED, OCT 21

Grammy winning guitar virtuoso! “His meteoric rise to fame is a testament to his passionpowered playing - a style Rolling Stone Magazine calls ‘ferocious’!”

KARRIN ALLYSON SINGS RODGERS & HAMMERSTEIN THURS, OCT 22 - SUN, OCT 25

Touring in support of her new release Many A New Day!

NORTHWEST FAMILY LIFE 2015 FUNDRAISER MON, OCT 26

Join us as we recognize Domestic Violence Awareness Month. Featuring local musicians, Naomi Wachira and Zach Fleury!

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

SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

Here’s a fun game: try explaining vaporwave to someone without sounding insane. “Oh yeah, that music that reappropriates muzak, terrible department-store smooth jazz, and elevator lounge tunes! They pitch-shift and chop the samples into weird dance tracks that are supposed to be inherent critiques of consumerism. They also love Windows 95 imagery.” What? If you aren’t deep in the trenches of Internet subculture but still curious about the bizarre music those gosh-darn millennials are listening to nowadays, check out tonight’s show with “the king of vaporwave,” SAINT PEPSI (now known as SKYLAR SPENCE). The New York producer helped define the sound and look of the style with his endless Bandcamp output and ’80s-commercial-collage music videos for “Private Caller,” “Cherry Pepsi,” and “Enjoy Yourself.” Since he’s climbed out of the Internet underground and onto festival bills, he had to chuck the “Pepsi” in his name to avoid lawsuits, but it seems like he might also be chucking some of the style he helped create on his debut under his new moniker, Prom King. “I was working, tried my hardest/Slowed some music down and called myself an artist,” he sings on the record’s single “Can’t You See.” We’ll see, I guess. With Kero Kero Bonito. Chop Suey. 8 p.m. $15. All ages. KELTON SEARS

yawning blackness of the galaxy, and could easily score a survival horror video game like Dead Space. Come dance to the cosmic doom. With Derivatives, Fake Trade. Kremwerk. 9 p.m. $6. 21 and over. KS

Cassette Store Day? Did you know there are still cassette stores? What better way to celebrate than at the cassette release of two of Seattle’s newest up-and-coming shredders? First off we’ve got Abrupt, the debut tape from NAIL POLISH, whose spastic noise-punk recalls all the glory of early-2000s acts like Test Icicles and early Yeah Yeah Yeahs and late-’70s post-punk groups like LiLiPUT/Kleenex and Delta 5, with none of the weird haircuts. The tape’s out on local label Help Yourself Records, and those scuzzy kids haven’t put out a bum record yet. Once you’ve nabbed that slab of hot rectangular plastic, grab the new pink (!) cassette Sex Cells from no-wavers CASUAL HEX, whose chorused-out, plunky guitar screeds have been generating lots of buzz in the DIY underground (or at least that’s what the punx tell me). With OVVN, Acrylics. Black Lodge (ask a punk for directions and price). 9 p.m. All ages. KS

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winning director of the first season of True Detective, Cary Fukunaga directs this Netflix movie (also available to stream on Friday) about the harsh life of child soldiers in Africa. Starring Idris Elba. (R) Seven Gables CRIMSON PEAK Creepy ghosts, bloody mysteries, and enigmatic characters populate this gorgeously filmed haunted-mansion tale from Guillermo del Toro. With Mia Wasikowska, Jessica Chastain, and Tom Hiddleston. (R) Opens wide GOOSEBUMPS Jack Black plays the author of the titular children’s horror novels, R.L. Stine, in this long-gestating flick. Expect sugary scares and gross-out humor. (PG) Opens wide

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line zingers from the wonky Ramis, he’s like Cary Grant on mescaline, utterly assured in everything he says, even when nothing he says makes the slightest bit of sense. (PG) B.R.M. Central Cinema, $7-$9. 7 p.m. Fri.-Tue. & 3 p.m. Sat.

HOT TYPE: 150 YEARS OF THE NATION Oscar-winning filmmaker

Barbara Kopple profiles the venerable lefty mag. (NR) Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. Free. 7 p.m. Fri. JUMBO WILD Noted climber Steve House will emcee this hour-long doc about threatened development in British Columbia’s Jumbo Valley, where grizzly bears and backcountry skiers love to roam—though not at the same time, of course. (NR) Feathered Friends, 119 Yale Ave. N., patagonia.com/jumbowild. Free. 7 p.m. Fri.

1975–95, is entirely earthier and more prosaic. A violent petty hoodlum with no redeeming qualities, Bulger was sheltered by the a corrupt FBI agent (Joel Edgerton) handlers until a Boston Globe exposé sent him underground for 16 years. (His San Diego arrest occupies a brief postscript.) Depp gives a fine, disciplined performance in what’s otherwise a familiar, listless Mass. Journeyman director Scott Cooper has made a tired copy of too many gangster movies we’ve seen before, including Martin Scorsese’s South Boston crime saga The Departed (no masterpiece). Black Mass lacks all the period pep of American Hustle, where we actually cared about its delusional cons. Here we just wait for their corpses to fall. (R) BRIAN MILLER Lincoln Square, Meridian, Sundance, Thornton Place, others

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somewhat complicated schedule (see siff.net) continues with Audrey Hepburn and Rex Harrison in the 1964 adaptation of My Fair Lady, the smash Broadway musical by Lerner and Loewe (based on George Bernard Shaw’s play Pygmalion). Classic songs include “On the Street Where You Live” and “I Could Have Danced All Night.” Don’t be ashamed to hum along or discreetly weep. This new digital restoration runs three hours, with intermission. (G) SIFF Cinema Uptown, $10-$15. 7 p.m. Tues. (Series ends Nov. 30.) THE EVIL DEAD Sam Raimi’s wildly influential and ultra-violent 1981 underground hit helped make him a future Hollywood star and also brought Bruce Campbell’s chin to a grateful world. Nobody will ever go to a cabin in the remote woods again without thinking of the film, nor will filmmakers ever be able to make a movie about kids going to a cabin in the remote woods without thinking of what Raimi would do there. (R) B.R.M. Central Cinema, $7-$9. 9:30 p.m. Fri.-Wed. ■ GHOSTBUSTERS Who you gonna call? I think we all know the answer: the top-grossing film of 1984, Ghostbusters! Bill Murray, Dan Aykroyd, Harold Ramis, and Sigourney Weaver star in the paranormal smash comedy. The movie’s a total star turn for Murray, playing the loosest and least professional academic on campus. Using Aykroyd as his uptight foil, with well-timed side-

•

KICKSTARTER FILM FESTIVAL

Various shorts and two features are screened; among the former is the droll Kiwi vampire flick What We Do in the Shadows. (NR) SIFF Film Center. See kickstarter.com/filmfest for tickets (may be sold out). 7 & 9:20 p.m. Thurs.

SEATTLE POLISH FILM FESTIVAL

Food events and cultural activities are part of this annual fest. Among a dozen-plus features, and even more shorts, director Maciej Bochniak will appear with his spoof of postcommunist Poland in the early ’90s, called Disco Polo. (NR) Northwest Film Forum & SIFF Cinema Uptown. Continues through Sun., Oct. 18. See polishfilms.org for tickets and schedule.

SOCIAL JUSTICE FILM FESTIVAL

Screenings include Fruits of Justice, about farm labor, and Food Chain$, about agribusiness and food safety. Talks and panel discussions are also on the schedule. (NR) University Christian Church, 4731 15th Ave. N.E., socialjusticefilmfestival.org. $10. 6 p.m. Fri. 12:30-9 p.m. Sat.

Ongoing

BLACK MASS At 52, Johnny Depp is no longer pretty, and playing balding Boston gangster James “Whitey” Bulger signals his entry into character work. The problem is that a lot of better actors—some in this picture—have gotten there first. Depp’s method has always been comic aloofness, most fruitfully employed in Tim Burton confections, which bear no connection to actual life. Bulger’s story, here spanning

GOODNIGHT MOMMY Pay atten-

tion to their names. Austrian child actors Lukas and Elias Schwarz, twins, play 9-year-old twins Lukas and Elias. Lukas seems to be the leader, slightly bolder, Elias his follower. In a chic empty country house, far from their former home in Vienna, their bandaged mother returns to recuperate from plastic surgery—mommy become mummy. The kids are understandably freaked out. There is no father, only reference to “the separation.” Oh, and their house is for sale. Originally titled I See, I See, this is a gradually building thriller of perception (or rather, misperception), directed by Veronika Franz and Severin Fiala. The directors provide early clues that lead to final horror, but the film’s real fascination lies in the fraying corporeal bonds between the twins and their mother. As in Stephen King’s Misery, every atrocity is committed for love. (R) B.R.M. SIFF Cinema Uptown ■ GRANDMA There is a lot of contrivance in this one-day quest for $630, cash, in an L.A. where no one seems to have a credit card or easy access to an ATM. Likely because writer/director Paul Weitz knows it’s a thin conceit, he keeps things brief and economical throughout. We’re simply plunked into the dilemma of Elle (Lily Tomlin) and her pregnant teen granddaughter Sage (Julia Garner) as they try to scrounge up funds for an abortion. Grandma is one of those indies with a very familiar Hollywood arc. Its main pleasures aren’t in the writing, but in the against-the-grain texture of Tomlin’s

TIME OUT OF MIND Richard

AND

TV5MONDE PRESENT

FRENCH CINEMA NOW

French Language Films from Around the World

OCT 22 — 29 • SIFF Cinema Uptown • SIFF.net

VORACIOUS CHARITY

GET

Gere here plays a damaged and disoriented street denizen, his name deliberately withheld for most of this worthwhile procedural film by Oren Moverman (The Messenger, Rampart). To name him would be to humanize him, but that’s not how the system works. A few kind strangers take notice, but George is mostly ignored and shunned. His musician daughter (Jena Malone) is ashamed of her old man, rebuffing his overtures. A talkative fellow resident at the homeless shelter (Ben Vereen) tries to get close, but George in turn rebuffs him. Indifference makes the world go round. Everyone performs the same mental calculation: To care would cost me how much? Moverman isn’t one to drop easy pennies of sentiment into the supplicant cup. George is a drunk, he urinates in public, and he hardly cooperates with anyone inclined to help him. And yet, he’s Richard Gere. Thus Time unsparingly illustrates a known problem by using a movie star, but it also tells us nothing new about that problem. (NR) B.R.M. Varsity 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 (the latter two being Dr. Aaron’s patients and buddies). They’re actually quite charming, but this is not why we’re paying to see an Amy Schumer comedy. Trainwreck is quite funny in its early rounds. Though it’s not the breakthrough that Bridesmaids was, Schumer’s fans won’t be unhappy with this movie, not with so many of her signature sotto voce punch lines. (R) B.R.M. Sundance, others THE WALK This account of wirewalker Philippe Petit’s famous 1974 feat between the World Trade Center towers opens with Joseph GordonLevitt in your face, and if you’re put off by this relentlessly chipper, French-accented narrator, you may want to duck out of the theater until the spectacular 20-minute finale. This is a love story, or two of them: one between Petit and the towers, the other between director Robert Zemeckis and the golden past. His best movies, including Forrest Gump and the Back to the Future trilogy, have always been filled with a nostalgic yet commercial yearning. And here he gets to expand his retro palette to post-de Gaulle France. The Walk feels faithful to Petit’s story, especially to those who’ve seen the Oscar-winning 2008 doc Man on Wire, though the ’70s now seem CG-scrubbed and sanitized. This isn’t the festering New York of the following year’s “Ford to City: Drop Dead” headline; Zemeckis is aiming for a mythic sheen. All is forgiven, however, in those thrilling last 20 minutes. The towers are magically restored, and Petit achieves a blissful Zen state of grace. (PG) B.R.M. Meridian, Thornton Place, Sundance, Lincoln Square, others

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Michael Peña, Kate Mara, et al. I like movies about solving problems, Damon gives a skillful performance, and Scott’s ability to put you in the middle of a howling Martian gale is impressive. But man, is The Martian corny. (PG-13) ROBERT HORTON Cinerama, Sundance, Ark Lodge, Majestic Bay, Kirkland, Bainbridge, Big Picture, Admiral, others MEET THE PATELS This amusing documentary by Ravi and sister Geeta Patel (the latter mostly unseen) tracks a particularly fraught moment in his family’s life. Ravi is 29, and his parents—humorous dad Vasant and anxious mom Champa—are antsy about him meeting a nice Indian woman and getting married. Eventually So the Los Angeles-based Ravi reluctantly agrees to travel to India and make the dating rounds— where practically everyone asks him why he isn’t married yet. Meet the Patels is a funny, lightweight look at the weight of cultural traditions. What keeps me from loving it is the way the storyline feels forced onto the documentary form. I couldn’t help sensing that Ravi was flirting with the idea of an arranged marriage because it would make a funny, lightweight documentary. Which it is. (PG) R.H. Sundance 99 HOMES The latest topical, socioeconomic drama from Ramin Bahrani (Man Push Cart, At Any Price) features a clear villain and clear hero: Rick (Michael Shannon) is the real-estate shark who specializes in acquiring, emptying, and flipping homes in foreclosure; Dennis (Andrew Garfield) is the construction worker who will lose such a home and, per screenwriting contrivance, later find himself in Rick’s shady employ. The setting for this is the collapsed real-estate bubble of 2010 Orlando. Bahrani has something to say about subprime lending and collateralized debt obligations, about profitable foreclosures and defrauding Fannie Mae, and he wants to make the human cost very clear. This is not the same thing, however, as writing vivid characters and dialogue. Shannon gets some damning lines to deliver, only without the villainous poetry of Gordon Gekko (in Wall Street) or Ricky Roma (Glengarry Glen Ross). “America doesn’t bail out losers,” says Rick, while tempting Dennis to the dark side. “America bails out winners.” What stays with you here is the stinging shame felt by evicted families having their possessions dragged to the curb. Bahrani plays that primal scene repeatedly. It gets numbing, which is partly Bahrani’s point. (R) B.R.M. Sundance SICARIO We’ve had depressing dramatic sagas from Steven Soderbergh (Traffic) and Oliver Stone (Savages), and this new one from Denis Villeneuve isn’t lifting the mood. Instead, a feel-bad spirit of arid futility and double-dealing informs the efforts of Arizona-based FBI agent Kate Macer (Emily Blunt) to put a dent in the border trade. She’s recruited by some shadowy government spooks (Josh Brolin, Benicio Del Toro, etc.) who refuse to name their branch of service (easily guessed). On her new assignment, Kate radiates an angry sense of WTF bewilderment. She’s she’s confounded by everything she sees: Gitmo-style torture, illegal crossborder raids, killings on the sly (“sicario” means assassin), and a general cozening up to the bad guys. Kate—and the audience—are left with a grim imperative: Get over your moral qualms, or get out of the game. (R) B.R.M. Sundance, Ark Lodge, Meridian, Lincoln Square, others

FOR

performance. And special mention goes to Sam Elliott, who delivers a knockout scene at Grandma’s midpoint, meeting Tomlin’s fury with his own courteous rage. (R) B.R.M. Guild 45th HE NAMED ME MALALA Directed by Davis Guggenheim, who copped an Oscar for the Al Gore lecture An Inconvenient Truth, this new film takes the stock documentary approach, with interviews and music and animated sequences. But it’s a pleasure to watch, solely for the sake of seeing Malala Yousafzai in action and in interviews. She still has some nerve damage from the 2012 Taliban attack, yet appears just as sharp and articulate (and funny) now as in footage taken before the shooting. She’s bossy when she lords it over her two younger brothers, girlish when she refuses to admit that her fascination with certain handsome cricket players might have something to do with how hunky they are. Since recovering from her injury, she’s published a book, bonded with Bono, and secured a Nobel Peace Prize. And I repeat: She deserves better than sainthood. The delightful thing is that Yousafzai is too distinctive to simply stand on a pedestal for a dogooder movie. Her quick, observant personality comes shining out of this project, as though eager to move past her biographer and get on with it. She’ll be heard from again. (PG-13) R.H. Guild 45th, Lincoln Square, Ark Lodge, Lynwood (Bainbridge) THE INTERN It’s gratifying to see how Robert De Niro has freed himself, in late career, from the Mantle of Greatness by doing more comedies. Some are mediocre (e.g., the Fockers flicks) and others quite good (Silver Linings Playbook). Nancy Meyers uses him to fine effect in her latest distaff comfort movie, in which Anne Hathaway plays the multitasking Park Slope mommy trying to manage her fashion startup. De Niro’s Ben is her unwanted 70-year-old intern, who inevitably proves himself a trusted aide and companion to the stressedout Jules. There are no surprises here, the comic and story turns are rote, but The Intern—like courtly, punctual, and observant Ben—never fails to please. What Meyers also gets right is the kindred discrimination both Ben and Jules face in the New Economy, he for being too old, she for being a woman (and too young, and neglecting her daughter, etc.). The movie also charms in positing a non-sexual romance between the two. She’s married, he’s a widower being pursued by Rene Russo’s masseuse, so they can chastely bond over Singin’ in the Rain in their bathrobes together on a business trip. (PG-13) B.R.M. Sundance, Pacific Place, Majestic Bay, Lincoln Square, Kirkland, Cinebarre (Mountlake and Issaquah), 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,

odds&ends

HIGHER GROUND

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Plenty of athletes over the years have admitted to using marijuana, not as a PED but to relax and unwind—including the world’s greatest runner, Usain Bolt; NBA stars Chris Weber and Allen Iverson; beefcake Arnold Schwarzenegger; and swimming god Michael Phelps. As in martial arts and boxing, NFL players do a lot of head-banging, and use ganja to manage pain, stress relief, depression, and even help repair neurological damage. And they also get sus-

CA SH IN

pended for it. In addition to the dozens of players who have been sent to substanceabuse programs for testing positive for pot, long suspensions were recently given to receivers Josh Gordon (Cleveland Browns) and Martavis Bryant (Pittsburgh Steelers) for firing up. Funny thing about the NFL: They have two separate drug policies— one for PEDs and another for recreational drugs. Since Washington state legalized cannabis for recreational purposes, our Seattle Seahawks should be able to fire up for fun and not be fined (or suspended) for it, right? Sorry—the commish isn’t going for that. (Though a nonprofit called the Gridiron Cannabis Coalition is working to allow medical marijuana to treat ailments for NFL players.) Thing is, if ganja can give professional athletes relief—from joint pain, headaches and concussions, lack of sleep, soreness, and muscle inflammation—they should have it available. If nothing else, it will give these athletes much-needed liver relief after being prescribed a plethora of addictive and highly toxic painkillers and sleep aids by team doctors. The only organization that seems to be getting it right on marijuana is the Olympics! The World Anti-Doping Agency (good Lord, does everyone use the same lab?) is responsible for drug-testing athletes who are training and participating in Olympic competitions all over the globe. While cannabis is on the agency’s list of prohibited substances (though not explicitly banned by the International Olympic Committee), they recently upped the allowable amount of THC in an athlete’s system from 15 ng/mL to 150—most likely because they didn’t like the idea of suspending 90 percent of their prime snowboarders and skiers. The WADA lists various competitive advantages of each drug on their Prohibition List. For cannabis, these include “better focus” and “diminished stress.” Now that I think of it, this may be an advantage in synchronized swimming, dressage, canoe slalom, racewalking, trampoline, and whatever the hell a steeplechase is. Rules on cannabis and sporting should obviously be changed, and, like full legalization, this will ultimately need to take place at the national level. Nick Diaz had a valid and legal (in California) use for medical marijuana, but ran into a state (and a Commission) that invalidated his legitimate needs. We’ll give the great Rowdy Ronda Rousey the last word on the subject: ”I’m against testing for weed at all. It’s not a performance enhancing drug. And it has nothing to do with competition. It’s only tested for political reasons,” said the champ. “I think we should free Nick Diaz.” E For more Higher Ground, visit highergroundtv.com. BR

ixed-martial-arts superstar Ronda Rousey is obviously, pound for pound, the most kick-ass fighter in the world, and not to be messed with. She has also ignited a firestorm with her articulate and accurate attack on the idiocy of marijuana testing in her sport. “Rowdy” Rousey made her argument when her friend and training partner, Nick Diaz, was suspended for five years by the Nevada Athletic Association after testing positive for pot. “I’m sorry, but it’s so not right for him to be suspended five years for marijuana,” Rousey said at a UFC press conference in Melbourne last week. “If one person tests for steroids, that could actually hurt a person, and the other person smokes a plant that makes him happy, and he gets suspended for five years. Whereas a guy who could hurt someone gets a slap on the wrist.” To make matters worse, UFC fighter Diaz, a popular star in his prime, has a valid medicalmarijuana card (from California) and stated he was using medical marijuana for ADHD as well as pain management (of which there is plenty in his brutal full-contact sport). In an absurd side note, Diaz was suspended after a match with the great Anderson Silva, who also failed a drug test—for steroid use. Silva’s punishment? One year. Diaz was suspended for five for having weed in his system—though to be fair, it was the third time in his career Diaz had tested positive for marijuana, making him perhaps not the sharpest tool in the UFC shed. For Diaz, 32, a five-year penalty is essentially a lifetime ban in a sport that takes its toll (and, in my opinion, should be outlawed, along with boxing, NASCAR, motocross, and tackle football). The whole idea of drug-testing athletes is to see if they’re using substances that may give them a competitive advantage in their chosen sport. It doesn’t take a rocket scientist to understand that cannabis is hardly a performanceenhancing drug (at least until couch-surfing becomes an Olympic sport). Diaz has claimed to use cannabis to heal his body between matches. The World Anti-Doping Agency—one of the many institutions drug-testing MMA athletes—states in its rules that marijuana may not be used “during competition”—and thus it’s quite possible Diaz was not in violation, but still had THC in his system from previous use. (A small amount of marijuana is allowed in the urine samples WADA tests, but one of the three samples taken from Diaz the day of the fight had more THC than is considered acceptable.)

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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 ECO ELEMENTS METAPHYSICAL BOOKS & GIFTS Part Time Position Immediate Must Be Experienced in Retail Sales and Metaphysics Drop off resume in person & book list to: 1530 1st Ave FREE Nursing Assistant Training Class! Join our award winning team today! Classes starting October 26th, 2015 (Now Interviewing!) -Class is typically five days a week (8am-4:30pm), four weeks long! -Must apply to get in class please apply online or in person, at facility: Richmond Beach Rehab 19235 15th Ave NW Shoreline, WA 98177 (206) 546-2666 www.teamavamere.com

SE ATTLE WEEKLY • O CTOBER 14 — 20, 2015

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PLUMBING

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Appliances

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OPEN 7 DAYS A WEEK 10am - 10pm

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IDAHO RETREAT 11 ACRES comfortable home built in 1954. 3 BR, large living room kitchen and dinign rooms areas. Basement. Barn, corrals, and outbuildings. Lovely creek running through property. Well maintained roads. $199,000. FSBO. Call Cliff, evenings and weekends 208-289-5349 weekdays 208-5535380.

Home Services Plumbing

Employment General 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

Classified

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Volunteers are needed for the APT Study examining two different types of treatment for people who have both alcohol problems and Posttraumatic Stress Disorder (PTSD).

GOODNESS MOVING APTS. OFFICES 206-851-3995

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Counseling is provided at no cost. Call the APT Study at

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

Singing Lessons

$ TOP CASH $

PAID FOR UNWANTED CARS & TRUCKS

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Part-Time Retail Merchandiser needed to merchandise Hallmark products at stores in Seattle. To apply, please visit: https://hallmark. candidatecare.com EOE Women/Minorities/ Disabled/Veterans.

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206-764-2458

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

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Bookkeepers

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Executive Assistants

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Office Support Specialists

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Legal Assistants

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NEVER A FEE TO YOU! Apply Online: www.tyiseattle.com Or call today — we’re here for you!

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Temporarily Yours Staffing

WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

Employment Career Services THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298

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The YWCA of Seattle|King|Snohomish seeks a

Veterans Employment Specialist

This position will work with veterans who are pursuing employment to find full time, family-supporting employment by providing job search assistance, employment case management, job readiness skills, vocational training referrals, and job placement. This position will work closely with other veteran service providers at the WorkSource Afiliate Downtown Seattle, including the King County Veteran program and Employment Security Department. This position has a social justice component that will allow for critical thinking around how the external systems impact the work that we are doing through the lens of racism and intersections with poverty. Valuing diversity and championing anti-racism policy are core values.

Full time, 40hrs/wk. Rate $16.35/hr., DOE.

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Employment Services

Respond to aali@ywcaworks.org Details @ www.ywcaworks.org/careers

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SEATTLE WEEKLY • OCTOBER 14 — 20, 2015

Enter To Win a Luxurious Hawaiian Holiday for Two*

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