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Mike McGinn Won’t Keep Quiet Was the ex-mayor meant for radio all along? By Sara Bernard P. 5 DECEMBER 2-9, 2015 | VOLUME 40 | NUMBER 48

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VOLUME 40 | NUMBER 48

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PULLOUT 5

RADIO DAYS

BY SARA BERNARD | On his podcast, Mike McGinn says all the stuff he couldn’t as mayor. Plus: when Black Friday met #BlackLivesMatter.

STRAIGHT OUTTA BELLINGHAM BY KELTON SEARS | With savvy Internet promotion, eclectic tastes, and a knack for inoffensiveness, EDM duo Odesza found itself, unexpectedly, selling out stadiums around the world.

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11 “IT SMELLS LIKE CHRISTMAS”

BY JACOB UITTI | What local chefs whip up for themselves for the holidays (Trinidad Rum Fruit Cake, for one). 11 | THE BAR CODE

arts&culture 13 MARVELOUS

BY KELTON SEARS | A Native American

artist helps bring a comic-book superhero back to life. 15 | LADIES FIRST 16 | COMIX

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EDITORIAL News Editor Daniel Person Food Editor Nicole Sprinkle Arts Editor Brian Miller Music Editor Kelton Sears Editorial Operations Manager Gavin Borchert Staff Writers Sara Bernard, Ellis E. Conklin, Casey Jaywork Editorial Interns Cassandra Calderon, Scott Johnson, Mara Silvers

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PREMIUM CANNABIS INFUSED EDIBLES

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IF YOU’RE ABLE

In the news section, freelance writer Joe Bernstein reported on how upcoming changes to food-stamp policy in the Seattle area will soon impact thousands of people like himself, designated able-bodied adults without dependents. Bernstein notes that the new requirements could overwhelm work-training programs or services that provide free food to the poor. Some readers saw it as a sign of the times.

It saddens to me see how Seattle is degenerating into a city infested with rich, self-entitled, narcissistic techie hipsters. It’s trying to become another San Francisco. It’s stories like this one that are the tip of the iceberg. I miss the way things were in the 1980s and ’90s. Those days are sadly gone forever. I hope this bites this business in the pocketbook. I, for one, will not set foot in this establishment. I would rather go to Subway. John Phillip, via seattleweekly.com

Sadly, I think it’s quite right to imagine that the drop in the unemployment rate in Washington, as well as other places, can be attributed at least in part to people dropping off the unemployment rolls and giving up looking for full-time work (because they couldn’t find it). And there’s the sad fact that a disproportionate share of the jobs created since the technical end of the reces- The co-owner of the company apologized, even sion have been low-wage and in probably too making a comment about their origins in Gasmany cases dead-end. town and working with the homeless that were Add to that fiscal policy present in that community. It is and a venture-capital industry clearly stated that the security Send your thoughts on that’s pumping billions into IT company that came with the this week’s issue to startups of dubious long-term building (read: not provided by letters@seattleweekly.com Meat & Bread) was responsible. value and, in the process, the

real-estate markets of the places those startups tend to locate, including Seattle. Unfortunately, when the correction comes, as it will, these places—especially the Bay Area (but increasingly Seattle too) are still going to be expensive places to live. And I just don’t think we’re hearing much of anything of value or virtue from the political class about the biggest problems of our time: unemployment and underemployment, the high cost of housing (in blue states), the absurd cost of college, and so on. Kenneth, via seattleweekly.com MEAT AND JEEZ

Also in the news section, Ellis E. Conklin reported on the recent grand opening of sandwich chain Meat & Bread in the Tommy Bahama building in South Lake Union. The restaurant was offering free sandwiches to celebrate, but security guards (hired by the building, not the restaurant) turned two low-income customers away, saying they weren’t the type of people the grand opening was for. Many readers called for a boycott, while others were more sympathetic to the restaurant. Warning: This product has intoxicating effects and may be habit forming. Marijuana can impair concentration, coordination, and judgment. Do not operate a vehicle or machinery under the influence of this drug. There may be health risks associated with consumption of this product. For use only by adults 21 and older. Keep out of the reach of children.

not. They should have put guidelines on their soft open to eliminate this ever becoming an issue—but again, it’s a business and this was a marketing move. Samantha Amador, via Facebook

It’s a business and they’re trying to get customers in there to taste and get hooked on their product. It’s not a soup line for those just looking for a free meal. Is it the humanitarian way of doing things and to respond?—absolutely

The comments are of boycotting over something that was completely out of their control. An apology isn’t enough any longer; people want blood. It’s sad that a simple incident has blown up into full-on class-warfare: Meat & Bread vs. the poor. Phillip Runyan, via Facebook

Editor’s note: Following the publication of the article, one of the owners of the sandwich chain and the manager at the South Lake Union store both apologized to Sharon Lee, executive director of the Low Income Housing Institute. On Monday, Meat & Bread donated sandwich vouchers to all 50 residents of a nearby low-income housing complex. CEREMONIAL CUPS

And lastly, praise for our photo portfolio on Ethiopian coffee in Seattle. Your article about the Ethiopian coffee practice is absolutely stunning. The article and the images were breathtaking and I can’t wait to try Kezira. Thank you for sharing this. Carilyn Platt, via e-mail E Comments have been edited for length and clarity. Now who wants a sandwich and some coffee?

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Fast takes from the news desk

A New Bully Pulpit

Armed with a popular podcast, Mike McGinn will sit down, but he won’t shut up.

McGinn’s guests tend to be people he met and worked with while in office.

podcast is impressive, engaging, great radio—and undeniably a way for the former mayor, ousted by voters in 2013, to keep a hand in the game. “It’s interesting, as a former mayor, trying to figure out what tools I have to influence the debate,” he says. “I’ve experimented with that in different ways over the last couple of years.” That he’s trying to influence the debate at all runs counter to some people’s idea of proper political decorum, which dictates leaders should cede the limelight to their successors. But being proper or politically decorous was never his style. Mike McGinn might be willing to sit down, but he’s not going to shut up. If you haven’t yet heard You, Me, Us, Now,

check it out: It’s compelling, and it dives deep. While very simple—just a series of interviews, sandwiched between two songs related to the

The whole idea for the podcast, McGinn says,

sprang from a joke: During his mayoral exit interview on KIRO, McGinn told hosts Dave Ross and Luke Burbank that he was “thinking about being a radio talk-show host” as his next gig. “I knew that would make them laugh,” he says now.

» CONTINUED ON PAGE 6

Do You See What I See?

It’s hard to say what was more disheartening about Black Friday’s Black Lives Matter protest at Westlake Center, where hundreds of people gathered to protest police killings of African Americans: the Seattle police in full riot gear, or the mostly white shoppers who largely ignored the demonstrators. “Come on. Just let people have a little bit of happiness,” a disgruntled white woman said as she huffed away from the protest, arm in arm with her husband. When asked if she was referring to the protest, the woman said yes. “I think [the protesters] are fucking stupid,” she raged, adding that this was her first holiday in Seattle and she had been hoping to enjoy the children’s choirs. The protest managed to distract holiday shoppers and shut down streets, as originally intended (“Black lives and your life matters more than Black Friday cheap deals,” according to the event’s solidarity statement), but the SPD was prepared to prevent anything else. When protesters attempted to occupy the Westlake Mall entrance, police in riot gear wielding batons and bicycles forced their way through the crowd, knocking several people to the ground. One policeman said the SPD’s job was to keep everyone safe and avoid property damage, even though very little property was reported damaged (one light, one Plexiglas pane) and no one was injured until after the police intervened. In the end, four protesters were arrested and one police officer was injured (a dislocated shoulder). But unlike last year, there was no pepper spray, no tear gas, and Westlake Center didn’t close early. The protest was largely peaceful, leaving observers more bewildered by the event’s surreal juxtapositions than anything else: When glitzy Christmas cheer meets calls for racial justice, it gets weird. And that was probably the point. A loud rock group powered through a full Seahawks-themed “12 Days of Christmas,” for instance, while Black Lives Matter chants breached every musical lull. Event hosts commented how “happy” and “excited” the crowd was for the treelighting ceremony; protesters continued to bellow loudly. “Whose lives matter? Black lives matter!” The dissonance perhaps peaked when a KING 5 host dressed in a red elf costume welcomed Santa on stage to the boos of the Black Lives Matter crowd. Santa encouraged the audience to “Be good, listen to Mom and Dad, and always be nice to your friends.” The protesters responded: “If we don’t get no justice, then you don’t get no peace!” and “No justice, no peace! No racist police!” As night fell, holiday balloons were dispersed throughout the crowd. After the illumination of the Macy’s star, protesters let their balloons fly, now attached to signs that read FUCK THE POLICE and BLACK LIVES MATTER. Some signs became entangled with tree branches and power lines, waving adamantly for every onlooker to see. MARA SILVERS AND SARA BERNARD E

news@seattleweekly.com

SEATTLE WE EKLY • DE CEMBER 2 — 8, 2015

COURTESY MIKE MCGINN

ike McGinn has a big, barrelchested laugh that starts as a chuckle, then quickly crescendos into a long, raucous takeover of the room. It’s almost as if he’s sharing a joke with you, although you don’t quite know all the layers of the joke, because for some reason, he’s still laughing. Many long-term Seattleites know the sound well—including, most likely, the regular patrons at Gorditos, one of McGinn’s favorite local haunts. It’s a Mexican joint in Greenwood that’s been serving gigantic burritos since back when 85th Street was the ’burbs. I’ve met McGinn for lunch here to talk about his podcast, You, Me, Us, Now, which got rolling on KIRO this spring and has been pulling in such local change agents as civil-rights champion Bob Santos, Councilmember Kshama Sawant, activist Sarra Tekola, and Real Change founder and editor Tim Harris. The

topic of the episode—it nevertheless draws on radio’s greatest strength: the intimacy of a single human voice speaking directly to you, with all the timbre and emotion of a true-life, round-thecampfire tale. Ardell Shaw, who spent a total of 17 and a half years of his life in prison, describes a home life with a mother “strung out on heroin” and how that led him to link up with guys selling drugs who’d had similar experiences. Tekola tells how she learned what “being a black person in America was”—including the time, in middle school, a white kid invited her to participate in a rap battle and she got suspended for it, while the white kid didn’t. Undocumented immigrant Maru Mora Villalpando recalls a protest she helped stage outside the Northwest Detention Center in Tacoma, with activists linking arms inside chunks of PVC pipe so it’d be harder for police to break the human chain, chanting, “You are not alone!” McGinn’s guests are usually people he met or worked alongside while in office or activists he’s long admired. And while he tees them up and guides the conversation, they carry it; he often doesn’t do much talking at all. Still, when he does, he goes just as far as he likes. “I’m a former mayor,” he jokes in a recent episode. “I can talk about whatever I want now.” Indeed, no more currying favor with the City Council, no more fending off relentless “bikelash.” He’s able now to bring his views—and those of his guests—to the airwaves, unfettered. And few who know the man are surprised he’s doing this. “McGinn is an activist, first and foremost,” says Sol Villarreal, community engagement coordinator during the McGinn administration. “ ‘Politician’ is not the top-level line on his resume, right? He is an activist who became mayor. That’s it. After he was no longer mayor, he was absolutely going to go back to being an activist.” As a nontraditional mayor, then, McGinn is also not doing what dyed-in-the-wool politicians often do, which is bow out after their last term. Former mayor Greg Nickels, who preceded McGinn at City Hall, says that since he left office, he’s occasionally on-air with KUOW, but that’s about it in terms of local public discourse. “I’ve done a lot of speaking engagements” since leaving the mayor’s office, he says, “mostly on the East Coast, some international”—adding, with a pointed laugh, “Very little here.” And that was “a very conscious choice,” Nickels says. “I think it’s the right thing not to try and stay in the spotlight when your successor is trying to put their agenda through. If I’m asked to participate in something locally, I certainly do, but at least for those first four years, I felt it was more appropriate to put my energy elsewhere.”

SARA BERNARD

BY SARA BERNARD

A New Bully Pulpit » FROM PAGE 5

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They did laugh, but then they took him up on it; shortly after the exit interview, McGinn got a call from a KIRO producer inviting him to do a podcast. A year later, McGinn figured out his angle: “To kind of use whatever status I had as former mayor to help bring out other voices. And it would be a way for me to engage in a little advocacy myself along the way, as it turns out.” The podcast also feels like a way for McGinn to come to terms with his mayoral tenure—the issues he struggled with, his successes, his losses. When Sawant was his guest, for instance, he compared his efforts to hers, and introduced the episode by acknowledging that “I ran for office after being an activist for years, and I brought that sense of righteousness to the job. It actually hurt me a little bit. I got beat up a little bit by my opponents and the public for being that way.” Sawant, he said, “is handling that a little better than I did.” Or when he recited the “five A’s” of Career Bridge training, a jobs program he launched while mayor—Attitude, Attendance, Ability, Adaptability, Accountability—he added, with a self-deprecating laugh: “I remember thinking that was pretty good advice for mayor, too! As mayor, I was really good at Attendance, but I think I was working on the other four.” Former advisor Villarreal says he detects some nostalgia for the mayor’s office in the show. Being mayor “is by far the best job that he’s ever had and that he probably will ever have,” he says. “I mean, I don’t think you could create a better job description for Mike McGinn than being mayor of Seattle. At a fundamental level, he really cares about Seattle and he wants to see it be the best city it can be. And there’s just not a single position you can have that’s going to give you the ability to do that better than being mayor.” Today, McGinn describes his bid for mayor as “shooting the moon”—the gutsy play in the card game Hearts, in which a player risks everything he’s got to win. And the reason he went for it had everything to do with being an activist. “I remember thinking, wow, imagine what I could do as mayor,” he says. “I felt like mayor was a great elected position to try to create change from. Being a member of a legislature, you don’t have that same direct capacity.” Some say McGinn’s legacy was less effective than it could have been, in part because he wouldn’t compromise, wouldn’t play the political game. His executive approach was more direct, like his laugh: loud, long, and in your face. “I was accused as mayor of leading with my chin too often, and I probably did,” he tells me with a shrug. “But I got into it because I was sick and tired of all the papering-over of problems. I thought, well, I’ll just stick my nose in it, and I’ll say what I think. I probably ought to have dialed back a little at times, but to me that was important.” We’re wrapping up lunch, and McGinn’s cell phone rings. He peers at the number, then puts the phone down. “I can call Robby back,” he says, then explains, “Robby Stern is my next podcast. He was the guy on the podium with Bernie Sanders when the Black Lives Matter people took over,” not to mention “a really badass activist from back in the day. The FBI had a file on him in the ’70s.” Stern has a perspective on activism that a lot of the explosive dialogue after the BLM protests didn’t touch; “I’m really interested to hear his take on that,” McGinn says. And then he laughs—very long, and very loud. E

sbernard@seattleweekly.com

DANIEL BERMAN

n Sept. 11, 2014, Red Light Management’s Adam Foley was sitting in his office in Virginia waiting for a weekly sales report. He knew what it was going to say, but he patiently waited anyway. His newest clients, the two Seattle men who record and perform under the name Odesza, had just released their sophomore LP, In Return, three days earlier. When the electronic Billboard charts finally published, there it was: Odesza at #1. “No, I wasn’t surprised,” Foley tells me a little over a year later. “It was like, ‘Great,’ then we turned away from it and just kept going.” As of this week, In Return will have sat on the Billboard electronic chart for 66 consecutive weeks, 46 of those in the top 10. During our conversation, Foley casually drops a lot of outlandish numbers like these: “They have a million-plus Pandora plays a day,” he says. “They have literally sold out our entire world tour over the past year and a half,” he says. “New Zealand, Australia, Europe, North America, multiple nights at a number of stops.” “They’ve consistently been in the top 10 on the iTunes electronic album chart every week since

Clayton Knight (left) and Harrison Mills are Odesza.

MAINSTREAM UNDERGROUND How Seattle electronic duo Odesza secretly became global superstars. BY KELTON SEARS they released In Return in September,” he says. “Pretty crazy, right?” “But why?” I guffaw at the poor man. “This is insane. I, just, hold on a minute, just . . . I know you’ve touched on a couple of reasons, but I still don’t understand. How did this happen? The Internet? Is it really just their music, the Internet, and ‘working hard and keeping your heads down’?” I’m here looking for concrete management plans, marketing strategies, or Illuminati algorithms that might elucidate some of these surreal statistics. You don’t go from messing around in your basement to selling out three nights at the 2,800-capacity Paramount Theatre

in three years just by being nice young men. The last local act that pulled off a three-night sold-out Paramount run was Death Cab for Cutie in October—but they formed in 1997, not 2012, and have been on a major label since 2004. It took Macklemore, ostensibly Seattle’s “biggest” musician, six years after his debut LP came out in 2005 to sell out three nights at the 1,100-capacity Showbox, not even half the size of the Paramount—and it certainly wasn’t the last stop of his sold-out tri-continental tour. Macklemore did go on to sell out three nights at KeyArena in 2013, which, at this point, seems like the next logical step for Odesza.

But Foley, who also manages Colorado EDM superstar Pretty Lights, has explained the startling rise of Odesza mostly with platitudes you might hear from a proud dad whose son’s soccer team just won the league cup. More mind-boggling, Foley keeps calling Odesza “underground” and “DIY.” I will later learn that while Foley is absolutely telling the truth, those words mean something very different for the breezy, cinematic electronic act than it meant for indie underground poster children Death Cab for Cutie, DIY Billboard-topping case study Macklemore & Ryan Lewis, or Seattle’s spirit band, Nirvana. It’s why Odesza is running laps around Seattle’s musical legends without a lot of Seattle really realizing it. Or at least I certainly hadn’t noticed. And apparently today, still, neither do a lot of people in Bellingham, the band’s birthplace. According to Brent Cole, editor-in-chief and founder of Bellingham’s 17-year music-scene magazine What’s Up, “I don’t think a whole bunch of people here are aware of it. Maybe people deep in the music scene know it. But people who know Death Cab is from [Bellingham] might not know Odesza is from here.” Cole says that a number of times when Odesza has come up in conversation, friends are shocked to hear they are from Bellingham and live in Seattle.

» CONTINUED ON PAGE 8

music, they are going to find a way to support you.” Indeed, when Odesza put a simple branded black beanie on sale on its Facebook page, the entire stock sold out in under an hour. But obviously this isn’t the only secret to Odesza’s success. If the answer was simply “streaming,” then every schmuck on Soundcloud should be selling out arenas.

into communities than it was before when you had to rely on a bunch of other factors.” Knight and Mills’ wildly successful 2013 wrapped up in December with the end of their Pretty Lights tour. In February 2014, to support My Friends Never Die, Odesza went on to sell out 30 of the 44 dates on its first headlining U.S. tour before officially starting what would become a global takeover in September, the duo’s sold-out continent-spanning tour in support of its charttopping second LP In Return.

Beyond “cinematic,” nobody really knows what to call Odesza’s music. A running joke of Foley’s is that a number of music blogs have actually used “Odesza” as a genre when writing about other musicians.

Knight are pictured posing with Pandora CEO Brian McAndrews and chairman Lars Murray. The article tells how Odesza, along with the Rolling Stones, proved rousing successes as the two test subjects for Pandora’s brand-new live-music presale program. Through Pandora, Odesza sold out its entire allotment of 25,000 presale tickets for their In Return tour startlingly fast—one 3,000-seat venue in the presale sold out in 27 minutes thanks to one targeted ad campaign. “The presale campaign utilized audio ads featuring the band, banner ads on the site, posts on Pandora blogs, and a dedicated page, all targeting Odesza fans on Pandora,” the article reads.

DANIEL BERMAN

In a September Billboard article, Mills and

JONATHAN GIPAYA

“I was like, ‘Holy crap,’” Foley says. “I would never have known that this was these guys’ first tour. They were better than anyone else I’d seen at that level. They were really young, right out of college, made an amazing record, so I wanted to see what they could do out on the road.” So Foley signed on, and as an “experiment,” in Mills’ words, set them up on a March 2013 West Coast tour with Emancipator. The popular Portland-based electronic producer’s chilled-out sound had been a big influence on Mills and Knight, and as a headlining act, he had enough draw to sell out midsized venues across the country. After scheduling a follow-up West Coast tour that spring with Beat Connection, festival spots started flying Odesza’s way—Summer Meltdown, Oregon’s What the Festival, California’s Lightning in a Bottle and Symbiosis Gathering, a prestigious dance-tent slot at Sasquatch, and a mainstage set at Capitol Hill Block Party. The duo’s live show received rave reviews at every stop, in part because from almost the very beginning, it was consciously built for a massive outdoor stadium-level infrastructure instead of small intimate venues. Mills and Knight would go on to master the craft of bombastic, large-scale live performance, inviting the University of Southern Cali-

JONATHAN GIPAYA

Knight and Mills have gone from card-carrying WWU undergrads to arena headliners.

“The strategy was not so different from a traditional radio marketing campaign, except, rather than that ‘carpet bomb’ approach, Pandora offered a ‘drone strike’ targeting Odesza fans.” A follow-up Billboard article, an op-ed written by McAndrews, uses Odesza and the Pandora presale program as proof of why “ ‘free’ music is worth so much.” This elucidates in part why Odesza managed to explode so quickly and on such a huge scale without Seattle or Bellingham realizing it. The duo— whom Foley lovingly refers to as “the poster children for streaming”—connected to a massive mainstream audience that, perplexingly, is simultaneously underground. Their well-oiled machine identified isolated global channels receptive to its sound and made it as easy as possible for those channels to access them. In a subversion of the typical industry model, Odesza is aggressively pro-streaming. “I think people are just afraid to just let go,” Mills tells me. “Putting out music on CD and all that stuff. The truth is, people just want convenience, and if you stand in the way of that, you are going to get hurt. If people really care about your

Odesza’s music is sonically huge enough to fill the void left by dubstep’s garish mega-festival infrastructure and broad enough to convert droves of new ticket-buyers to fill those same stadiums. The band’s stylistic collage, influenced by Knight and Mills’ proudly omnivorous listening habits, is scientific in its precision. Dubstep refugees love its subtle tension and release. Pop fans love its shimmering tonalities and slew of soulful female guest vocalists. Hip-hop fans love the familiar beats. Indie fans love how “organic,” in Knight’s words, the samples sound. Older crowds love how relaxing and positive it is—the group is apparently a favorite in yoga classes, according to Foley. Just like the crossover acts that inspired them, Odesza is drawing together groups of music fans that previously wouldn’t have been in the same room. Phrases blogs have used to describe Odesza include “deep trap,” “indie electronica,” and “chill house.” The phrase Foley is most excited about, is, tellingly, one that describes what Odesza is not: “contra-EDM.” “Odesza is really known for being the opposite of that,” Foley says, “at a time where people were

“Say My Name,” the single from In Return featuring guest vocalist Zyra, is the band’s biggest and most explicitly “pop” hit to date—a combined 13.5 million views on YouTube and 16.2 million on Soundcloud. Close to wrapping up my interview with Mills and Knight, I ask them if I can read a quote about “Say My Name” that I found on an industry site for TV- and film-music supervisors that named the song its “Sync Song of the Week.” “This week’s track, ‘Say My Name,’ features Zyra’s vocal accoutrements and would work well

SEATTLE WE EKLY • DE CEMBER 2 — 8, 2015

fornia drum line to join them onstage at Coachella and the Chicago Bulls drum line at Lollapalooza. In April 2013, Odesza hit one million Soundcloud plays. That November, to coincide with the release of the duo’s new record, the My Friends Never Die EP (three songs from which immediately hit #1 on Hype Machine), Foley set Odesza up on the tour that would cement it in the highest ranks of the festival world—a supporting tour with Pretty Lights. “These are crowds of thousands of people, probably none of which knew our music, but the connection between their fan base and ours really worked,” Knight says. For reference, the local stop of the massive tour was at Kent’s 6,500-capacity ShoWare Center, which normally hosts the Seattle Thunderbirds’ hockey games. While there have been a lot of tipping points in Odesza’s meteoric career, manager Foley says a number of them happened through that tour. Not only did Odesza vastly expand its audience by converting Pretty Lights fans at arena-level shows, but an official remix Odesza did of Pretty Lights’ “One Day They’ll Know” exploded, scoring millions of streams on Soundcloud and a sync spot in the #1 box office sci-fi action film Divergent, where it was featured in a party scene. But the biggest takeaway from the tour was the lesson Odesza learned from Pretty Lights about building an audience. “He’s never had a #1 hit on radio, almost no radio play, but he’s selling out arenas,” Mills tells me, wide-eyed. “Kids who don’t have a lot of money will find a lot of money to spend on tickets to a Pretty Lights show,” Knight adds. “You can connect to an audience on a massive scale without having the radio promotion. Especially now with the online community. It’s become a whole lot easier to tap

really getting tired of being banged over the head with heavy bass, here came along this thing that was open and airy and sprightly but still kicks. It makes you feel good . . . even if you’re sober, you know? It still has really good beats. Men and women both like it. It’s the right blend of a lot of different styles.” Odesza’s musical approach is similar to the way Belgian cartoonist Hergé drew his most popular character, the globe-trotting adventurer Tintin. Art historians have long noted that Hergé’s stroke of genius lay in the way he drew Tintin’s face—in very simple, consistent lines, always sporting a neutral expression to match his neutral personality, but somehow still strikingly iconic. Thus readers could easily fall into the character of Tintin, imagining themselves as the hero of the adventure. When I ask Mills about the philosophy behind Odesza’s aesthetics and live visuals, both of which he is responsible for, he confirms this connection. “It’s really based on how we make our music, which is a lot of collaging,” Mills says. “A mishmash of things, but it’s still one solidified thing. We try to create a visual story that’s . . . ugh, this sounds so terrible to say . . . but that’s everything and nothing at once. You kind of want to evoke an emotion or some kind of story line, but be vague enough that anyone can understand it.” The music suggests vivid images of wistful parties, stunning vistas, and sun-drenched romantic rendezvous, but it never paints the entire picture for the listener, instead letting them fill in the blanks. The dreamy, fluttering “Sun Models,” an Odesza hit, features guest vocalist Madelyn Grant singing the (barely) intelligible lyrics “Waiting for love, I’m waiting for love.” The rest of Grant’s vocals are turned into chirping, nostalgic, non-lyrical melodic elements. Odesza’s music is a landscape upon which the listener, no matter who they are, can project his or her own dramatic, emotional narrative. And beneath it all is the group’s rock-solid, wide-appeal stylistic collage. Mills and Knight listen to music four to five hours a day, and constantly talk about why certain songs do and don’t work in an effort to better their own songwriting craft— nothing is off-limits. Even music they hate. “Like the new Taylor Swift album,” Knight tells me. “This is the poppiest of pop. My girlfriend fucking loves it. So I listened to the album and I don’t agree with a lot of it, but there are elements you can pick out and be, like, ‘Oh, they did a really good job with this chord progression or this vocal melody or the drumwork here! The tone they got on the snare.’ That’s important stuff to think about.” “And what’s funny is,” Mills chimes in, “if that gets quoted, some person who reads the words ‘Taylor Swift’ is going to skip the whole paragraph. Especially here [in Seattle]. ‘Ugh, poppy.’ And then they’ll walk out of the room. I hate that.”

» CONTINUED ON PAGE 10 9

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synced with countless projects,” it reads. “We think it has the catchiness to hold up in adverts, the youthfulness to accompany young-adult projects (parts are suitable for both film and TV), and the electronic yet safe commercial prowess to be a feature or title track in a number of film genres.” “There goes a businessman telling you about a creative,” Mills laughs. “The song is inoffensive.” “We were trying to dabble in pop music and had no idea [the song] would be taken that way,” Knight says. “We have friends who tell us, it’s like, you can’t not like it, because everyone kind of likes it because it’s just so inoffensive.” To confront the wave of corny sync offers they received thanks to their commercially viable electronic pop song, the music video for “Say My Name” starts out looking just like an ad. A beautiful couple wearing all white and prominent turquoise Beats by Dre–style headphones kiss. They strip to their underwear, synch “Say My Name” on a prominently displayed iPhone to a prominently displayed and branded Bluetooth speaker, and dive giddily into a glistening swimming pool behind a sunny house in L.A. Abruptly, the scene breaks and a bunch of cameramen appear. The female lead becomes frantic and confused, running around wide-eyed and pounding on the chest of the romantic male lead. Suddenly it dawns on the viewer, as in a Twilight Zone episode, that she thought this whole scenario was real the entire time. The clip ends with her hand melting into her computer screen, ferns projected onto her face, before she disappears. The video’s complicit critique of consumerism arrives at a time when the band is just starting to walk the ever-narrowing line between “artistic integrity” and “sellout.” It’s something the duo tells me they’ve spoken about with Reed Juenger from Beat Connection quite a bit, a band whose new album, Product 3, confronts this same issue. “When we toured together, we would talk about topics like that all the time,“ Juenger tells me. “That’s something I think both of us share a fear of and a suspicion of, and something I think stems from the local music community. When you’re making this electronic music in this small community in the Northwest, it’s very easy to be afraid to be commercial or successful. I’ve always said we’re from the Internet, not the Northwest.” But as Odesza will tell you, beautiful Northwest summers and their dramatic, natural scenery are among the group’s chief influences, which you can clearly hear in the music. And obviously, despite the region’s rock-centric DNA, the Northwest loves Odesza, as evidenced by their three sold-out Paramount shows this weekend and its one sold-out DJ night at the 1,000-capacity Q Nightclub on Saturday. So why haven’t we heard much from these fans? Because in Seattle and Bellingham, the most vocal segments of the music community are still, as they always have been, suspicious and closed off to electronic music—especially of the pop variety. “I think for a lot of major cities, it’s easy when you’re coming from the base of a genre to be a purist about it,” Mills says, referencing Seattle and Bellingham’s spot in musical history as the birthplace of anti-pop grunge, a champion of left-field indie and earnest folk, and a bastion of socially conscious hip-hop. “But we love Seattle, and there’s a lot of people here who are hungry for [electronic] music . . . people who know how to work computers,” Knight says. “But you know, people here are like, ‘Tech! Uh-oh!’ ” E

ksears@seattleweekly.com

food&drink

BARCODE

Local Dessert Wines

Local Chefs’ Holiday Traditions

BY ZACH GEBALLE

Including Asian and Caribbean. BY JACOB UITTI

be traditional as possible,” says Douglas. “I also try to think of my guest list and think of jobs for every person so we’re all included. My daughter Loretta has taken to making pies, [and] last year she made a most delicious caramel apple pie.” Douglas, an entrepreneur who seemingly works around the clock, says he tries to take it easy on the holidays. The only formal work he does is stopping into whatever restaurant he has open on the holidays—this year Lola, because of its association with the Hotel Ändra. Instead, Douglas teaches the kids visiting him for the holidays how to cook, and makes sure his guests leave with plenty of leftovers. “Because,” he says, “let’s face it, leftovers are the best part.” Renee Erickson, owner of a number of beloved Seattle restaurants including The Walrus and the Carpenter, keeps the fare traditional during the holidays—though, she says, oysters are always involved: some raw, others roasted (preferably in a wood-fire oven, with herb butter), both served with champagne. “I’m a big fan of champagne for the holidays,” she says confidently.

Pam Jacob’s Trinidad Rum Fruit Cake Ingredients: 1 lb. sugar 1 lb. butter 1 dozen eggs 1½ lb. flour 1 tsp. baking powder 1 pinch salt 3 lbs. fruit: prunes, currants, raisins, cherries, nuts soaked in rum and wine. (Pam often soaks her fruits up to a year, but 24 hours will do.)

Erickson says holiday cooking is actually less stressful than her day-to-day: “I get to be creative in a way that’s not for the restaurant and not to fill a niche that someone else expects. I think cooking for family is always nice; they’re not judging me. If I burn something, I’m not worried someone is going to Yelp about me.” At her holiday parties, Pam Jacob, owner of Pam’s Kitchen, makes traditional Caribbean food, true to her background: chicken fried and then stewed (made without too much broth), red beans and rice, stewed fish, and black fried rice, which is made with black rice, vegetables, ground turkey, raisins, and nuts. Jacob says she never celebrated Thanksgiving until she moved to America, and now she owns restaurants that are closed on the holiday. For dessert, she makes her specialty: “Trinidad rum fruit cake,” she says with a laugh. “It’s phenomenal.” She soaks the fruit in wine and rum and puts it in the food processor to make it soft and moist, then adds burnt sugar to make it dark. “It smells like Christmas when you cook it,” she says.

Instructions: Grind fruit together in a food processor until soft, then brown lightly in a skillet. Burn sugar by placing it in a heavy skillet over medium heat, stirring constantly with a wooden spoon while it melts. When it becomes dark, remove from heat, add hot water very slowly, and stir until dissolved. Beat together butter, eggs, and burned sugar, and add dry ingredients. Mix with fruit and pour batter in a cake pan. Bake at 275°F for 30 minutes; reduce to 250° and check in 15 minutes. E food@seattleweekly.com

thebarcode@seattleweekly.com

SEATTLE WE EKLY • DE CEMBER 2 — 8, 2015

ver the holidays when I was a kid, I would beg my Uncle Lou, a Frenchtrained chef who worked in Philadelphia, to make us homemade mac and cheese when he visited. I rarely cooked, so when he came to our house in Princeton with a big metal pot and started making the roux on the burner, I was captivated. “First you put in the butter,” he’d say, stirring it over a low heat, “then the milk, then the flour.” The result was a beautifully creamy noodle dish, my favorite of the holiday season. We all have our holiday traditions. Some of us are responsible for cooking our favorite dish to share with the table. Some of us spend the holidays with friends, everyone cooking under the same roof, drinking wine and winter ale. But what about the chefs in our city, we wondered; what roles do they play? We thought we’d check in with some of our favorites and ask how they celebrate the holidays. Taylor Hoang, owner of the Pho Cyclo restaurants, says she enjoys being the matriarch, inviting dozens of friends and family over for both Thanksgiving and Christmas. Providing food every day of the year doesn’t change one iota during the holidays for Hoang, who serves a combination of traditional American fare as well as dishes prepared Asian-style on her table. “My house is the one everyone comes to if they don’t have plans,” Hoang says, noting that her guests are often from different countries like Vietnam and India. Because certain foods like turkey aren’t super-popular in Asian cultures, she says, she often makes free-range roasted chicken, roast beef, mashed sweet potatoes, Asian-style green beans, Vietnamese spring rolls, and traditional Americanstyle stuffing. On Christmas, she always makes a roasted beef shank: “People demand it!” Tom Douglas, perhaps Seattle’s best-known chef, has a tip for holiday get-togethers: First and foremost, give everyone a job cooking. “I try to

COURTESY OF SASQUATCH BOOKS

Roasted oysters with herb butter at Renee Erickson’s family celebration.

ne of the great conundra of the wine world is why more people don’t buy dessert wines. Often when I pour them for guests they’re smitten, yet rarely if ever do they seek them out on their own. It’s even more baffling because once sweet wines were held in high regard; these days they’re at best reserved for special occasions, if not ignored altogether. That creates something of a dilemma for local winemakers who might be inclined toward dessert wines: Should they put much time and effort into something likely to be ignored by large swaths of the public, or should they forge ahead bravely, even if selling sweeter styles is challenging? When I talk to winemakers about this, the recurring themes are expense and risk. With any kind of dessert wine, there’s a lower yield per ton of grapes, which naturally drives up the cost of the finished wine. Certain styles of dessert wine (ports or sherries, particularly) are also time-consuming to make, requiring a fair bit of skill and experience to get right. Given the relatively lackluster market support for such wines, it’s no surprise that many winemakers just avoid the entire category. That said, it’s important to note that some excellent sweet wine is in fact being made in Washington—especially late-harvest wines, made from grapes that remain on the vine longer (sometimes a month or more) than those picked for dry wines. That longer ripening period not only ups the sugar level, but often imparts greater complexity and depth of flavor. Eastern Washington remains relatively sunny through much of the fall, allowing grape growers to take the risk, as damaging rain or fog is far less likely than in other regions. Properly made, late-harvest wines offer a fantastic and delicious tension between sweetness and tartness that dry wines simply can’t. Typically they’re made from aromatic varietals like viognier, gewürztraminer, riesling, and chenin blanc—grapes capable of astounding depth and complexity the longer they hang on the vines. Fortunately, Washington has a diversity of grapes planted, which can be utilized by those winemakers bold enough to give it a shot. Great local offerings include the late-harvest gewürztraminers from Kiona and Gordon Estates; the excellent Eroica Gold riesling from Chateau Ste. Michelle; Kiona’s chenin blanc ice wine; and Stottle’s late-harvest viognier. Beyond that, Barnard Griffin has for years made a very enjoyable port-style dessert wine that’s widely available, though few other producers have given those more difficult dessert wines a go. The holidays are a great time to try some of these: they pair well with many seasonal flavors, they’re fun, and they’re best when shared with a group of friends or family. Plus talking about dessert wine is a lot more fun than the kinds of ridiculous political or sports debates that might otherwise dominate your gathering, and it’s definitely better than doing the dishes. E

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arts&culture

COMIX16 REVIEWS17 CALENDAR20

Red Wolf Returns With the help of S’Klallam tribe member Jeffrey Veregge, Marvel revives an indigenous hero. BY DUSTY HENRY

RACHEL ANNE SEYMOUR

JEFFREY VEREGGE

“I have always thought that my tribe’s culture isn’t just the artwork, carvings, and canoes. It’s everywhere and in all the things we do,” he says. “It’s the way we treat one another and take care of one another during hardships. It is the wonderful tastes that come from our kitchens, and simply spending time in each other’s company making mischief or sharing about the times we did.” At 23, Veregge became the youngest tribal member to be elected to the Tribal Council. It was then that he was approached by the FBI for a potential internship. When he interviewed with the Bureau and was told he would still need to go to college, he started to have doubts. “I went home to my wife and talked it over with her and said if I have to go to school to be something, I want to go to art school . . . I want to have fun,” he says. A month later he registered for the Art Institute of Seattle’s industrial-design technology program. Art wasn’t just a random decision, but something Veregge had been expressing himself through almost his entire life. His mom even noted in his baby book that he loved to draw pictures of Star Wars characters when he was only 4. While he did take occasional lessons, offered in the tribe’s carving shed by S’Klallam artist Jake Jones, his interests initially steered more toward Spider-Man and Garfield—as well as an odd abundance of duck drawings. It wasn’t until later in life that he thought of using his art to reflect his heritage.

“I have always been proud of being Native and my home, and this was a way for me to share that in a way that people would understand,” he says. “I felt using visual cues that most people recognize as being Native American was the best way to get that across.” For the past 10 years, he’s done the majority of the graphic design for his tribe, most recently art-directing a S’Klallam history book called The Strong People. Despite his knack for Star Wars drawings, the learning curve for his ancestral artistry was steep. Right after he graduated from the Art Institute, he designed a logo for one of his tribal organization’s departments. He used Coast Salish elements that he was familiar with, but, in his words, “bullshitted the design” because he didn’t really know what the shapes and forms were. He was embarrassed that other Native artists would see his work, and didn’t want to be seen as a fake, so he asked his cousin, Marie Herbert, at the tribal cultural department to connect him with Tsimshian master carver David Boxley. “He was the best I knew, and I wanted to learn from the best,” Veregge says. “He taught me the basics for formline design in exchange for work on his own projects, an occasional salmon, bucket of clams, and a pie or two from my wife. The most valuable thing I learned from him was that

you are only as good as your last work—to give your best with each project as if that is what you will be remembered for.” In 2012, he tried to mix his artistic worlds by blending expressionism with Native art, but didn’t feel it suited him. This coincided with a tumultuous personal time, as he hit his fifth year in counseling for fear and depression. “I was bullied when I was a kid, and the self-image of being a nerd really had carried with me into my 30s,” he confides. “I didn’t love who I was; I was

SEATTLE WE EKLY • DE CEMBER 2 — 8, 2015

n 1970, Marvel comics debuted its firstever Native American superhero, Red Wolf. The alter ego of a Cheyenne man seeking vengeance for his father’s death at the hands of greedy businessmen, he was given superhuman strength and senses by the wolf god Owayadata. The last time the character headlined his own series was when his first one ended in 1973. The character would subsequently show up in following decades in supporting roles for heroes like the Fantastic Four and the Rawhide Kid. But this year, everything changed—not just for Red Wolf, but for the entire Marvel pantheon. Marvel revealed that its Secret Wars series would effectively reset the Marvel universe, meaning certain characters and versions of heroes would be lost while others would be revived—including Red Wolf. This week he’ll hit the stands again, standing stoically on the cover of the first issue of his new series in stark red and black, holding a pistol and a tomahawk. Instead of the conventional human form he was drawn in in the ’70s, his new look is designed in the style of indigenous Northwest formline art—thanks to the artistic vision of cover artist and comics consultant Jeffrey Veregge. Veregge, 41, grew up in Little Boston, a reservation near Port Gamble on the Northwestern shore of the Kitsap Peninsula, home to the S’Klallam Tribe. The setting helped Veregge develop not just his art, but also his personal ideologies.

» CONTINUED ON PAGE 14 13

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THUNDER FROM DOWN UNDER » FROM PAGE 13 worried that my wife—that people in general— would not like me if they got to know me.” After an affirmation of love from his wife and encouragement from his doctor to take anti-depressants, his world began to clear. He stopped caring about who liked his work and began embracing being a “Native American nerd who loves comics and sci-fi.” He soon began creating homages to characters like Spider-Man and Galactus, reimagining the heroes in minimalist Native styles. His piece, “The Bat,” which depicted Batman in what has become Veregge’s trademark style, was given the “Honoring Innovation” award at the Washington State Historical Society’s In the Spirit arts festival and was a runner-up for the “People’s Choice” award. In 2014, Veregge made his first foray into the comic-book industry. IDW Publishing editorin-chief Chris Ryall reached out to him to do the cover for an upcoming issue of Judge Dredd. “After we chatted, I had to find a quiet corner in the office and cry tears of joy,” Veregge says. The cover would receive acclaim from Paste Magazine and IGN as one of the best comic covers of the year. He’d go on to create covers for IDW’s G.I. Joe series that caught the attention of Marvel’s chief creative officer Joe Quesada. Nearly a year later he got a message (on his wife’s birthday) from the comics giant asking him to work on covers for Red Wolf and to screen the scripts to “make Red Wolf feel more real as a Native American.” Although Red Wolf was originally identified as Cheyenne, this new incarnation will belong to a fictional tribe.

“The fact that he is not from any tribe as we know it doesn’t take away from the significance of who he is,” Veregge says. “He is a man out of time, and he takes with him the lessons learned from his people—much like most Native American professionals today, including myself.” As a consultant, Veregge is approaching the sensitive history of Native American pop-culture representation knowing he can’t please everyone, but also embracing his role as a sign of progress in the industry. “Everyone has an opinion of what or who Native Americans are or were,” he says. “I think that there will always be some type of representation that not everyone agrees with. I love that Marvel brought me in to help [in] that aspect. When large companies like Marvel take steps like this, [they serve as] great examples for other businesses to follow when wanting to represent not just Indians like myself, but any ethnicity, really.” Veregge will continue to release covers for Red Wolf, saying he hopes to work with Marvel “as long as humanly possible.” In the meantime, he’ll also work with other comic publishers, and plans to have a few of his own original titles ready for the 2017 Emerald City Comic Con. After years of struggle, Veregge says he’s finally found peace and comfort in his art. “The work I’m now doing are the first art pieces I can honestly say I like, and can say clearly and confidently why I like them,” he says. “I am really only doing what Native artists did centuries before me, telling their stories with art. Knowing this makes me feel like I am part of something much bigger and larger then myself.” E

visualarts@seattleweekly.com

SE ATTLE WEEKLY’ S 2015 HOLI DAY GIVI NG G UID E • PART TWO

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SEATTLE WEEKLY’S 2015 HOLI DAY G IVIN G GUI DE • PART TWO

GREATEST GIFT

Yes, it is somewhat frightful, but let’s be honest: We’ve got it good here in the temperate Pacific Northwest. A dusting of snow here and there; some freezing rain, maybe—inconveniences, yes, but this isn’t three feet of snow we’re talking about. It’s an odd cruelty that where the weather truly is frightful, holiday shopping season commences at the same time the blizzard warnings do. Those with good intentions and great hiding places can avoid the treacherous, snow-packed mall parking lot by doing their holiday shopping in August, assuring disappointment in children who see no use for a Slip ’n Slide in December. The truly wise ordered their gifts for delivery, once from Sears Roebuck, now from Amazon. For those climates, cyber-sales make sense. Here in the Northwest, though, there is really very little excuse not to step out for an afternoon of shopping in one of our retail hoods. Sure, there’s the drizzle and mid-afternoon darkness, but staying indoors and reading the news sure isn’t going to fight that dark and prickly feeling inside. And in fact surrounding oneself with masses of people in the gifting spirit and manufactured cheer actually has shown some effectiveness in treating Seasonal Affective Disorder. It has for me, at least. So please don’t let the weather get you down. Hit the town with this guide in hand and buy something beautiful and local that will light up your loved one’s day.

•

Emmett Montgomery

Read All About It!

Comedian, television personality, wizard.

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B U Y LO C A L •

SE ATTLE WEEKLY’ S 2015 HOLI DAY GIVI NG G UID E • PART TWO

• Kid Matthews with daughter Connie.

Holiday From the Holidays

like stories that have hookers, gangsters, movie stars, and a little bit of sports thrown in,” Dan Raley tells me, writer to writer. Shoot, Dan, who doesn’t! But how do you get those stories? Raley told me—and I will tell you—his secret. First, though, a plug for the man’s book. In How Seattle Became a Big-League Sports Town: From George Wilson to Russell Wilson (Fairgreens, $34.95), Raley profiles more than 100 of the most interesting characters in Seattle sports history. To reiterate: that’s “most interesting characters,” not “most statistically successful individuals.” Raley didn’t choose his subjects based on their numbers, but on whether he could spin a good story around them. The result: He pulls up the turf on Seattle’s sports past—which has enough sex and violence to fill a new TV-MA drama on Starz. Episode 1: The two gay football players in a clandestine relationship. Episode 2: The basketball GM who sends prostitutes to an opposing player’s hotel room before the game to tire him out. Episode 3: The beer executive who peels cash off a roll of bills for the college football star, while his daughter watches from an upstairs window. All stories that now would lead SportsCenter for a week. They went unreported in what we now tend to think of as sports’ more innocent days. How did Raley discover all this dirt? As promised, here’s his trick: “The older people get, the more they start telling you stuff.”

KYLE MOSEBY

Former P-I scribe Dan Raley gets the goods on Seattle’s most notorious athletes. By Seth Kolloen

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Oh, Canada!

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Holiday From the Holidays A Costume Shop for Dogs

For the past two years, there has been an angel in my life named Donna. She is a 10-year-old chihuahua with a heart condition, and she is sometimes the only reason I get out of bed in the morning. Bringing her home from the Humane Society was one of the best decisions my wife made for me, and I dream of living in a world where the shelters are empty and dog masquerades are a regular thing. Audience

Russell Wilson looking downfield.

Raley’s profilees Raley, who was born aren’t all AARP-ers. and raised in Laurelhurst He covered Seattle’s and spent three decades sports ascendance on the Seattle P-I sports during the ’80s, ’90s, desk, started talking to and ’00s. Raley played older local sports figures pickup basketball in 1999 for a series of against Jack Sikma. pieces that ran as part Ken Griffey Jr. tried of the P-I ’s millennium to give him a fashion retrospective. The pieces makeover, ripping off proved so popular his ediRaley’s drugstore suntors turned them into a glasses and replacing full-time series. them with Oakleys. After each profile ran, Raley wrote a biograRaley would get followphy of Brandon Roy. up e-mails, letters, and For the stars of this calls providing even more decade, Raley relied on information. His story on Hugh McElhenny, Griffey Jr. and Sr. in the dugout. the cooperation of the players and their teams. the star college running He spoke one-on-one with both Richard Sherback who admitted getting paid to play, brought man and Felix Hernandez. As you can probably in•more than 300 similar leads. Raley says he • guess, the newer guys didin’t divulge anything thought at the time: “I gotta write a book somebeyond TV-G. day. I’ve got too much good stuff.” Which is why interviewing these older, more As the P-I ’s print edition wound down in forthcoming Seattle sports figures is, as Dan sees 2009—along with Raley’s three-decade career it, his mission: “If these people die, their stories on the daily Seattle sports beat—he was already won’t get told. I just feel a great responsibility to thinking about how to make the book work. He tell them. You can pull this book from the library says he spent nearly every night on it during 50 to 100 years from now and say, ‘Yeah, that’s his subsequent two years at the Atlanta Journalwhat happened then.’ ” Constitution. Raley chased the leads he’d gotten And as for financial gain? “The better I write from his P-I columns, and re-interviewed most them, more people will buy them.” E of his subjects. Often they were willing to share even more the second time around. fairgreenspublishing.com

B U Y N E A R BY

WISHLIST •

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E AT E S T G I F T • THE GR

Go to a show. It doesn’t have to be one of mine, just a show: comedy, music, puppetry, burlesque, drag, fringe theater, poetry, dance, or even improv if that’s what you’re into. Deliberate consumption of art is a way to keep the lights on at the places you love and bellies full for people you care about.

B U Y N E A R BY

Snacks

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There is this catalog that shows up at our • house every year. We don’t know why it started appearing, but the things it promises are entrancing; various exotic cheeses, the cured flesh of every type of hooved animal, chocolate-covered everything. We order these things for the people we love and hope that someday someone who loves us will send these things to us. The best way to fight off the cold and the dark is to eat like the world has already ended.

Oh, Canada! A Safe Walk Home for Everybody

I enjoy late-night strolls, which has never been much of a problem for me. I have the privilege of looking like a pale murder wizard, and as a result get to go wherever I want. That’s not the case for many other people, though. Harassment, assaults and general awfulness have become an almost • daily occurance, and people don’t feel like they• can look for help from the police or the people in charge because sometimes that is where the awfulness is coming from. I don’t know what to do, but I wish everyone had the safety that is afforded a creepy white guy like me.

G I V I N G B AC K

Shiny Things An All-You-Can-Eat Breakfast Buffet, Midnight Movies Every Day of the Week, a YearRound Haunted House, and Commuter Ziplines

We live in one of the fast-growing cities in America, but have non of these things. Sometimes I think we aren’t growing in the right way. E Emmett Montgomery will be headlining the Comedy Underground December 17-19 as Christmas enthusiast Sugarplum Gary.

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Holiday From the Holidays The shops of Ballard and Fremont offer the sharp shopper a world of wonderful weirdness. By Jeanny Rhee

The power of speed

Vintage Camerano accordion and first generation “Mr. Chair” from Vintage Mall

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Oh, Canada!

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ometimes malls and department stores are just too conventional. • Lines of kiddies waiting to jump into Santa’s lap, shoppers with red cups and crisp bags in hand, holiday music wafting through the commerce-scented air: If this description is making you queasy—if you need a little grit in your gifting—head to Fremont, the self-proclaimed “Center of the Universe,” where the most famous resident is a big concrete troll and where the holidays get weird. Kick off the season at the Fremont Festivus celebration and First Friday Art Walk (Dec. 4–5) to enjoy live music, pop-up entertainment, treats, and the lighting of the Lenin statue. Before starting your shopping, be sure to pop into the neighborhood’s (and possibly the city’s) best bakery, Simply Desserts (3421 Fremont Ave. N., 633-2671), to find decadent cakes made from scratch and sold by•the slice. Seattleites who know fashion and a deal will agree that Fremont has some of the city’s best vintage shopping. The underground Fremont Vintage Mall (3419 Fremont Pl. N., 329-4460) carries everything retro/vintage from antique furniture to mid-century home goods and bric-a-brac. Go in with no expectations and you’ll stumble upon bold treasures, like a spaceage terrarium or a free-standing floor abacus from the ’40s. Walk up the staircase to find the funky consignment shop Atlas Clothing (3509 Fremont Ave. N., 323-0960), featuring vintage apparel, accessories, and shoes, to find oneof-a-kind hourglass dresses with delicate lace, Western snap-button shirts, and grunge-band T-shirts and boots, all within budget.

433 8th Ave N. in South Lake Union Seattle, WA 98109 // 206-624-1100 www.glazerscamera.com

Find many more vintage shops, and inde-

along North 35th B Aupscale C Kboutiques, • G I V I N G pendent Street, including Becky Buford’s trio: Essenza

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SEATTLE WEEKLY’S 2015 HOLI DAY G IVIN G GUI DE • PART TWO

Shiny Things

(615 N. 35th St., 547-4895), Les Amis (3420 Evanston Ave. N., 632-2877), and, her latest addition, Liten (617 N. 35th St., 632-0854). Each showcases Buford’s knack for retail buying and design expertise. Essenza sells old-world apothecary goods; Les Amis is exquisitely stocked with designer apparel and accessories; and Liten, which means “little” in Swedish, intimately showcases ceramic pottery, home goods, and jewelry. Head further up Leary Way toward Ballard Avenue and cruise the old-town strip that houses stylish bistros, cafes, and quirky shops. For the kids on your list, visit Clover Toys (5333 Ballard Ave. N.W., 782-0715) to find indie children’s books, games, art supplies, clothing, and more. Then walk down a few doors to Curtis • Ave. N.W., 297-7116). Steiner (5349 Ballard From outside, the space looks more like an art gallery than a boutique filled with handmade gifts and vintage jewelry. Be sure to accompany your gifts with Steiner’s eponymous stationary line. Lastly, visit Baleen (6418 20th Ave. N.W.), a purveyor of handmade jewelry that opened its first brick-and-mortar store in October. The dynamic design duo Billy and Leah creates quality jewelry that’s affordable and simple in design. From $25 to $68 you can find brass ombre bangles and necklaces dipped in powder-coated finish, with colors like cobalt blue, mint, and teal. Statement pieces like a geometric cage necklace or burnt-matchstick earrings would make this a magical season for that special lady friend. And you won’t find them at any old mall. E

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Oh, Canada! Across the border in Vancouver, B.C., awaits a comfortably exotic world of commerce. By Jennifer Karami

We take the gift of music very seriously. Your best stereo shop since 2004.

2121-1st Avenue 206.283.8863 tunehifi.com

here are many reasons to cross the border to Vancouver: Tim Hortons, delicious world cuisine, or alcohol (if you’ve yet to turn 21). All this comes without much culture shock, until you realize you have no idea how fast 80 kilometers per hour is. During the holidays, our neighbor to the north • has even more to offer the gift-giver in search of something special with an adventurous story attached. After all, nothing says you care like a gift from a foreign country. For the nature-loving environmentalist who has everything, adopt a heron nest at Stanley Park ($48/year, stanleyparkecology.ca). You will receive an adoption certificate, regular status updates on the heronry, and the satisfying knowledge that the cash that could have bought frivolous trinkets at the mall is instead helping to preserve a delicate ecosystem and a species at risk. It also makes a great gift for philanthropic kids. As a bonus, the adoption package includes a heron tour in the spring—undoubtedly the best time to visit Stanley Park, and another excuse to make a Canadian trip. Just southeast of Stanley Park, nestled in Vancouver’s Chinatown, is Charlie•& Lee (223 Union St., 604-558-3030), a charming and friendly indie boutique stocked with modern wardrobe staples for men and women, as well as locally made jewelry and housewares. Ceramics by local artist Maggie Boyd include speckled hanging planters, pastel plates, and patterned tumblers. We all know someone who insists that “tea is the new coffee,” and although you might not agree, pop into Tea Time (1418 Lonsdale Ave. N., 604-990-1414), lined with wooden boxes of fragrant loose-leaf tea from marzipan rooibos to Earl Grey cream to yerba mate and a darling assortment of teapots from ceramic to colorful to clear, all at surprisingly palatable prices. The shop is family-owned, and with staff hailing from Uganda, India, and the UK, rest assured you’re dealing with true tea connoisseurs. • Iranian Adjacent to Tea Time are several bakeries, filled with rosewater-scented sweets, crumbly chickpea cookies, flaky cream puffs, and a personal favorite, the koloocheh: a saffron and cardamom cookie the size of a dinner plate. Bring home a box to accompany your tea, perhaps from Rex (141 16th St. W., 604-9730119) or Laleh (130 15th St. W., 604-986-6364). Vibrant global communities are part of what makes Vancouver so colorful (and tasty). E

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Shiny Things

THINKSTOCK

GIFT PICKS •

By Charles Dickens

Nov 27–Dec 30 Buy tickets today or see it with an ACTPass!

acttheatre.org | 206.292.7676

Shiny Things

COURTESY CHARLIE & LEE

A Seattle family tradition celebrating 40 years!

Vancouver, Canada

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Adapted by Gregory A. Falls Directed by John Langs

Photo by Chris Bennion

SE ATTLE WEEKLY’ S 2015 HOLI DAY GIVI NG G UID E • PART TWO

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Jewelry from Charlie & Lee

Shiny Things

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Of Monkeys and Lasers

The Bastyr Dispensary

Holiday Sale

November 30-December 5

Gifts for children ages 6 to 11. By Jacob Uitti

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Spirits of the Season

• 20% off sale on all jewelry, gifts, body care, books, candles and more Nov. 30-Dec. 5! • Free Living Naturally talk on “Winter Gifts: Making Herbal Products at Home” Learn how to make herbal holiday beverages, personalized cosmetics and more! 10:30 a.m. to noon Saturday, December 5 • Health and Beauty Products Fair Noon to 2 p.m. Saturday, December 5

Green Science Dynamo Torch

I remember making a “laser gun” with my dad when I was a kid using cardboard, a mini-light bulb and a battery; it was a fun project to do together. The best toys teach while they entertain, and this very reasonably priced item at Clover turns a simple toy motor into a generator, converting motion into electric energy, powering a bulb. “No battery, no pollution, just amazement,” reads the front of the box. It’s obviously recommended that a parent or guardian supervise, but even better, it’s a toy that can bring the family together in invention. $15. Available at Clover Toys, 5333 Ballard Ave. N.W., 782-0715, clovertoys.com. Chuckle Buddies Monkey

A motion-senser in its forehead makes the

monkey roll around laughing uncontrollably when triggered by people walking by, entertaining kids and surprising unsuspecting adults. This may be this year’s Tickle Me Elmo; it’s flying off the shelves at Magic Mouse, says the staff. $25. Available at Magic Mouse, 603 First Ave., 6828097, magicmousetoys.com. Sushi Go!

Seattle is such a food-centric town, why not get your kids identifying ingredients and types of sushi ASAP? In this game, two to four players pass cards with the goal of grabbing the best combination of sushi dishes. It’s almost like being a hungry patron sitting in front of the conveyor belt at Blue C. $15. Available at Retroactive Kids, 4859 Rainier Ave. S., 932-3154, retroactivekids.com. E

SEATTLE WEEKLY’S 2015 HOLI DAY G IVIN G GUI DE • PART TWO

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Deck the Walls At local galleries, find one-of-a-kind gifts— and support artists too. By Jennifer Karami

Be inspired create your own look with our vintage & holiday home décor.

•

7710 SE 34th St., Mercer Island, WA 98040

(206)275-7760

www.miyfs.org

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Shiny Things

Store hours: Monday - Saturday 10-7, Sunday 12-5

1. Our Town by Ben Beres The ubiquity of text in the information age turns sinister in Beres’ series Horror Vacui. A fractured narrative fills the etchings with lettering that is sometimes blocky and bold, sometimes minuscule. Each plate is a wry visual outburst, a representation of the vertigo and malaise brought on by information saturation. Etching with chine colle, 7˝ x 5˝. Edition of 15. $300. Available at Davidson Galleries, 313 Occidental • Ave., 6247684, davidsongalleries.com

5. C15 by Scott Talley Talley’s new paintings at studio e are close-up studies of commonplace objects isolated on a colored background and framed by a black rectangle with simple lettering. Their execution is painterly and saturated, and makes a simple case for the aesthetic virtue of even the most overlooked things. The works are an easy fit for modern decor. Oil on canvas, 32¼˝ x 43˝ framed. $850. studio e, 609 S. Brandon St., 762-3322, studioegallery.org. •

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SE ATTLE WEEKLY’ S 2015 HOLI DAY GIVI NG G UID E • PART TWO

Shiny Things

2. 5/21/14 by David Hytone Hytone’s November solo show at Gallery IMA was an absolute knockout, from sprawling paintings to small ink drawings and ceramics (both of which make great gifts). His geometric abstractions translate from two to three dimensions seamlessly, and he’s a master of adapting these forms to each medium according to its strengths. Glazed ceramic, 7˝ x 5˝ x 4˝ (approx). $600. Gallery IMA, 123 S. Jackson St., 625-0055, galleryima.com.

artwork by Alicia Brooks

Holiday Storytime:

Hanukkah Light

read by guest Seattle actors

Saturday, December 5 at 11am

The Elliottt Bay ay Book Company Since 19 1 73

Share your storytime art with us in the store or on Instagram @elliottbaybookco elliottbaybook.com

3. I Will Catch You When You Fall, limited-edition print by Camille Rose Garcia Prints are an affordable way to start (or add to) a collection, and a signed and numbered print of Garcia’s work also supports a good cause: $130 of the sale is donated to Bat Conservation International. Collectors value Garcia’s sinuous style, and • to. Giclée on animal lovers have even more reason paper, hand-deckled edges, gold painted embellishing, 9˝ x 12˝. $250. Roq La Rue Gallery, 532 First Ave. S., 374-8977, roqlarue.com.

6. Vanishing Point by Joe Rudko A simple idea executed perfectly sometimes yields the most striking results. Such is the case with the work of Rudko, who continues to surprise and delight those who follow it through new ways of manipulating old photographs with ink spotting pen and collage. He frequently creates the illusion of depth, and occasionally breaks the frame entirely with small 3-D pieces. Mixed media on cardboard shelf, 3.5˝ x 7˝ x 3.5˝. $650. Available at pdxcontemporaryart.com 7. Ceramic spheres by Garrison Coverdale Sometimes we just need pretty, colorful things around. That’s why ceramicist Coverdale sees a lot of demand for his spheres, which range in diameter from 3˝ to 16˝. No two are alike, though repeating patterns of hand-painted circles and hatch marks give them all a sense of motion and a glossy patina that works well indoors and outdoors. Ceramic• and pigment. $35–$550. Alki Arts, 1124 First Ave., 432-9936, alkiarts.com.

GIFT PICKS

Of Monkeys and Lasers 4. Dreamcatcher by Ryohei Tanaka Tanaka’s cut-paper works are not your usual paper dolls. His keen hands carve out fantastic, surreal creatures and scenes. You can look right at a piece and miss something because of the way he layers the action using both the paper and the negative space around it. In effect, Tanaka draws with the paper itself. Trippy. Cut paper and pigment, 11˝ x 31˝. $800. Cullom Gallery, 603 Main St., 919-8278, cullomgallery.com.

8. V & Sea by Virginia Wilcox Photographer Wilcox has spent part of the past year documenting the decaying communities around the Salton Sea. The portraiture is humane, the landscapes starkly beautiful (for those not facing the isolation and heat). It’s a poignant series, even a little bemusing at times, showing a world and climate very different from Seattle’s. It’s a world worth witnessing, if only at a distance. Archival pigment print, 31˝ x 37˝. Edition of 25. $750. Available at virginiawilcox photography.com. E

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Head to Toe New looks for your most fashionable friends and family. By T.S. Flock

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ST. PETERS HOLIDAY ARTS, CRAFTS and BOOK FAIR

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Saturday, December 5, 2014 10:00am to 3:00pm

Of Monkeys and Lasers COURTESY FILSON

Among this year’s offerings are homemade sushi, baked goods and traditional Japanese treats, ornaments, totes, design wear, clothing, children’s crafts, glassware and fair trade items. Music, raffle prizes and visits from Father Christmas make this a fun stop for holiday shopping.

1610 S. King Street

For more information, please call 206.323.5250 Free admission

1. Zoe Opal Oxford

STEPHEN SHERRARD

COURTESY PIPE AND ROW

IBess CNielsen KStole Sand• Jan Machenhauer, the G I F T P4. Gingham

Spirits of the Season 2. Wool ’n’ Flat Cap

designer duo behind Épice, are masters of color, especially those that work well in the diffuse light of their native Denmark, which is similar to Seattle’s. Their carefully chosen textiles comfort the wearer and glow under gray skies. (But they look lovely in sunshine, too.) Their gingham stole has a a design and palette that work with just about any look, from clean-cut to a little punk. $228. Available at Baby & Company, 1936 First Ave., 448-4077, babyandco.us

A basic cap is a closet staple for those who play in mist and sun, but finding a good one can be tricky, especially if one dislikes ostentatious logos. The Wool ’n’ Flat Cap by Norse Projects (Copenhagen) is a great fit for most any noggin thanks to its precise panelling. The simple design in ecru or navy is marked only by a bold N, and the vented herringbone wool is perfect for Seattle’s cool-to-mild climate. $65. Available at Glasswing, 1525 Melrose Ave., 641-7646, glasswingshop.com

Seattle-based Maiden Noir has earned international acclaim for its striking menswear—from detailed jackets to Japanese denim to graphic Ts. This year, a number of Ts bore designs by visionary artist M.C. Escher. The Spirals T emblazons one of the artist’s geometric etchings across the chest (available in black on white or white on black). Escher fans will take particular delight, but it’s a sharp, trippy look for anyone. $36. Available at maidennoir.com

3. F77 Lace Panel Cardigan

6. Cover Cloth Mile Marker Coat (Seattle Fit)

Local designer Paychi Guh has become renowned in recent years for her elegant knit garments, now stocked in fine boutiques internationally. For those who love to layer, the gorgeous lace panel cardigan (in mist and charcoal) works from season to season. Its diaphanous, richly textured silk cashmere is as comfy as it is alluring. $435. Available at Juniper, 3314 E. Spring St., 838-7496, paychiguh.com

5. Spirals T

Seattle heritage brand Filson has been making quality, built-to-last garments for over a century, and remains true to the aesthetic with which it began, with updated cuts here and there. The Mile Marker Jacket is a classic hardworking garment (water-resistant, breathable); it allows a flattering fit with its drawcord waist and can be dressed up or down. $320. Available at Filson, 1741 First Ave. S., filson.com E

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• between The colors for 2016 show a balance calm neutrals and vivid, optimistic hues. Start the look from the ground up with the Opal Oxfords by Spanish designer Miista. The traditional Oxford shape matches a casual look, but gets glitzed up by iridescent patent leather atop a thick rubber sole—perfect for ladies who are hot to trot, but want to have more fun than the usual loafer allows. $189. Find them at Pipe and Row, 611 N. 35th St., 632-0720, pipeandrow.com

9 A1PianoReviewWeeklyKeyboard_4.83x5.54_HiRes.indd 1

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Spirits of the Season Give the gift of booze-fueled warmth this winter. By Tiffany Ran & Jacob Uitti Beer drinkers can play mad scientist with a single-stage home-brewing kit from Cellar Homebrew. A standard kit comes with a sixgallon primary fermenter bucket, a bottling tank with tube, a transfer hose, a capper and caps, a hydrometer, instructions, and more, plus a choice of ingredient packs including red ale, light wheat,

light lager, and dark porter. TR $99.95. Cellar Homebrew, 14320 Greenwood Ave., 365-7660, cellar-homebrew.com. Whiskey T-Shirts

Amanda Manitach is one of Seattle’s great art treasures, a writer and a curator of several galleries throughout her career. Her line of T-shirts,

CHAD PRYOR

Original Cellar Mini-Brewery

Rob Roy is showing the full breadth of holiday spirits this year.

® ®

December 2-15, 2015

Check out our entire Holiday Food & Gift Guide at www.uwajimaya.com

SE ATTLE WEEKLY’ S 2015 HOLI DAY GIVI NG G UID E • PART TWO

MANEKI NEKO LUCKY CAT MUG

With Silicone Lid. Keep Your Drink Hot and Fresh with These Cute Mugs! Choose from 5 Assorted Colors.

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DARUMA TEA CANISTER

This Tin with Plastic Inner Lid Will Keep Your Tea, Herbs or Spices Fresh! Comes with Eye Stickers - Place A Sticker on One Eye and Make a Wish! When Your Wish is Achieved, Place the Other Sticker on the Other Eye.

7.50

Japanese Wafer Cookie Gift Set

14.99

Cachaça, a distilled spirit made from sugarcane juice, is popular on bar menus across the city, and with it came a love for its inspired signature drink, the Brazilian caipirinha. Muddle limes and sugar in a jar, pour in the cachaça from Novo Fogo’s kit, and give it a shake. The kit includes the needed hardware: a muddler, two jars for shaking and drinking, and Novo Fogo’s own cachaça— no bartender necessary. TR $39.99. Available at Downtown Spirits and Whole Foods Interbay (2001 15th Ave. W., 352-5440). novofogo.com. Crowlers

“Chibori” (710 g)

MAISON DE COOKIE

Rob Roy’s Advent Calendar

Caipirinha Kit by Novo Fogo

“Lindo”

Give the Gift of Relaxation with the Palm or Cutie Cure Massagers Which Feature 360 Degree Metal Rollers for a Great Massage!

emblazoned with the phrase, “Whiskey Helps,” were inspired by her “T-Shirt Girl” pictures, which she draws and shows regularly; they synthesize the hopeful quality drinkers everywhere enjoy in a fine, curated whiskey selection. Shirts are available in men’s and women’s cuts. JU $28. Available at whiskeyhelps.threadless.com. There’s more to holiday imbibing than the cloying egg nog at house parties: That’s the sentiment behind Rob Roy’s advent calendar. The bar will feature a new sophisticated seasonal cocktail every day in December, counting down to the 24th, with updates available on Rob Roy’s Facebook page. Receive stamps for each cocktail consumed and redeem them for a $50 gift certificate for 12 stamps or $100 for a fully stamped calendar. TR Prices vary. Rob Roy, 2332 Second Ave., 956-8423, robroyseattle.com.

“Fascinations”

MASSAGERS

COURTESY CAPCO

HOLIDAY FOOD & GIFT GUIDE

“Nakayama” (9 pc)

PETIT GATEAU

Tarts with Fruit Flavored Jam and Chocolate

6.49

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Most beer drinkers have heard of growlers, the 64-ounce glass jugs you can take to bottle shops or bars to be filled via the beer taps. But many of us haven’t heard of the metal version, the 32-ounce crowler. At Chuck’s Hop Shop, the can itself costs $1 (beer prices vary). Buy an assortment for your beer-loving pal, and he or she will be thrilled by the mere novelty, let alone the glorious beer inside. JU Chuck’s Hop Shop, 2001 E. Union St. & 656 N.W. 85th St., chuckshopshop. com. E

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GIRL POWER

NANCY CHANG

Six programs empowering Seattle’s youth. By Mara Silvers

Reel Grrls With Real Skills

to communities of color and, especially, immigrant communities. She says that sometimes it’s hard to convince these families why girls should be learning media production skills, as most people aren’t used to associating lighting equipment with a promising career path. Chang herself comes from an immigrant family, and recalls that her parents were always a little skeptical about what extracurriculars she wanted to start. “They would say, ‘Why do you want to do this?’ ” To build trust with families, says Chang, “it’s important that we’re forging connections with trusted community members, too.” Chang makes sure to emphasize that the skills Reel Grrls teaches are important not only in the studio. “The skills are transferable,” she says. “[We teach] interpersonal skills as well . . . [Our curriculum] should be applicable and culturally sensitive to the youth that we’re serving.” Chang links media literacy, too, to the social awareness of their participants. “The young people get to decide what stories are valuable to them and their communities,” says Chang. “The program helps youth really pay attention and process what they’re consuming, and also be able to reflect their hope or their fear. [They learn] the ability to channel how they’re feeling as things are coming in, in real time.” During this peak fundraising season, Chang says they have to raise about $10,000 to update mobile kits, each running around $300, which include mini-projectors, iPads, laptops, and various accessories. “The media landscape has evolved so much in 10 years,” says Chang. “But the mobile program is what we’re really excited about.” Additionally, Chang dreams of increasing the overall capacity of Reel Grrls so that they can serve more young people year-round.

» CONTINUED ON PAGE 12

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Creating a new generation of feminist filmmakers. What happens when “grrls” are the visionaries and the creators of media production? Showings at more than 90 global film festivals of work by more than 1,000 girls of all ages, not to mention the creation of empowered young feminists ready to take on the world. Thriving from the philosophy of an “inclusive feminist community,” Reel Grrls in West Seattle is dedicated to teaching media literacy, storytelling, and media-making skills so girls can be in charge of their own narratives. The program welcomes trans and queer-identifying people as well—and even boys if they promise to be an ally that supports a “girl-centric” space. With programs for beginner, intermediate, and advanced storytellers as well as plenty of summer camps, Reel Grrls is taking a wide-lens approach to youth education. It starts with technical education and storytelling lessons (we’re talking DSLR cameras and audio recording and lighting equipment), and progresses to a competitive fellowship and even paid positions as part of the Reel Grrls production crew, which works with clients looking for documentary or promotional material. With such foundational and comprehensive classes, many participants might be turned off for fear of a giant price tag. But the program pledges that “No grrl will be turned away for lack of funds.” This past year, more than 90 percent of their 300 participants were on partial or full scholarship, which gave them access to materials and instruction in the film production process. Executive director Nancy Chang says Reel Grrls should always be asking, “Who are we not serving?” Chang also notes that the program has to be trustworthy and accountable when reaching out

Girls get behind the camera.

Girl Power » FROM PAGE 11 Coyote Central

Developing creative communities. Based in Seattle’s Central District, Coyote Central works to engage youth of all backgrounds in creative projects from public art to welding, glass blowing to cooking. Since 1986 the organization has helped more than 13,000 youth throughout the city find their passion in a creative skill. In 2014, Coyote Central awarded more than $12,000 in studio scholarships, which gave students the opportunity to work with Seattle professionals to explore these pursuits. Coyote Central accepts cash and in-kind donations as well as workplace giving and matching. It also accepts volunteer help with a variety of projects on and off campus. When more students are excited to go to school and pursue their dreams, Seattle communities become more promising every day. Sanctuary Art Center

SE ATTLE WEEKLY’ S 2015 HOLI DAY GIVI NG G UID E • PART TWO

Offering purpose and connection through art. Started in 1999 to help homeless youth find

purpose through art, Sanctuary has become an indispensable way of making art accessible to everyone, offering a drop-in art studio for everything from music to printmaking and providing classes in collaboration with University District Youth Center’s Interagency Academy, YouthCare’s Bridge Program, and the Zine Project. The Sanctuary has also developed an Employment Internship Program teaching screen printing to 20 students per year, resulting in approximately 75 percent employment within six months of graduation. During the holidays, the Sanctuary is raising money to replace its printing press, which will help carry on the program’s work for another six years. The Y.M.C.A’s B.O.L.D. & G.O.L.D. Mountain School

Inspiring multicultural leaders in an outdoor classroom. It’d be hard to find a better place for learning leadership and emotional intelligence than the mountains. That’s what B.O.L.D. & G.O.L.D. (Boys Outdoor Leadership Development and Girls Outdoor Leadership Development) prioritizes: getting students from all walks of life to spend a week or more in the wild, away from society, to

take a deeper look at themselves. Because outdoor recreation and professions can often be dominated by white men, it is crucial to extend the lessons and philosophies of the wilderness to youth of color while engaging them them in a curriculum that will benefit their lives and their communities. Last year the program offered scholarships to two-thirds of its participants, and regularly provides the necessary gear and supplies. Through backpacking, climbing, and mountaineering, the participants of B.O.L.D. & G.O.L.D. learn valuable lessons that will stay with them for years. Youth in Focus

Giving at-risk teens a new lens. By focusing attention on those entering or currently in ninth grade, Youth in Focus aims to make kids passionate about photography at a time when many students are at risk of dropping out. Now in its 21st year, the organization strives to help them develop their love of photography and benefit from great teachers and loyal mentors. The demographic Youth in Focus serves is particularly in need of this heightened engagement; according to its website, “Nearly 73 percent of our students qualify for the free/reduced lunch program, 82 percent are students

of color, and 70 percent of students live with a single parent or have other living arrangements.” Since its inception, Youth in Focus has helped over 3,300 youth pursue their love of photography. Help extend that opportunity to more students throughout Seattle. Rain City Rock Camp for Girls

Providing a space for songwriting, drum-banging, and rock ’n’ roll. Focused on cultivating leadership, courage, and confidence through music and group collaboration, Rain City offers both summer camps and year-long programs, including “Amplified Teen Voices” for high-school-age students. Girls ages 8–17 can attend camps to learn instrumental and songwriting skills and social justice and empowerment workshops. The program declares it is “dedicated to building positive self-esteem in girls and encouraging creative expression through music.” While most adults still shudder at public speaking, these young girls put their feelings into action by writing and performing their own songs by the end of the weeklong camp. With that type of adrenaline rush, we hope they’ll be hooked on music for life. E

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getting into music journalism. Whether reviewing albums or a show, many publications are interested in the musician’s point of view. Case in point: Here I am writing for Seattle Weekly. Sometimes publications will reach out to you, but don’t sit around waiting for opportunity to knock. Editors often list their e-mails on their website or in their publication, so take advantage of that and reach out with examples of your writing and specific story or column pitches. Don’t disregard blogs, as many of these pay as well. It won’t be a massive payout, but it’s good experience, and helps to get your name out to a new audience. A studio session musician is someone who comes into a project in the making and plays a part or sings a line. You may end up doing something more intensive, like playing the drums on someone’s whole album or singing one of the key hooks on a tune, but it’s a good opportunity to make some extra cash. Look up ads on Craigslist and musician boards for studio session requests, but you should also be proactive and inquire with studios or reach out to your friends. If you get some good referrals, this can be a very profitable gig. Apply for a job at a nonprofit or for-profit company in the music or entertainment field— anything from a music store to a music venue to an advocacy group. Not only will it expand your networks, but you are working for the benefit of musicians. You can help make a change in the industry, as well as learn more about behind-thescenes issues that you may soon face. Doing remixes, production, or songwriting for others can be an inspiring process. Reach out to artists that you like and see if you can write them a song or make them a beat or instrumental. Propose these ideas to various artists and see who bites. If they like the concept, they may pay you. Even if they don’t, you will have the experience and examples to show potential clients. This type of gig is harder to access, but still worth looking into. It’s easy to see all these options and think How can I maintain all these jobs? You’ll have to pick and choose what is really worth your time. Don’t overextend yourself, but don’t underestimate yourself either. Make sure the gigs you choose to pursue align with your values and goals. For this to work, you have to hone in on the skills you enjoy using almost as much as you enjoy creating music. Soon enough, your studies will provide a course of action that will maintain your vision of sustainability. E music@seattleweekly.com

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hen I was studying jazz vocals at Cornish College of the Arts, my professors taught me to be prepared for rejection. They would tell me straight up that it’s very difficult to “make it” in the music industry. As a backup, they said I should be prepared to teach. At the time, I took that as a challenge. Maybe they didn’t make it, but I knew if I worked hard at it, I would. In many regards, though, they were right. It truly is nearly impossible to “make it” in the music industry. But that’s because we’re all reaching toward one single vision of “successful musician.” It’s a vision that usually goes like this: You are picked out of the crowd at an open mic, a small club, or talent show by a record executive and put on a flight to L.A. the very next day. You get signed to a big label, are given flashy things, and your face shows up on the cover of Rolling Stone within weeks. The chances of me making it in that capacity were slim to none. But what if being a successful musician could mean something else? I decided to create my own image of success, which would continually be redefined as I made steps closer to my larger goal. And once I reached one goal, I would create another and establish a regimen to achieve my evolving idea of success. Dropping that common vision of being discovered and whisked away, I decided sustainability would be my ultimate goal. Writing and making music is my passion, my bread and butter. So if there was a way I could do that without having to report to an unrelated job every day and still have enough money to pay my bills, I would be in heaven. My gigs were bringing in only a couple hundred a month and I wasn’t selling a lot of music—barely enough to support me. Wanting to shy away from random jobs that didn’t pertain to my artistry, I started researching careers in the music industry. What I found was mind-boggling—tons of gigs that I had the skills for that were music-related, but I would never have thought to apply for: Music theory is the method and language of music. There are a wide array of gigs you can get if you know music theory—Western or otherwise. Beyond using your skills to get a teaching gig, a lot of artists simply need help charting out their music. Cover bands also hire people with this skill to transpose (change the key) of the music they are covering. Even a music director or band leader who knows how to do this may require assistance when composing new music. This gig can also open up your creative community. If writing is a strong point for you, consider

12/12

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SEATTLE WEEKLY • DECEMBER 2 — 8, 2015

comix in the city

reviews

MUSIC

Seattle Hip-Hop Dominated November

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(12/3) Cascadia Resilience Center: Sandi Doughton, David Montgomery, Others Rising to Disaster Risks in Cascadia

Inventive local producers and MCs put out our favorite local albums from last month. BY KELTON SEARS

(12/3) Women’s Funding Alliance: Jackie VanderBrug and Ruchika Tulshyan Mobilizing Money, Power for Change (12/4) Town Hall, Seattle Radio Theatre, and KIRO Radio: ‘Miracle on 34th Street’

skronking “Orange.” The track sounds like a scary Balkan folk band being sucked into a black hole before suddenly shifting into a cheery accordiondriven bounce for the coda, which Karefa-Johnson’s partner Raven Matthews accentuates by mumblecackling “BOUUUUNCE, BOUUUNCE.” This album is like an inflatable hip-hop bounce house. Soundcloud.com/DoNormaal Porter Ray

Nightfall A year and a half ago, Sub Pop announced that newly appointed A&R guy Ishmael Butler of Shabazz Palaces was flexing his muscles at the label for the first time by signing Central District rapper Porter Ray. We still don’t have an official Sub Pop LP from the MC, but to whet people’s appetites, Porter dropped the Nightfall EP this month for free on Bandcamp. Its laid-back, jazzy production from THE MONTH’S BEST KMTK, Spence Mo, Dez Anthony DoNormaal LOCAL RELEASES and AYoB is low-key excellent and Jump or Die the real star of the record—subtle, Ballard rapper DoNormaal put soulful beats that draw their power from their out not only one of the best local records of the cool, sophisticated restraint. That maturity makes month, but one of my favorite local records of an interesting contrast to Porter Ray’s verses, the the year: her debut LP Jump or Die. What really subjects of which are, more often than not, his makes it shine amid the sea of staccato cipherpenis and the things he wants people to do with showoffs is MC Christianne Karefa-Johnson’s it—“Free me from my demons shorty/Swallow ingeniously weird and hooky melodies, which my semen” (from “Bless Me”); “We can’t kiss if pepper and anchor nearly every song—whether you suck my dick” (from “Moon Goddess”); “I she’s whinnying them like a cartoon character, feed her champagne and the sex insane” (from warbling them like a phantom, or delivering “Dreaming”); etc. them deadpan with her syrupy, shades-up, coolNow I’m not saying that living in 2015 in the kid reserve. The thoughtfulness and playfulness of midst of third-wave feminism, dudes can’t talk her vocal delivery, born of her years spent studying about their dicks anymore. In “For Free?”, Kenpoetry at Sarah Lawrence College, is completely drick Lamar ingeniously subverts the “dick” as a her own, as is the album’s subject matter—death, symbol of power—using his own to illustrate the transformation, and divine purpose. The diverse pressure capitalist society places on black men roster of producers employed on the album keep by repeating the line “This dick ain’t free!” while that lofty, trippy theme in focus with their wild, enumerating the toll he pays for having one. All inventive beats, like OmniPsyke’s nightmare

The Heard Herd

of this is simply to say that if you are a man talking about your dick in 2015, you really, really need to justify it. Lazy Led Zeppelin–style phallusworship is passé and advances nothing. But, when Porter takes welcome breaks from all the wanton cock-rocking, as he does on the noirish highlight “Outside Looking In,” his rhymes are undeniably brilliant—reveling in complexity and delivered with an effortless cool that really compliments the shuffling streetlight production. Here’s hoping Porter grows out of the dick stuff whenever that LP drops. Porterray.bandcamp.com Silas Blak

Editorials: (wartunes) To accompany the music video for “Cops on My Back,” 20-plus-year Seattle rap veteran Silas Blak released a staggering list of more than 70 names the song is dedicated to—Tamir Rice, Shantel Davis, Nehemiah Dillard—each an unarmed person of color killed by police. “Cops on my back like bullies/Throwing bullets at me like rocks/ All I wanna do is suffocate them/Reshape time/ Reawaken,” he mourns on the chorus over sullen, swirling production. With the onslaught of horrific headlines flying our way every day on Facebook and Twitter, it’s easy to become numb and let the violence wash over you. The reason Silas Blak is a crucial voice in Seattle, as he continues to prove on the aptly titled Editorials: (wartunes), is the unfettered way he dives into America’s violent, broken system, wades through it, and earnestly attempts to shed some light in that darkness with his incisive vision. It’s a mission he states right out of the gate on opening track “Tool,” reminding the listener that he will “cultivate the truth I saw on every beat that I walk.” And damn, Blak walks through a hefty 22 tracks on the record (produced by Hightek Lowlives’ Kjell Nelson), tackling everything from racism to collective historical amnesia to false political promises. Cabin Game Records E

ksears@seattleweekly.com

(12/5) BCHCS: Balkansky Bulgarian Folk, Jazz, Electronica (12/6) ‘As I Age’ A Celebration of Creative Aging (12/6) Short Stories Live A Rogue’s Christmas (12/7) Resident Findings C. Davida Ingram and Brangien Davis (12/7) Steven Hill Fixing the American Workforce (12/8) Megan Watzke The Unseen Power of Light (12/9) Stan Greenberg Renewing American Politics (12/9) David Gregory ‘How’s Your Faith?’ (12/10) Seattle Human Rights Day Kimberlé Crenshaw Black Lives Matter (12/10) Robin Koerner The Art of Political Persuasion (12/12) SGC: Seattle Girls’ Choir A Gift of Song (12/12) Magical Strings: 37th Annual Celtic Yuletide Concert TOWN HALL

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SEATTLE WE EKLY • DE CEMBER 2 — 8, 2015

ovember was rough. With the revealed Chicago police cover-up of the murder of Laquan McDonald, the sociopath white terrorist shooting up Planned Parenthood, soulless politicians passing a House bill to bar Syrian refugees (ironically on the week before Thanksgiving), and the new brazenly neo-Nazi policies Donald Trump has started spewing, the United States of America isn’t looking very united or American. It’s looking like a rapidly approaching war-zone hell-hole. Maybe that’s why hip-hop killed it in Seattle last month—hip-hop was born of and thrives on strife. Locally, hip-hop tackled our messed-up world from every angle. We had Silas Blak diving headfirst into the thick of it, DoNormaal exploring death and the world that lies beyond it, and Porter Ray levitating on a weed cloud above it. Let’s get into it:

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John Cusack shows up as a crusading priest, n no sense should Chi-Raq be mistaken and politicians (D.B. Sweeney, Harry Lennix) for a real place, although Spike Lee’s latest are treated like fools. This is not a subtle film; takes place on the South Side of Chicago. it shouts more than it insinuates, and only the Chi-Raq is also a person, a rapper/gangster musical sequences take flight. (Somehow there’s additionally known as Demetrius (Nick Cantoo much School Daze here—unless too little?) non), and he opens the movie with a bitter song But neither did the ancient Greek playwrights about how violence is destroying his city. (Soon create rounded characters in the modern sense. after, in a club performance, we see his point Chi-Raq is full of types and stereotypes, not written in lead.) Lee is upfront about the hybrid actual people, even while it constantly makes artifice here: Samuel L. Jackson’s cheerfully cynireference to the grim real-world headlines from cal narrator Delmedes steps in and out of the Ferguson, Staten Island, Baltimore, Charleston, action to explain how we’re watching an update etc. Without nuance or depth, Chi-Raq only of the Greek comedy Lysistrata and to caution gains a little warmth from its casting. Parris is that most of the dialogue is in rhymed couplets a vivid presence, seen before as Don Draper’s of verse—not unlike modern rap. (Occasional secretary in Mad Men and a fame-obsessed collapses into prose don’t always make sense, but legian in Dear White People. Cannon, fighting why quibble?) The plot, as we know from Arishis wholesome Drumline image, isn’t tophanes, will be women going on a sex so successful—he’s 2Pac lite. Even strike to keep their men from war. the reliable Jackson appears a little More important than Lee’s conSIFF Cinema bored, treading water before The ceit—in a script co-written with Egyptian Hateful Eight. Bassett seems Kevin Willmott—is the sheer Opens Thu., Dec. 3. resigned to matron roles, while topicality of a film about gun Rated R. Hudson spends most of the violence, the economics behind 127 minutes. movie looking for tissues. it, and an oblivious political class And yet this broad, cartoonish that just wants to ignore the probmovie is full of awkward, declamatory lem. Chi-Raq is rude and raunchy, truths. “Our politicians are in the pocket consistently less amusing than it thinks of the NRA,” says Cusack’s priest (based on a it is, and thickly sliced with a very dull knife. real Chicago cleric, Father Michael Pfleger), Yet if not the breakthrough that Do the Right who decries “an economy that has abandoned Thing was in ’89 (though there are echoes), it’s the poor.” “Mass incarceration is the new Jim still fundamentally on-point. There’s an angry, Crow,” he preaches, if not poetically. Somebody’s clumsy artistry to it, since Lee is rudely saying got to say this stuff, so it might as well be Lee— all the things that the Republican and Demothough you wish he didn’t leer quite so much at cratic presidential candidates will avoid. (The Lysistrata and other half-clothed young women. former will blame urban culture and “depenThe best thing about Chi-Raq comes in its dency.” The latter will propose toothless gunopening credits: a striking outline map of the control laws that have no chance of passing.) U.S.—red, white, and blue—tiled with guns of Our heroine (Teyonah Parris) begins as a every description. (The designer isn’t credited.) blissfully ignorant young woman, smitten with Division is the key notion here—that an epidemic Chi-Raq and untroubled by conscience. After a of suspicion, fear, and violence has created its own near-miss rival gang attack, Lysistrata is roused kind of racial/economic gerrymandering. Politito blockade (“No peace, no pussy!”), mentored by cians are irrelevant, even if Chi-Raq does include a wise neighbor (Angela Bassett), aided by sassy all parties in a final ceremony of peace and atoneyoung women who wear rival colors of purple ment. Is this earned catharsis or pure hokum? I and orange, and shamed by a grieving mother guess, being a Spike Lee movie, maybe both? E ( Jennifer Hudson) whose young daughter caught a stray bullet. An uncomfortable-looking bmiller@seattleweekly.com

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SEATTLE WE EKLY • DE CEMBER 2 — 8, 2015

poufy leg-of-mutton sleeves and gigantic bows hen past PNB artistic direcin the back. And the skirts for the two large tor Kent Stowell approached groups in the second act are lovely, suggesting renowned children’s author/ the snowflakes or flowers that are a part of the illustrator Maurice Sendak about designing a new production of Nutcracker, scenario. The interiors are less complex than the prior production’s, reflecting their 19th-century the goal was to create a work that was utterly American setting with painted wallpapers and unique. When their interpretation of the holisilhouette portraits. Falconer’s “Land of Sweets” is day classic premiered in 1983, they more than outlined by pink and green stick candy and papermet that challenge. Stowell reached back to the doily lace, with elaborate, old-fashioned gelatin earliest versions of the story for a scenario as sharp as it was sweet, The hydra-headed Mouse King and Sendak created (Miles Pertl), here battling the a richly dense world Nutcracker (Ethan Arrington), will give you nightmares! for it to live in. Their production served the company well for over 30 years, but after new director Peter Boal had settled into his job, he began to consider how he might put his own stamp on the holiday lynchpin. Rather than commission new choreography, Boal has mined his own past as a dancer with New York City Ballet to import George Balanchine’s molds and piles of butter mints. It’s all very Curiconic production. Balanchine had himself rier and Ives, more sweet than tart. danced the original choreography while a young Many of the designs follow the basic structures man in Imperial Russia, and drew on that expeof the Balanchine, but with one innovation—a rience when he created his own version in 1954. film projected on the front scrim during the overThis Nutcracker reflects the classical heritage ture. We fly through a snowy forest and along a that defines ballet for many people, river to a small town of clapboard houses, alongside a more conventional tellfollowing the road to the Stahlbaums’ ing of the story. elegant home. The only clue that McCaw Hall Longtime Seattle dancegoers things might go sideways is the Seattle Center, will note the difference not in group of Disney-style mice that 441-2424, pnb.org. plot, but in positioning Clara open the front door. $25–$156. squarely back in the safe place And sideways is something that Ends Dec. 28. of childhood innocence. (The Pacific Northwest Ballet would Stowell/Sendak version, sprung really like to avoid, so far as the box from the feminist ’70s, made her an office is concerned. This Balanchine eager girl on the edge of womanhood.) choreography may represent the Nutcracker Clara is danced by a child throughout, rather gold standard, but it’s also a 60-year-old risk. than transforming into an adult performer; The annual event is an occasion when all kinds and the role of Drosselmeier is much more of dance audiences overlap—from the most benign—an eccentric toymaker rather than a devoted and knowledgeable fans to once-a-year menacing male figure. attendees. PNB’s great new challenge is to craft Balanchine’s choreography for Nutcracker is a show that will satisfy all parties—and bring laced with references to the 1892 original by them back year after year. Lev Ivanov, including the mime sequence for Although the Stowell/Sendak production the young prince as he describes the battle with had its up and down years, there was significant the Mouse King, and the gymnastic jumping for audience buy-in. It felt like a homegrown Seattle a group of candy canes. It’s a much more oldtradition, born from a moment when PNB was a fashioned, even patriarchal production, set firmly relatively young, struggling company. And while in the classical tradition. I liked the performance and staging of this old/ new Nutcracker, and while opening-weekend audiences were plentiful and enthusiastic, it’s too So if the choreography is old, what’s new here? soon to say what kind of long-term draw it’ll be. Boal commissioned fresh sets and costumes Remember that the Stowell/Sendak version was from famed children’s author Ian Falconer. The partly an attempt at a new approach to tradicreator of children’s-book heroine Olivia the pig tional ballets, and its 31-year run set the longevhas a whimsical aesthetic and designs that are ity bar pretty high. That’s all the more incentive less graphically dense than Sendak’s. His palette for this Nutcracker to really jump—even if it is brighter—especially the vivid use of colored lands with one foot in the past. E light in the second act. The women’s costumes in the first act are particularly charming, with dance@seattleweekly.com

ENTHRALLING!

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calendar

PICKLIST leries are open late tonight for First Thursday, so by no means restrict your shopping to just here. (Through Dec. 24.) Linda Hodges Gallery, 316

First Ave. S. 624-3034, lindahodgesgallery.com. Opening reception, 6–8 p.m. BRIAN MILLER

DECEMBER 4

Friday Die Hard

DECEMBER 2

Wednesday

SEATTLE WEEKLY • DECEMBER 2 — 8, 2015

Emma

No one gets married during the holiday season, because there are so many other competing parties and family gatherings. So here’s a happy chance to attend the wedding—and prior courtship, and countless preliminary romantic misunderstandings—in this staging of the Jane Austen classic, probably the sweetest work in her canon. Appropriately, Book-It is reviving its 2009 adaptation (by Rachel Atkins, directed by Carol Roscoe) for the bicentennial of Emma’s publication. Back from that production is Sylvie Davison as our heroine, now pitted with the challenge of resisting the handsome, charming Mr. Knightly (Sylvester Kamara). Along the way, of course, Emma is a famous meddler and know-it-all who proves herself wrong in one failed match after another. Yet she blithely steamrolls her way through Highbury and the surrounding countryside, crushing good sense at every turn. The comic disconnect between her intentions and outcomes has been profitably mined on film (with Alicia Silverstone in Clueless and Gwyneth Paltrow in Emma), but Emma’s well-intentioned foolishness never gets old. Like she says, “The most beautiful thing in the world is a match well made.” (Previews begin tonight, opens Friday, runs through Jan. 3.) Book-It Repertory Theatre, Cen-

ter House Theater (Seattle Center), 216-0833, book-it.org. $25–$50. 7:30 p.m. BRIAN MILLER

DECEMBER 3

Thursday Ham for the Holidays: Who’s Afraid of Virginia Ham?

Except maybe for the occasional Judy Garland tribute/sendup show, holiday theater doesn’t get any campier (read: endurable) than Lisa Koch and Peggy Platt’s annual music and sketch revue. This, the duo’s 15th show, promises a mix of new mate-

rial (“Three’s Custody, a ’70s sitcom set in prison”) and old favorites (mother/daughter country duo The Spudds). If those seem like easy targets, Ham also cuts to the quick—daringly, considering their audience—by spoofing the artistic heart and soul of the gay community. Yes, the Sequim Gay Men’s Chorus will make a return appearance, four voices strong. Hilarious, and just the right amount of mean, Koch & Platt’s SGMC skits acknowledge that no matter how noble your intentions, smarm is not above being satirized. Which is why I love them. (Through Dec. 20.) ACT Theatre, 700

Union St., 292-7676, acttheatre.org. $20 and up. 7:30 p.m. GAVIN BORCHERT

Wonderful Life

Yes, Frank Capra’s holiday perennial will return to the Grand Illusion next Friday the 11th, but first arrives a new take on the famous 1946 movie. The shorter title is a clue to the recent abridgement by Helen Pafumi and Jason Lott: It’s a one-man show, here starring Andrew Lee Creech, in which the storyteller takes on all the roles in Bedford Falls. That means the same guy plays both noble, suicidal George Bailey and the evil banker Mr. Potter, which may seem a rather schizophrenic exercise. Add to that the angel Clarence, faithful wife Mary (the Donna Reed role), and miserable alternatereality denizens of Pottersville (basically Hell), and Creech will be embodying an entire community. But that unitary spirit is appropriate to the source, Philip Van Doren Stern’s 1943 self-published short story, first called “The Greatest Gift.” About to leap off a bridge in financial despair, George is granted a vision of his town without him—as if he’d never been born. Yet this show (and the movie) emphasize how the individual and the community are so interdependent; the health of one affects all. And a society’s true prosperity is measured by how we treat those like George who are down on their luck (or “losers,” as Donald Trump would call them). Erin Murray directs. (Through Dec. 27.) Arts-

West, 4711 California Ave. S.W., 938-0339, arts west.org. $17–$38. 7:30 p.m. BRIAN MILLER

Seattle Symphony

Sorry if this sounds cynical, but one likely reason composers are drawn to setting the Requiem, the Catholic Mass commemorating the dead, is the opportunity for musical thunder and lightning provided by the Dies irae, the verse describing the Last Judgment. In one English translation: “Day of wrath! O day of mourning!/See fulfilled the prophets’ warning,/Heaven and earth in ashes burning!” Who can resist such drama? Mozart, Berlioz, and Verdi certainly couldn’t, and their Dies irae settings are the chilling, thrilling high points of their popular Requiems. But Gabriel Fauré (1845–1924) could; both his gentle nature and his agnosticism led him to leave these passages out of his Requiem, completed in 1900. Consoling rather than threatening, exquisitely lyrical rather than imposingly noisy, it’s a work of refined subtlety both musically and theologically. The Seattle Symphony plays it this weekend; conductor Ludovic Morlot will precede it with music by Debussy and Messiaen. (Also Sat. & Sun.) Benaroya Hall, Third Ave. & Union St.,

seattlesymphony.org. $39–$124. 7:30 p.m. GAVIN BORCHERT

Seattle Seen

You know what? It’s fine to buy art as a gift. Not as an investment, not for the prestige, not as a statement of your own good taste, not for the sheer transporting quality of the artist’s vision. Sometimes a friend or a family member simply needs something nice to hang on their walls. That’s the beauty of a group show, and this alllocal lineup features 14 artists contemplating our fast-changing city. Most of this group are painters, like Daphne Minkoff, who often depicts crumbling old strutures, scenes of colorful urban decay, buildings that are forlorn and forgotten. (She also has an eye for graffiti tags.) Meanwhile, Fred Holcomb is better known for serene landscapes and nature scenes, but his new work will feature vistas of South Lake Union—which is growing almost too fast to paint. And all the other downtown gal-

20TH CENTURY FOX

John McClane is the new George Bailey, at Central Cinema.

It just wouldn’t be the holidays without candy canes, mistletoe, festive lights, Bruce Willis, myriad bullets and gunfights, snarky humor, and Hans Gruber . . . wait, where was I going with that? Oh, right: Die Hard and “Yippee-ki-yay, motherfucker!” Perhaps the greatest action movie of all time, and certainly the best Christmas movie ever, John McTiernan’s 1988 film has bcome a Yuletide staple, and it hasn’t aged a day (though Willis certainly has). Move over, It’s a Wonderful Life and A Christmas Story (with your silly Red Ryder); the quips and guns in Die Hard are much more memorable. John McClane is simply the best action hero of our post-VHS era, still ticking after five films in the series. Not enough family cheer and gift-giving to go around this holiday season? You’ve never been more wrong in your life. Die Hard is a gift that keeps on giving, especially when you’ve seen it enough times to quote by heart. George Bailey has nothing on John McClane, who’s desperately battling German terrorists (hello, Alan Rickman), trying to win back his estranged wife, and looking for redemption. In fact, I would go so far as to argue that John McClane is the new George Bailey. (Through Mon.) Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7–$9. 9:30 p.m. SCOTT JOHNSON

DECEMBER 8

Tuesday

David Shields

Let’s declare war on ISIS! Let’s send troops back into Iraq! Let’s invade Syria to boot! Who’s up for it? It’s amazing how soon we forget the costs and complications of blithely declaring war, which makes Shields’ ironically titled coffee-table book so timely. War Is Beautiful: The New York Times Pictorial Guide to the Glamour of Armed Conflict (powerHouse, $40) is both satirical and angry. As the local author and UW professor told us a few months ago, he became obsessed with the Times’ front-page photojournalism, beginning with the first Persian Gulf War in 1991 and continuing into the endless post-9/11 era. “I found myself loving and hating these images,” he says. “Gimme my war porn! We all gobble up these images. We’re all complicit.” His 64 images are grouped by section— Love, Movie, Nature, Father, etc.—that suggest art-history categories and familiar visual tropes. Our eyes, and those of the Times’ photo editors, are naturally drawn to these orange-blossoming explosions and adorable Afghan refugee children. Shields concludes, “The Times had taken it to an absurd level. They so glamorize war [without] the horror and the trauma. The photographs are like huge kisses to the U.S. government. Behind these sublime, destructive, illuminated images are hundreds of thousands of unobserved, anonymous war deaths; this book is witness to a graveyard of horrendous beauty.” Third Place Books, 17171

Bothell Way N.E., 366-3333, thirdplacebooks. com. Free. 7 p.m. (Also: Richard Hugo House, 7 p.m. Thurs.) BRIAN MILLER E

calendar

BEGINNINGS: FIRST BREATH The

HOLIDAY LISTINGS Music

UW School of Drama collaborates with Jet City Improv on this long-form improv show. Hutchinson Hall Cabaret Theatre, UW campus, drama.uw.edu. $12–$20. 7:30 p.m. Wed., Dec. 2–Sat., Dec. 5, 2 p.m. Sun., Dec. 6.

DECK THE HALL BALL When December rolls around, it’s time for 107.7 The End’s annual extravaganza. This year, catch headliners Death Cab for Cutie as they rock out with Cage the Elephant, Alabama Shakes, Walk the Moon and Twenty One Pilots. More bands will announced closer to the event, one of the must-sees for the year. KeyArena, Seattle Center, deckthehallball.com. $73 and up. 3 p.m. Tues., Dec. 8.

■ DEGENERATE ART ENSEMBLE

MATT WILSON’S CHRISTMAS TREE-O The jazz drummer and his

band play two nights of hepcat Yuletide tunes. Dimitriou’s Jazz Alley, 2033 Sixth Ave, 441-9729, jazzalley.com. $28.50 7:30 p.m. Tues., Dec. 8–Wed., Dec. 9.

■ A CHARLIE BROWN CHRISTMAS For the 50th anniversary

Movies

HOLIDAY FAVORITES AT SIFF Ever

bad NYC, meets Zooey Deschanel, and hilarity often ensues. (R) ANDREW BONAZELLI Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $7–$9. Dec. 18–22.

Stage

■ A CHRISTMAS CAROL Keep

your parodies and improv shows; ACT dishes the Dickens straight up. Kurt Beattie and Charles Leggett tag-team as Scrooge. ACT, 700 Union St. $27–$37 and up. Runs Tues.–Sun. plus Mon., Dec. 28; see acttheatre.org for exact schedule. Ends Dec. 30.

A CHRISTMAS CAROL: A LIVE RADIO PLAY Twelfth Night

Productions offers Dickens with sound effects and organ music. Kenyon Hall, 7904 35th Ave. S.W., brownpaper tickets.com. Opens Dec. 4. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends Dec. 13.

■ CHRISTMASTOWN: A HOLIDAY NOIR Love film noir? Love Christmas?

Smash them together and you get the detective saga of Nick Holiday, who investigates shady events in Christmastown in this comic tale by local playwright Wayne Rawley. Seattle Public Theater, 7312 West Green Lake Dr. N. $17–$34. Preview Dec. 3, opens Dec. 4. Runs Thurs.–Sun. plus Dec. 22 & 23; see seattlepublictheater.org for exact schedule. Ends Dec. 24. DINA MARTINA CHRISTMAS SHOW 2015 An all-new show of

warmth and wonder from the incomparable, indefatigable, indescribable entertaineress. Re-bar, 1114 Howell St. $22–$25. Runs Fri.–Sat., then nearly every day starting Dec. 10; see brown papertickets.com for exact schedule. Ends Dec. 31. FOR CHRISTMAS Jesus and Santa battle—well, bicker—for holiday supremacy in Nick Edwards’ comedy. West of Lenin, 203 N. 36th St., brown papertickets.com. $15–$50. Opens Dec. 4. 11 p.m. Fri.–Sat., 7:30 p.m. Sun. Ends Dec. 20. ■ HAM FOR THE HOLIDAYS SEE THE PICK LIST, P. 20.

HOLIDAY OF ERRORS Frank Lawler

and Daniel Flint’s Elizabethan spoof. 12th Ave. Arts, 1620 12th Ave. $15–$25. Preview Dec. 4, opens Dec. 5. Runs 8 p.m. Thurs.–Sat., plus Dec. 14 & 16, plus 2 p.m. weekend matinees; see soundtheatrecompany.org for exact schedule. Ends Dec. 20.

A(N IMPROVISED) CHRISTMAS CAROL How familiar are you with the

Charles Dickens classic? Did you first hear it read during grade school on a cold winter day? Or have you seen the Jim Carrey flick from 2009? Either way, this ad lib lampoon should breathe fresh life into those stale pages. Market Theater, 1428 Post Alley, unexpected productions.org. $5–$15. 8:30 p.m. Thurs.–Sat. plus Dec. 21 & 22; 7 p.m. Sun. Ends Dec. 26. IT’S A WONDERFUL LIFE The 14/48 Projects brings back the classic Frank Capra tale . . . with a twist. The 30-person cast has never rehearsed together before, don’t know who they’ll be acting with, and come at the command of director Shawn Belyea. They’ll enter with us in the audience, then be cued onstage with their first line. Cornish Playhouse, 201 Mercer St. (Seattle Center), the1448projects.org. $25. 6:30 p.m. Sat., Dec. 12. RUTH AND THE SEA Morgan Ludlow’s new play about a feisty grandmother who learns she won’t live to see another Christmas. As she prepares for the end, she gets all her liquor, empties her bank account, and embarks on a cross-country roadtrip with her drug-addict grandson in the hopes of finding some sort of meaning. Annex Theatre, 1100 E. Pike St., pacific playcompany.com. $12–$20. 8 p.m. Dec. 3, 5, 11, 12, 17, 19. SNOWGLOBED Premieres of five holiday-themed plays. West of Lenin, 203 N. 36th St., playinginprogress.com. $10–$30. Opens Dec. 3. 8 p.m. Thurs.– Sat. Ends Dec. 19.

■ UNCLE MIKE RUINS CHRISTMAS Jet City asks for your

holiday memories, then lets everyone’s

least favorite relative destroy them forever. Jet City Improv, 5510 University Way N.E., jetcityimprov.org. $12–$15. 10:30 p.m. Fri.–Sat. Ends Dec. 19. THIS CHRISTMAS The holiday threatens to careen out of control (but probably won’t) in Anne Kennedy Brady’s play. Taproot Theatre, 204 N. 85th St. $20–$40. Runs generally Tues.–Sat.; see taproottheatre.org for exact schedule. Ends Dec. 26. ■ UNWRAPPED In their more famous stage personae, Jerick Hoffer and Richard Andriessen are following last year’s cabaret showbiz-sendup pas de deux The Vaudevillians with this holiday show. Seattle Repertory Theatre, Seattle Center. $34–$40. 8 p.m. Runs Wed.–Sun.; see seattlerep. org for exact schedule. Ends Dec. 13. WINTERFEST All kinds of music, dance, circus, and more through Dec. 31. Seattle Center, seattlecenter.com. ■ WONDERFUL LIFE SEE THE PICK LIST, P. 20.

Above & Beyond

SACK THE HOLIDAYS! Got a han-

kering for a massive pillow fight? This flash-mob gathering might just be the most cathartic event of the year. Beat those holiday blues by wacking someone with a soft pillow (feather-free to reduce mess). Free. See bubble seattle.com for event details. Time and location TBD. Sat., Dec. 19.

SEATTLE CHRISTMAS SHIP FESTIVAL Since 1949, Argosy Cruises

has hosted this holiday celebration of lights, boats, music, and good cheer. Sailing to over 45 waterfront communities, the watery procession draws thousands of viewers. For those onboard, the two-plus hour cruise includes Santa, a kids holiday craft area, contests, and full bar (the latter being necessary to preserve one’s sanity while hearing “Silent Night” 100 times in a row). Tickets, schedule, and info: argosycruises.com. Ends Dec. 23. SNOWFLAKE LANE The familyfriendly annual celebration takes

place on the sidewalks of downtown Bellevue, with a huge cast of toy soldiers, festive animals, musical performances, colorful lights, and falling snow. Bellevue Square, 575 Bellevue Way, bellevue.com, 425-454-8096. Free. 7 p.m. nightly. Ends Dec 31. SANTACON PUB CRAWL The thought of seeing dozens of drunken Santas roaming around the city might seem crazy, but isn’t that really the point? Other festive costumes are welcomed during an impromptu parade (route pending). Details: santacon.info/ Seattle-WA.Free. Noon Sat., Dec. 12. 12KS OF CHRISTMAS HOLIDAY RUN Get in shape before you eat all

that delicious holiday food while also raising money for foster kids. A 5K and free kids dash are also offered. Plus food, music, and a holiday costume contest. Heritage Park, 111 Waverly Way (Kirkland), promotionevents.com. $45. 9:30 a.m. Sun., Dec. 20. WILDLIGHTS Zoo animals, fake snowball fights, Santa and his reindeer, a Christmas carousel, and over 600,000 lights. But the main attraction are nocturnal animals like sloths and Indian flying foxes, which will be presented between 6:30 and 7:30. Parents will find comfort in the food pavilion, with beer, wine, and other warming beverages. Woodland Park Zoo, 5500 Phinney Ave. N., 548-2500, zoo.org. $7 and up. 5:30 p.m. Nightly through Jan. 3.

THEATER Openings & Events

AFTER HOURS ArtsWest’s intimate cabaret evenings return. ArtsWest, 4711 California Ave. S.W., artswest. org. $30–$80. 7:30 p.m. Mon., Dec. 7 & 14, Tues., Dec. 22. ANTIQUES IMPROV SHOW Bring your favorite old curio; they’ll weave a tale about it. Jet City Improv, 5510 University Way N.E., jetcityimprov.org. $12–$18. Opens Dec. 3. 8 p.m. Thurs.– Fri. Ends Dec. 18.

TALL TALES OF THE UNNATURAL FRONTIER A sextet of stage shorts

described as “cowboy noir.” Annex Theatre, 1100 E. Pike St., pacific playcompany.com. $12–$20. 8 p.m. Dec. 4, 10, 18; 3 p.m. Dec. 12. THE WASHINGTONIANS Hey, we’re getting the band back together! Scott Warrender’s comedy show choir reunites, presented by Showtunes Theatre Company. Benaroya Recital Hall, Third Ave. & Union St., showtunestheatre.org. $21–$46. 8 p.m. Sat., Dec. 5, 2 p.m. Sun., Dec. 6.

Current Runs

CHITTY CHITTY BANG BANG

Caractacus Potts and his flying car are back. Seattle Children’s Theatre, Seattle Center, sct.org. $25 and up. 7 p.m. Thurs.–Fri., 2 & 5:30 p.m. Sat., 11 a.m. & 2:30 p.m. Sun. Ends Dec. 27. ■ COME FROM AWAY The true basis for this unlikely 9/11 musical by the Canadian duo of Irene Sankoff and David Hein is how 38 flights—carrying over 6,000 “come-from-aways,” in the local parlance—were diverted to Gander, Newfoundland. There the befuddled locals bigheartedly embraced travelers from around the world, providing food, shelter, and entertainment. Directed by Christopher Ashley, Come From Away plainly has Broadway as its goal. It’s a show that entreats you to believe in the goodness of people. And this jaded theatergoer says it succeeds abundantly on both counts. ALYSSA DYKSTERHOUSE Seattle Repertory Theatre, Seattle Center. $17 and up. Runs Tues.–Sun.; see seattlerep.org for exact schedule. Ends Dec. 13.

SEATTLE WE EKLY • DE CEMBER 2 — 8, 2015

wondered what Willy Wonka & and the Chocolate Factory smelled like? Or how many other hardcore Princess Bride fans are out there? Find out with SmellO-Vision and quote-along screenings, respectively. Also on the schedule are Fiddler on the Roof (Dec. 25) and a New Year’s Eve presentation of Moulin Rouge!, both sing-alongs with many other perks. SIFF Cinema Uptown and Film Center. $10–$15. See siff.net for schedule. Ends Jan. 3. ■ IT’S A WONDERFUL LIFE Frank Capra’s favorite, with James Stewart and Donna Reed, is screened for the 45th consecutive year. Grand Illusion, 1403 N.E. 50th St., 523-3935, grandillusioncinema.org. $5-$9. Dec. 11-31. ■ ELF In the surprise 2003 Christmas hit, Will Ferrell embraces the cutesy confection of its plot. Santa Claus doles out presents at an orphanage; a wee human crawls into his sack of toys, winds up at the North Pole, and is subsequently raised as an elf. Eight zillion sight gags constitute the first act, as a giant-sized Ferrell bangs his head into low ceilings, squats on miniature crappers, and botches even the most remedial toy-making duties. He finally discovers he’s the bastard son of James Caan, a distant Manhattan publishing-house exec. Innocent, syrup-swilling Ferrell then goes to big,

It’s a Wonderful Life returns to the Grand Illusion.

PARAMOUNT

of the famous Vince Guaraldi jazz score, the Jose Gonzales Trio plays the entire soundtrack. With cocktails, chocolates from Margaret Savas, and silent auction, this kid-friendly event will transport you back to 1965. Proceeds benefit Strawberry Theatre Workshop. Cornish Playhouse, 201 Mercer St. (Seattle Center), strawshop. org. $36. 6 p.m. reception, 7 p.m. concert. Sun., Dec. 13. ■ NICK LOWE His “Quality Holiday Revue” is back. With rocking versions of songs like “Children Go Where I Send Thee,” it promises is a fresh fun take on some old festive hits. With Los Straitjackets in their luchador masks. The Neptune, 1303 N.E. 45th St., 877784-4849, stgpresents.org. $28 and up. 7 p.m. Fri., Dec 18. ■ HANDEL’S MESSIAH The Seattle Symphony performs this 300-year-old masterpiece. With guest soloists, a masterful chorus, and seasonal snacks in the lobby. Benaroya Hall, 200 University St., seattlesymphony.org. $195 and up. Showtimes vary. Runs Fri., Dec. 18-Sun., Dec. 20. BRIAN SETZER ORCHESTRA The former Stray Cats frontman leads his BSO, an 18-piece swing and jump blues band that will have you rocking out to classic Christmas songs and more. It’s his 11th year of this Yuletide tour. Benaroya Hall, 200 University St., seattlesymphony.org. $73 and up. 7:30 p.m. Sun., Dec. 27.

brings together new pathways in music, theater, and dance, unearthing images from the unconscious and the imagination. Predator Songstress is the result of recent excavations into the concept of power and the subversion of authority, filtered through the portrait of a woman. SANDRA KURTZ On the Boards, 100 W. Roy St., on the boards.org. $12–$25. 8 p.m. Thurs., Dec. 3–Sat., Dec. 5; 6 p.m. Sun., Dec. 6. ■ EMMA SEE THE PICK LIST, P. 20. FAIR PLAY FEST Five new works, with an emphasis on ethnic diversity among the playwrights and themes. Eclectic Theater, 1214 10th Ave. $10– $12. 7:30 p.m. Fri., Dec. 4–Sat., Dec. 5. LOOT Joe Orton’s dark farce from 1965. Meany Studio Theatre, UW campus, drama.uw.edu. $10–$20. Previews Dec. 2–3, opens Dec. 4. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends Dec. 13. NOISES OFF Michael Frayn’s uproarious farce shows us a semicompetent traveling theater company from front and from backstage. Campus Theater, Shoreline Community College, 16101 Greenwood Ave. N., brownpapertickets.com. $8–$12. Opens Dec. 4. 7:30 p.m. Fri.–Sat., 3 p.m. Sun. Ends Dec. 13. SHE LOVES ME In this musical romcom, two people who clash in person fall in love via correspondence. Seattle Musical Theatre, 7120 62nd Ave. N.E., Building 47, seattlemusicaltheatre.org. $20–$35. Opens Dec. 4. 7:30 p.m. Fri.– Sat. plus Thurs., Dec. 17; 2 p.m. Sun. plus Sat., Dec. 12 & 19. Ends Dec. 20. ■ THE SOUND OF MUSIC The smash Rodgers and Hammerstein musical 5th Avenue Theatre, 1308 Fifth Ave. $29 and up. Previews through Dec. 2, opens Dec. 3. Runs practically every day; see 5thavenue.org for exact schedule. Ends Jan. 3.

» CONTINUED ON PAGE 22 21

calendar AUTHOR EVENTS

SE AT TLE

4500 9TH AVE. NE • 206-633-0059

Village Theatre’s My Fair Lady continues, with (L-R) Allison Standley as Eliza, Priscilla Hake Lauris as Mrs. Higgins, and Mark Anders as Henry Higgins.

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

Tickets Avail at Box Office Only. Not good on holidays.

Tuesday is Girls Movie Night Out!

2 or more ladies get $6 ($7.50 for 3D) Admission All Day. Tickets Avail at Box Office Only. HUNGER GAMES: MOCKINGJAY PART II SPOTLIGHT LIFE

A ROYAL NIGHT OUT

BROOKLYN

CREED

SPECTRE

THE NIGHT BEFORE

FEATURING

SEATTLE WEEKLY EDITOR-IN-CHIEF

MARK BAUMGARTEN AND

THE SOUND OF MUSIC DIRECTOR

DAVID BENNETT

THE MARTIAN in 2D

FRIDAY DECEMBER 4TH

SECRET IN THEIR EYES

THE 5TH AVENUE THEATRE 1308 5TH AVENUE, SEATTLE

VICTOR FRANKENSTEIN

*Tickets available at the box office.

SUNDANCECINEMAS.COM

6:30PM / TICKETS $60

USE PROMO CODE 'WEEKLY' 5THAVENUE.ORG/PROMO/WEEKLY

» FROM PAGE 21 ELEPHANT & PIGGIE’S “WE ARE IN A PLAY!” This new musical

adaptation of Mo Willems’ book series opens SCT’s season. Seattle Children’s Theatre, Seattle Center, 441-3322, sct. org. $22–$40. 7 p.m. Thurs.–Fri., 2 & 5:30 p.m. Sat., 11 a.m. & 2:30 p.m. Sun. Ends Dec. 6. ■ MY FAIR LADY The enduringly popular and hit-filled 1956 Lerner and Loewe musical, directed by Brian Yorkey. Village Theatre, 303 Front St. N., Issaquah. $38–$70. Runs Tues.– Sun.; see villagetheatre.org for exact schedule. Ends Jan. 3. (Runs in Everett Jan. 8–31.) ■ SAUCED The 1937 setting is the Diamond Club for this show written by Terry Podgorski, with songs by Annastasia Workman. Nordo’s Culinarium, 109 S. Main St., cafenordo. com. $65–$99. 7:30 p.m. Thurs. & Sun., 8 p.m. Fri.–Sat. Ends Dec. 20. SHOGGOTHS ON THE VELDT

The Rogues Gallery (“a Geek Theater Company”) presents this Lovecraftian spoof. The Lab at INScape, 815 Seattle Blvd. S., theroguesgallery.tv. $15–$20. 8 p.m. Fri.–Sun. Ends Dec. 5. THE TWILIGHT ZONE: LIVE Theater Schmeater stages three more tales from the iconic TV series. Theater Schmeater, 2125 Third Ave., schmeater. org. $22–$29. 8 p.m. Thurs.–Sat. Ends Dec. 19.

DANCE

SEATTLE WEEKLY • DECEMBER 2 — 8, 2015

■ PACIFIC NORTHWEST BALLET: NUTCRACKER SEE REVIEW, P. 19. ENSEMBLE BALLET THEATRE: NUTCRACKER Renton IKEA

Performing Arts Center, 400 S. Second St., Renton, ebtballet.org. $12–$18. 7 p.m. Fri., Dec. 4; 2:30 & 7 p.m. Sat., Dec. 5; 1:30 p.m. Sun., Dec. 6.

MAUREEN WHITING DANCE

Burden of Joy includes dancers Ezra Dickinson and Belle Wolf. ACT, 700 Union St., maureenwhitingco.org. $10– $20. 7 p.m. Fri., Dec. 4–Sat., Dec. 5. CORNISH NEW MOVES Students perform at Velocity Dance Center, Velocity Dance Center, 1621 12th Ave., cornish.edu. $5–$12. 8 p.m. Fri., Dec. 4, 3 & 8 p.m. Sat., Dec. 5. NEXT DANCE CINEMA Paul Taylor is profiled in the doc Creative Domain (7:30 p.m. Fri., Dec. 4, 5 & 7:30 p.m. Sat., Dec. 5–Sun., Dec. 6; $6–$11), followed by a selection of shorts (7 & 8:30 p.m. Mon., Dec. 7; $10–$15). Northwest Film Forum, 1515 12th Ave., nwfilmforum.org, velocitydancecenter.org. INTERNATIONAL BALLET THEATRE: NUTCRACKER Two

venues: Kirkland Performance Center, 350 Kirkland Ave., Kirkland, 1 & 5 p.m. Sat., Dec. 5–Sun., Dec. 6 ($25–$45); and Meydenbauer Center, 11100 N.E. Sixth St., Bellevue ($25–$50). Opens Fri., Dec. 11. 7:30 p.m. Fri.–Sat., 2 p.m. Sat.–Sun., plus 2 p.m. Dec. 21–23. Ends Dec. 23. intballetacademy.org.

TRACY MARTIN/VILLAGE THEATRE

Two Ways To Save At Sundance Seattle

CLASSICAL, ETC.

■ LOST AND FOUND WITH TRIMPIN The culmination of the

inventor’s workshop with music students; come see what new sonic contraption they’ve built. Benaroya Hall, Third Ave. & Union St., seattle symphony.org. Free. 7 p.m. Wed., Dec. 2. DAANA STRING QUARTET

Viennese classics plus William Grant Still’s Danzas de Panama. Brechemin Auditorium, School of Music, UW campus, music.washington.edu. Free. 7:30 p.m. Wed., Dec. 2. ■ SEATTLE SYMPHONY SEE THE PICK LIST, P. 20.

■ UW MODERN ENSEMBLE

Chamber music by Bartok, Cage, and Ligeti. Jones Playhouse, 4045 University Way N.E., music.washington. edu. $10. 7:30 p.m. Fri., Dec. 4. ■ CRAIG SHEPPARD He’ll play 12 of Shostakovich’s preludes and fugues. Frye Art Museum, 704 Terry Ave., russianchambermusic.org. $10–$20. 7 p.m. Fri., Dec. 4. ANONYMOUS 4 A stop on the farewell tour of this vocal quartet whose repertory spans a millennium. Meany Hall, UW campus, uwworldseries.org. $45–$50. 7:30 p.m. Fri., Dec. 4. ■ PEACE SYMPHONY This new work for electronics and live instruments by Paul D. Miller (aka DJ Spooky) commemorating the bombings of Hiroshima and Nagasaki draws on interviews with survivors. Cornish Playhouse, Seattle Center, cornish.edu. $24–$34. 8 p.m. Fri., Dec. 4. ■ TRIO PARDALOTE Music for string trio as part of Resonance’s First Friday Salons series. Resonance at SOMA Towers, resonance,events. $12 and up. 8 p.m. Fri., Dec. 4. SEATTLE MEN’S CHORUS

Their annual holiday spectacular. Benaroya Hall, Third Ave. & Union St., seattlemenschorus.org. $25–$78. 8 p.m. Fri., Dec. 4; 7:30 p.m. Sun., Dec. 6, 13, 20; 7:30 p.m. Mon., Dec. 21.

■ ROOSEVELT HS JAZZ

NUTCRACKER Tchaikovsky’s suite as swung by Ellington and Strayhorn. Roosevelt High School, 1410 N.E. 66th St., rooseveltjazz.org. $12–$15. 7:30 p.m. Sat., Dec. 5. ■ MANDOLIN MESSIAH Handel played by a mandolin orchestra, which is a lovely way to hear it. Green Lake United Methodist Church, 6415 First Ave. N.E., brownpapertickets.com. $15–$20. 7 p.m. Sun., Dec. 6. PORTLAND CELLO PROJECT

Bringing their Holiday Spectacular up I-5. Benaroya Hall, Third Ave. & Union St., seattlesymphony.org. $30–$40. 8 p.m. Sun., Dec. 6. LALO IZQUIERDO Music and dance from the Afro-Peruvian tradition. Brechemin Auditorium, School of Music, UW campus, music.washington. edu. Free.7:30 p.m. Tues., Dec. 8. See seattleweekly.com for many more holiday concerts.

■ CHRISTOPHER T. BAYLEY We excerpted this former King County Prosecutor’s Seattle Justice: The Rise and Fall of the Police Payoff System in Seattle in October. Town Hall, 1119 Eighth Ave., townhallseattle.org, 7:30 p.m. Wed., Dec. 2 ($5); Third Place Books, 17171 Bothell Way N.E., third placebooks.com, 7 p.m. Mon., Dec. 7. ROBERT CRAIS An explosives expert goes missing in The Promise. Seattle Mystery Bookshop, 117 Cherry St., 5875737, seattlemystery.com, noon; Third Place Books, 7 p.m. Wed., Dec. 2. SUSAN VOLLAND Zhuzh up your holiday dinners with Mastering Sauces: The Home Cook’s Guide to New Techniques for Fresh Flavors. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. 7 p.m. Wed., Dec. 2. BRIGITTE LE NORMAND You may not think of Yugoslavia as an avatar of forward thinking, but in one respect it was: Read how in Designing Tito’s Capital: Urban Planners, Modernism, and Socialism. Ellison Center, UW campus, bookstore.washington.edu. 1:30 p.m. Wed., Dec. 2. RORY LINK This healer and shaman offers The Theory and Practice of Joy. University Book Store, 4326 University Way N.E., 634-3400, bookstore. washington.edu. 7 p.m. Wed., Dec. 2. ■ SANDI DOUGHTON & DAVID R. MONTGOMERY Doughton scared

us shitless, you may recall, with FullRip 9.0: The Next Big Earthquake in the Pacific Northwest. Montgomery shares his The Hidden Half of Nature: The Microbial Roots of Life and Health. (Also see Thurs., Dec. 10.) Town Hall. $7–$25. 7:30 p.m. Thurs., Dec. 3. PAY DIRT New work by Anca L. Szilágyi, Bernard Grant, Emily Bedard, Martha Kreiner, and Matthew Schnirman. JewelBox Theater at the Rendezvous, 2322 Second Ave., jackstraw.org. $5. 7 p.m. Thurs., Dec. 3. ANTHONY GEIST The School of Solitude: Collected Poems is his new translation of the work of Peruvian poet Luis Hernández (1941–77). Elliott Bay. 7 p.m. Thurs., Dec. 3. KRISTINA MCMORRIS The Edge of Lost is her novel of Irish immigration. Third Place. 7 p.m. Thurs., Dec. 3. MAIREAD CASE Her novel See You in the Morning covers a summer in a small Midwestern town. Elliott Bay. 7 p.m. Fri., Dec. 4. GREGORY WOLFE The Seattle Pacific University writer in residence reads from The Operation of Grace: Further Essays on Art, Faith and Mystery. Elliott Bay. 7 p.m. Sat., Dec. 5. OGOPOGO “A performance series featuring authors, artists, playwrights, poets, and more.” Pocket Theater, 8312 Greenwood Ave. N. $10–$14. 8 p.m. Sun., Dec. 6. AARON MCCONNELL presents The Comic Book Story of Beer. Lucky Envelope Brewing Co. 907 N.W. 50th St., bookstore,washington.edu. 3 p.m. Sun., Dec. 6. ■ STEVEN HILL Raw Deal: How the ‘Uber Economy’ and Runaway Capitalism Are Screwing American Workers tells how our new “sharing economy’ transfers wealth upward. Town Hall. $5. 7:30 p.m. Mon., Dec. 7. GRAHAM HANCOCK The controversial pre-historian’s latest is Joy to the Magicians of the Gods: The Forgotten Wisdom of Earth’s Lost Civilization. University Book Store, 7 p.m. Mon., Dec. 7. ■ DAVID SHIELDS SEE THE PICK LIST, PAGE 20. ■ DAN RALEY SEE GIFT GUIDE, PAGE 4. University Book Store, 7 p.m. Tues., Dec. 8. ELIZABETH TALLENT Mendocino Fire is her new book of short stories. Elliott Bay, 7 p.m. Tues., Dec. 8.

Sleeping Beauty Great Musical Entertainment for the Whole Family!

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centerstagetheatre.com TROY GUA

Troy Gua’s Orange Dust, ongoing at Bonfire.

Openings and Events ANNUAL GROUP EXHIBITION

Some two dozen gallery artists help ring out the year. First Thursday reception, 6-8 p.m. Gallery I|M|A, 123 S. Jackson St., 625-0055, galleryima. com. 10:30 a.m.-5:30 p.m. Tues.-Sat. Ends Jan. 2.

ANNUAL GROUP EXHIBITION

Over 30 artists are represented, working in a variety of media. First Thursday reception, 6-8 p.m. Patricia Rovzar, 1225 Second Ave., 223-0273, rovzargallery.com. 11 a.m.-5 p.m. Mon.-Sun. Ends Dec. 31.

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SEATTLE WE EKLY • DE CEMBER 2 — 8, 2015

■ COUNTER-COUTURE Curated by the UW’s Michael Cepress, an artist who studies and works with fiber, textiles, and fashion, this fashion show bears the subtitle “Fashioning Identity in the American Counterculture.” In other words, hippies! Cepress is exploring the ecstatic ’60s and ’70s spirit via the bell-bottoms, macramé, embroidered vests, miniskirts, headbands, granny glasses, customized jeans, peasant blouses, Huarache sandals, and tie-dye—always the tie-dye!—that defined that era. Some museumgoers will remember wearing such fashions during the Summer of Love, while younger visitors have lately been reviving the look (sometimes directly from their parents’ closets). BRIAN MILLER Bellevue Arts Museum, Ends Jan. 10. ■ TROY GUA Inspired parly by King Tut’s tomb and the pyramids, his show Orange Dust “is created as a collection of metaphoric artifacts to be unearthed from the preimagined tomb of a long gone America.” Bonfire (Panama Hotel), 603 S. Main St., thisisbonfire.com. 10 a.m.-5 p.m. Tue.-Sat. Ends Jan. 28.

@weeklyevents

Seattle Weekly Wednesday, 12/2 1col(2.33)x2

THE

paintings, and more, all priced for the gift-giving season. See seattlesampling.com for venues, 4-9 p.m. Sat. 10 a.m.-5 p.m. Sun. VASHON STUDIO TOUR Thirty-five locations, over 80 artists, with food stops along the way. Vashon Island, see VashonIslandArtStudioTour.com for venues and map. 10 a.m.-4 p.m. Sat. & Sun. (Repeats next weekend.) DENNIS WARSHAL Near the site of his family’s old business, Warshal’s

LIFE INSPIRED BY A TRUE STORY

SEA

SEATTLE SAMPLING ARTISTS STUDIO TOUR Jewelry, prints,

FROM REBEL TO ICON

mence! Food, crafts, and children’s activities are also part of the holiday fun. Kirkland Arts Center, 620 Market St., 425-822-7161, kirklandartscenter. org. 10 a.m.-7 p.m. Sat.

Native American artists, from Alaska southward, explore indigenous and natural themes. First Thursday reception, 6-8 p.m. Stonington Gallery, 125 S. Jackson St., 405-4040, stoningtongallery.com. 10 a.m.-6 p.m. Mon.-Fri. (weekends vary). Ends January, closing date TBD. ERIKA SANADA She shows small ceramic animal figures in Balancing Act. Also on view, works by Calvin Ma. First Thursday reception, 6-8 p.m. Abmeyer + Wood, 210 Second Ave., 628-9501, abmeyerwood.com. 11 a.m.-6 p.m. Mon.-Sat. Ends Jan. 2.

Ongoing

THE TELEGRAPH

DANE DEHAAN IS A MAGNETIC JAMES DEAN.” Variety

“

HOLIDAY ART MARKET & OPEN HOUSE Let the shopping com-

RESURGENCE: RIVERS OF THE NORTHWEST Over a half dozen

HHHH

In a prominent new space to open Saturday, with its future suddenly in doubt, some of patron Paul Allen’s private collection will be on view in a show subtitled “de Kooning to Kapoor 1955-2015.” Other artsits will include Francis Bacon, Lucien Freud, David Hockney, Barry X. Ball, Alberto Giacometti, Anish Kapoor, Jonas Burgert, Lita Cabellut, and Ruben Pang. Pivot Art + Culture, 609 Westlake Ave. N., pivotartandculture. org. 10 a.m.-6 p.m. Tues.-Sun. (to 8 p.m. Thurs.) Free through Dec. 13, $5 thereafter. Ends Feb. 28. ■ KAREN FINLEY One of the artists included in TAM’s important Art AIDS America show, the famed NYC provocateur will give a short performance, followed by a talk and signing of her recently reissued Shock Treatment, a deep dive into the culture wars of the 1980s. Tacoma Art Museum, 1701 Pacific Ave., 253-272-4258, tacomaartmuseum.org. $5–$10. 2 p.m. Sat. CABLE GRIFFITH He continues to explore videogame imagery and digital culture in Sightings. Also on view, Maija Fiebig’s embroidered textiles. First Thursday reception, 6-8 p.m. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com. 11 a.m.-5 p.m. Wed.-Sat. Ends Jan. 16.

Sporting Goods (now the Hotel 1000), the artist has a pop-up gallery showcasing his floral forms rendered in metal. The show is called Leaves of Change. First Thursday reception, 3-8 p.m. 1201 Second Ave., denniswarshalART.com. 11 a.m.-5 p.m. daily. Ends Jan. 12. WEARABLE ART SHOW Over a dozen locals offer their frocks and fashions for the gift-giving season. First Friday opening reception, 6-8 p.m. The Island Gallery, 400 Winslow Way E. (Bainbridge), 780-9500, theislandgallery.net. Call for hours. Ends Dec. 31. WINTER STUDIO TOUR Walk onto the ferry, then follow the walking map to see some 64 local artists. Bainbridge Island, see bistudiotour. com for all venues. 10 a.m.-6 p.m. Fri.-Sat. 10 a.m.-5 p.m. Sun. WONDERLAND Alice in Wonderland is the inspiration for this group show. First Friday opening reception, 6-8 p.m. Roby King Gallery, 176 Winslow Way E. (Bainbridge), 842-2063, robykinggallery.com. 10 a.m.-5:30 p.m. Tue.-Sat. Ends Jan. 2. ERNESTO YBARRA In Between Worlds, his first local show, combines Catholic and Aztec/Mayan themes. Opening reception, 6:30 p.m. Fri. 2312 Gallery, 2312 Second Ave., 2312seattle.tumblr.com. Hours by appointment. End date TBD.

■ THE FIGURE IN PROCESS

small English nature scenes on paper. Also on view, woodblock prints from local artist Charles Spitzack. First Thursday reception, 6-8 p.m. Davidson Galleries, 313 Occidental Ave. S., 624-6700, davidsongalleries.com. 10 a.m.-5 p.m. Tues.-Sat. Ends Dec. 24. GREGG LAANANEN He paints Northwest landscapes and nature scenes in The Road to Boiling Rock. Also on view, Terry Furchgott’s The Morrocan Paintings. First Thursday reception, 6-8 p.m. Lisa Harris Gallery, 1922 Pike Place, lisaharrisgallery.com, 443-3315. 10 a.m.-5:30 p.m. Mon.-Sat. Ends Dec. 30. POP UP POP IN A short-run show offers small works for the holidays. Local artists include Claire Cowie, Steve Davis, Jason Hirata, Alexander Kroll, Alleghany Meadows, Anthony Sonnenberg, Akio Takamori, and Bari Ziperstein, working in paint, photography, and other media. First Thursday reception, 6-8 p.m. James Harris Gallery, 604 Second Ave, 903-6220, jamesharrisgallery.com. 11 a.m.-5 p.m. Sat. Ends Dec. 19 MARK REDISKE The veteran local painter shows new abstracted landscape scenes in Distillation. First Thursday reception, 6-8 p.m. Foster/ White Gallery, 220 Third Ave. S., 6222833, fosterwhite.com. 10 a.m.-6 p.m. Tues.-Sat. Ends Dec. 24.

Fanciful beasts and altered natural forms, from artists including Adam Doyle, Brad Woodfin, and Michael Alm, Peter Ferguson, Peter Gronquist, Scott Musgrove. First Thursday reception, 6-9 p.m. Roq La Rue, 532 First Ave. S., 374-8977, roqlarue.com. Noon-5 p.m. Wed.-Sat. Ends Jan. 30.

SUSAN JAMESON She shows

SUBSCRIBE!

VISUAL ARTS

ROBERT PATTINSON DANE DEHAAN

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

tractor TIMES

HE WHOSE OX IS GORED takes an

DOORS 30-60

“all of the above” approach to its particular brand of heavy metal. You’ve got shoegaze guitar, sci-fi synths, doommetal riffs, post-rock structures, psychrock chords, proggy sensibilities—if it’s loud, it’s in there. The local group is releasing its new record tonight, The Camel, the Lion, the Child, and if you love anything and everything heavy, you’ll get it six ways to Sunday. With Newaxeyes, Mysterious Skin. Barboza. 8 p.m. $10. 21 and over. KS

OPEN

LISTED ARE

SHOW TIMES.

JAZZ ALLEY IS A SUPPER CLUB

calendar

MIN. BEFORE.

WED,

DECEMBER 2 ND 

NASHVILLE ALT COUNTRY

BOBBY BARE JR STAR ANNA

THUR,

8PM - $10

DECEMBER 3 rd

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MEXO-AMERICANA DAVID WAX MUSEUM MARTY O’REILLY & THE OLD SOUL ORCHESTRA 8PM - $10

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

MOTOPONY, LOWLANDS SPORTY LEE

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

TUE,

Grammy-winning jazz trumpeter, composer and band leader

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

FRI, DECEMBER 4 #LOCALLOVE

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9PM - $15

DECEMBER 8 TH 

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

AVERAGE WHITE BAND THURS, DEC 10 - SUN, DEC 13

Widely regarded as the best funk and soul band in the history of music!

CHARLIE HUNTER TRIO

FEATURING BOBBY PREVITE AND CURTIS FOWLKES

PATTERSON HOOD

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THAYER SARRANO SUN,

Tuesday, Dec. 8

8PM - $15

DECEMBER 20 th  THE STRANGER PRESENTS

DAVID BAZAN & FRIENDS 8PM - $20

Up & Coming 12/5 ZEPPARELLA, 12/9 CORB LUND, 12/10 DOWNPILOT, 12/11 & 12 MALDOGGIES FAMILY XMAS, 12/13 JARED & THE MILL, 12/15 PATTERSON HOOD, 12/16 PATCHY SANDERS

INVISIBLE HOUR

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

MUSIC Wednesday, Dec. 2

Whoa, BELL WITCH is playing a rare local show that isn’t at The Highline. Weird, since bassist Dylan Desmond owns the place. Well, wherever the doom-metal duo plays, you should check it out, because they are making some of the best funeral dirges coming out of Seattle right now. The group’s newest LP, Four Phantoms, is a majestic, crushing four-track record, each song written from the perspective of a phantom “suffering a continuous death” from one of the four elements. Can I get a “Hell, yeah!” for solid concept albums? With Wrekmeister Harmonies, Serpentent. Barboza. 8 p.m. $12. 21 and over. KELTON SEARS

0 215 TUES, DEC 15 - WED, DEC 16

Reuniting the 7-string guitar wizard along with longtime collaborators - trombone master and drum maestro

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

5213 BALLARD AVE. NW  789-3599

www.tractortavern.com

NEW YEAR’S EVE PARTY Thu, Dec 31

Prix Fixe Dinner 2 Rooms of Dancing! Live Salsa with Buena Vibra DJd Kizomba

Tickets available at CENTURYBALLROOM.COM

Friday, Dec. 4

on My Sleeve, and, we hope, the next album, which is currently in the works. Showbox. 8:30 p.m. $52–$252. 21 and over. MB If you live or die by the shred, this is not one to miss. SMILING, Seattle’s fiercest anti-cop hardcore group, is releasing its squalling new tape, Passionate One, tonight, and it’s a feedback-laden treat. The show will also see the debut performance of HINTS, the new project from the incredibly talented drummer of now-deceased industrial punk group Haunted Horses, Myke Pelly. Expect blackened drone and meditative torrents of noise over galloping percussive assaults. Don’t miss a chance to watch Pelly tear through a drum kit—it’s violent and hypnotizing. With Vats, Lithics. Black Lodge. 9 p.m. All ages. KS

Sometimes evolving means take a few steps back—at least it does for Seattle quartet KINSKI, which has moved away from the spacey postrock sound found on much of its twodecade discography and embraced the most elemental of garage-rock sounds: buzzy, muscular guitar riffs and a driving rhythm section. The results are at once familiar and refreshing, since the band’s commitment to texture and movement in their mostly instrumental songs is still alive and well,

Before he heads to London to record his second full-length solo album, Daniel Blue will lead his band MOTOPONY through one final spectacle of spiritual pop tonight. It has been a tumultuous six years since the Seattle band released its debut album, filled with changes both personal and business. But all the trouble appears to be great fodder for Blue, who describes his inimitable approach to songwriting and performance as a form of channeling. Evidence can be found in the band’s excellent second full-length, Welcome You, and, chances are, onstage tonight. With Lowlands, Sporty Lee. Tractor Tavern. 9 p.m. $15. 21 and over. MARK BAUMGARTEN Cover bands? Meh, been done. But what about cover-band hybrids? This is the brave new world being pioneered by THE SMITHSFITS, featuring members of local emo mainstays Vendetta Red dressing up and performing—you guessed it— covers of the Smiths and the Misfits. If you’re concerned that might be too much misunderstood alienation for one night, fear not—local alllady Ramones tribute the Dee Dees will get you revved up before the wailing begins. Barboza. 7 p.m. $10. 21 and over. KS

Saturday, Dec. 5

Now in its fourth year, the Seattle Musicians for Children’s Hospital fundraiser, otherwise known as SMOOCH, mixes good deeds with great music. This year honorary Seattleite Greg Dulli will be belting out his dark and sardonic garage soul with the Afghan Whigs, while Sir Mix-A-Lot pulls from his storied back catalogue and Mary Lambert performs songs from last year’s Heart

Hoop

Sunday, Dec. 6

Recently a friend hipped me to the confusing Tumblr style “soft grunge.” I’m still not entirely sure anyone knows what “soft grunge” means, but the incredibly cool “To Know Your Tone” by local DIY supergroup HOOP is probably the closest I’ve come to it. The contrast of guest vocalist Allyson Foster’s Zen cooing over the subdued, distorted guitar chugging below it is brilliant, and treads some genuinely new and exciting tonal ground. Check out the elusive group as it headlines a night opened by one of its frequent collaborators, the ethereal, vocallooping Briana Marela. With Lilac. Glass Box. 7 p.m. $7. All ages. KS

AMANDA LEATY

SEATTLE WEEKLY • DECEMBER 2 — 8, 2015

CENTURY BALLROOM

Bell Witch

For 23 years, 107.7 The End has wrapped up the year by making lots of really excited teens pee their pants with joy at the DECK THE HALL BALL. The recipe for the blowout is simple— stuff a bunch of the year’s radio wonders in a stadium and voila! Death Cab for Cutie headlines this year for the third time (its fourth appearance at the event), supported by Grammy-awardwinning alt-rockers Cage the Elephant and the saccharine “indie” squeal of Walk the Moon, whose hit pop single is called “Shut Up and Dance.” YOU HEAR THAT KIDS? SHUT UP AND DANCE. With Twenty-One Pilots, Alabama Shakes, Nathaniel Rateliff and the Night Sweats, and more. KeyArena. 3 p.m. $65. All ages. KS

just dressed in new bitchin’ thrift-store threads. With Heron Oblivion. Sunset. 8 p.m. $8. 21 and over. MB

Wednesday, Dec. 9

The good news for fans of the DANDY WARHOLS is that the band is not roadtesting new material on its current West Coast swing. It’s not that new material from the Portland band, which hasn’t released a new studio album for more than three years, wouldn’t be welcome; rather, it’s that the back catalogue is just so damned good, and serves as a tour through the evolving ’00s zeitgeist— starting with the classic Thirteen Tales of Urban Bohemia, an album that kickstarted the rock revival so many years ago. With Joel Gion. Showbox 8:30 p.m. $20–$25. 21 and over. MB

PATRICK STEWART

FILM Opening Friday

BIKES VS. CARS You might be a

hostile driver opposed to sharing the road, but this doc could change your mind. (NR) Grand Illusion

JANIS: LITTLE GIRL BLUE

Directed by Amy Berg (West of Memphis) and narrated by Cat Power, this doc covers the rise and fall of the late ’60s icon Janis Joplin, who died in 1970. (NR) SIFF Cinema Uptown KRAMPUS There’s nothing quite as Christmasy as the thought of a holiday horror-com, here featuring Adam Scott and Toni Collette. (PG-13) Opens wide

Local & Repertory ■ FROM HERE TO ETERNITY

Ongoing

■ BROOKLYN Burnished by what you might call sentimental realism, this lovely adaptation of Colm Tóibín’s 2009 source novel has young Irishwoman Eilis (Saoirse Ronan, swiftly maturing from Atonement to The Grand Budapest Hotel) sent to America by an older sister. Our heroine is determined to escape the narrow confines of Enniscorthy, where the stifling social codes seem almost medieval—though the year is 1951. Immediately established in a

CHERYL MAx JULIANNA HINES CASELLA GUILL

SHAWN KING

GARY COLE

■ ROOM Joy (the excellent

Brie Larson), we shall learn, was abducted as a 17-year-old. We meet her as the young mother of Jack (Jacob Tremblay, an emotionally pure lodestar), both of them confined to a garden shed/prison that forms the 5-year-old boy’s entire known universe. Notions of what’s real and imaginary are just beginning to settle into his head. Adapted by Emma Donoghue from her 2010 novel, Room is marked by Jack’s long, lyrical passages of description, taken directly from the book. To be vague about the plot, which takes a big turn after an hour, Jack’s task, like Alice’s in Wonderland, is to understand the rules—or their absence—in two different realms. He’s like a refugee, an almost alien visitor. Joy is meanwhile subject to regular attacks of doubt that I suspect many mothers will know. Is this all my fault? In very different situations, too many women routinely ask the same question, cast the same self-judgment and blame. Lenny Abrahamson, of Frank, provides direction that’s both surehanded and dry-eyed. MILLER (R) Guild 45th, Oak Tree, Meridian, others ■ SPOTLIGHT Arriving at a time when our culture appears to have embraced the idea that “the media” is not to be trusted, Spotlight creates excitement out of the day-to-day business of recognizing uncomfortable facts. Tom McCarthy’s extremely well-cast ensemble drama follows The Boston Globe’s Pulitzer-winning 2002 exposé of the Catholic church’s cover-up of widespread sexual abuse of minors by priests. He relates the story from the multiple viewpoints of editors (John Slattery, Michael Keaton, Liev Schreiber) and reporters (Mark Ruffalo, Rachel McAdams, Brian d’Arcy James). The approach allows us to see how the scandal permeates every level of Boston society, from blue-collar Catholic neighborhoods where disgraced priests are hidden to tony golf courses where church attorneys share the links with Globe editors. Given such explosive material, McCarthy (The Visitor) mostly lays off the hard sell. (If anything, Spotlight is a little too respectable; McCarthy and co-screenwriter Josh Singer hit each scene exactly on the button.) This movie excels at digging into the nooks and crannies of deep-seated corruption and making those shadowed places come to credible life. (R) ROBERT HORTON Meridian, Lincoln Square, Sundance, Ark Lodge, Kirkland, Thornton Place, others

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Before there was 9/11 there was 12/7, Pearl Harbor Day (this week falling on Monday), the occasion for screening Fred Zinnemann’s Oscarwinning 1953 adaptation of the James Jones bestseller. Anything but a prowar bit of jingoism, Eternity reveals flawed men and women who are profoundly ambivalent about combat and unprepared for war. Their conflicts are mainly personal, and their resentments of the Army are mighty. Burt Lancaster, Montgomery Clift, Deborah Kerr, Frank Sinatra, Donna Reed, and Ernst Borgnine lead a powerhouse cast of players who embody America in all its rifts and divisions. Only war, it seems, can unite them to collective greatness. BRIAN MILLER (PG) Central Cinema, $7-$9. 7 p.m. Fri.-Mon. & 3 p.m. Sat. ■ NIGHTFALL Cliff Robertson stars in the 1961 Underworld U.S.A., directed by Sam Fuller, in which our hero seek revenge on the hoodlums who killed his parents. No, he does not wear bat ears or a cape. (NR) Seattle Art Museum, 1300 First Ave., 654-3121, seattleartmuseum.org. $63–$68 series, $8 individual. 7:30 p.m. Thursdays through Dec. 10.

Brooklyn rooming house and a tony department store, it might seem that Eilis is an innocent, like Dorothy in Oz. Yet, partly because of Ronan’s assurance, Eilis already seems wise to the world. Sensitively adapted (by Nick Hornby, of Wild and An Education) and directed (by John Crowley), Brooklyn is respectful of all the minor players in Eilis’ adventures—which oughtn’t be surprising but somehow is. (Jim Broadbent trenchantly plays a priest; Julie Walters adds spice to the twinkle of Eilis’ landlady.) And while there are traces of melodrama, there’s a notable absence of blarney. MILLER (PG-13) Pacific Place, Sundance, Lincoln Square, Thornton Place, Lynwood (Bainbridge), others CREED The Rocky franchise is almost four decades old! Despite critical pummelings and disrespect, it keeps getting up from the canvas, bloodied but unbowed, to reliable cheers. The crowd-pleasing Creed, assuming you liked the prior six Rocky movies, essentially recycles them. The illegitimate son Adonis (Michael B. Jordan) of Rocky’s old nemesis/pal Apollo Creed seeks out training advice from grizzled old Rocky (Stallone, now 69, as was Burgess Meredith in Rocky). You can write the rest. Creed is a film unburdened by surprises. Writer/director Ryan Cooglar (of Fruitvale Station) does his best with this 50-pound heavy bag of clichés, yet fans won’t care about the sheer familiarity— they’ll reward it. MILLER (PG-13) Sundance, SIFF Cinema Uptown, Pacific Place, Thornton Place, Lincoln Square, Kirkland, Cinebarre (Mountlake), Bainbridge, others LEGEND This isn’t an especially good gangster movie, but it does allow Tm Hardy to play both the notorious twin gangsters Ronnie and Reggie Kray. Stylish East London celebrities in the ’60s, the Krays present Brian Helgeland with the same problem as in Black Mass: namebrand mobsters are now in thin supply, figures plucked from an increasingly distant past. Still, Legend gets the period look—cinematography by the great Dick Pope—and texture exactly right. Ron (in glasses) and Reg wear carefully tailored suits, as a proper gangster should. Their adventures are related from the perspective of Reggie’s future wife (Emily Browning), which gives the movie and oddly passive, observational feel. But are there any famous triplets Hardy could play? MILLER (R) Meridian, Lincoln Square

JAMES RODAY

STEVE UNWIN/UNIVERSAL

Allison Tolman, Adam Scott, and Toni Collette in Krampus.

JON HEDER

HIGHER GROUND

Mr. Chronic BY MICHAEL A. STUSSER

DISCLAIMER: This product has intoxicating effects and may be habit-forming. Marijuana can impair concentration, coordination, and judgment. Do not operate a vehicle or machinery under the influence of this drug. There may be health risks associated with consumption of this product. For use by adults twenty-one or older. Keep out of the reach of children. *Prices accurate as of December 2, 2015. Special Deals & Pricing while supplies last.

El Corazon E orazon www.elcorazonseattle.com

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

WEDNESDAY DECEMBER 2ND EL CORAZON

36 CRAZYFISTS

Tyranny Theory, Ravages Of Time, OtherWorld, Kings Of Cavalier Doors 7:00PM / Show 7:30.

ALL AGES/BAR W/ID. $13 ADV / $15 DOS

THURSDAY DECEMBER 3RD FUNHOUSE

RAW FABRICS

The Skins, Nitrogen Lion Society, These Young Fools, Ryan Hyde

SEATTLE WEEKLY • DECEMBER 2 — 8, 2015

” Motley Crue tribute

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

FRIDAY DECEMBER 4TH FUNHOUSE

SUNDAY DECEMBER 6TH EL CORAZON

MOURNING MARKET

Market Opens at 12:00pm, Market Closes at 5:00pm ALL AGES/BAR W/ID. $1

SUNDAY WEDNESDAY DECEMBER JULY 22ND 6TH EL EL CORAZON CORAZON BRIAN FOSS PRESENTS:

NASHVILLE PUSSYw/Burlington Coat THRASHERS CORNER

In The Whale, Black Piston Stoned Felony, Upwell, HellPussy, Raisers DoorsReady, 9:00PM / Evergreen Show 9:30.Travelers 21+. $7 Doors 8:00PM / Show 8:30.

21+. $12 ADV / $15 DOS

SUNDAY DECEMBER 6TH FUNHOUSE

MIKE THRASHER PRESENTS:

THE NASHVILLE PUSSY AFTER SHOW PARTY FEATURING LIVE MUSIC FROM:

Bruce Lamont (Yakuza), Plus Guests Doors 8:30PM

FREE Music begins immediately after the conclusion of The Nashville Pussy show in El Corazon.

SCOTT KELLY (NEUROSIS)

/ Show 9:00. 21+. $10 ADV / $13 DOS

SATURDAY DECEMBER 5TH EL CORAZON MIKE THRASHER PRESENTS:

THE FACELESS After The Burial, Rings Of Saturn, Toothgrinder, Ashes Of Existence, Empyrean Doors 6:00PM / Show 6:30. ALL AGES/BAR W/ID. $16 ADV / $18 DOS

SATURDAY DECEMBER 5TH FUNHOUSE BRIAN FOSS PRESENTS:

PUNKRISMAS

Angry Snowmans, Lucky Boys, Dead Bars, Sledgeback Doors 9:00PM / Show 9:30. 21+.

$8 ADV / $10 DOS

HANGMAN’S JOKE

MONDAY DECEMBER 7TH FUNHOUSE

MISS MASSIVE SNOWFLAKE

Semi Lucid, The Boards, James Carpio Doors 7:00PM / Show 7:30. ALL AGES/BAR W/ID. $8 ADV / $10 DOS

TUESDAY DECEMBER 8TH FUNHOUSE BRIAN FOSS PRESENTS:

THE DOUBLECLICKS

Sammus, Shubzilla Doors 8:30PM / Show 9:00. 21+. $8 ADV / $10 DOS

JUST ANNOUNCED 12/18 - INTO THE FLOOD 12/31 - SUPER GEEK LEAGUE 2/9 FUNHOUSE - THE TOASTERS 2/18 FUNHOUSE - WUSSY 2/19 - THE AP TOUR FEAT. NECK DEEP 3/4 - ANTI-FLAG / LEFTOVER CRACK 4/1 - DECIBEL MAGAZINE TOUR FEAT. ABBATH / HIGH ON FIRE 5/8 - PRIMAL FEAR / LUKA TURRILLI’S RHAPSODY UP & COMING 12/9 - POUYA 12/9 FUNHOUSE - LO’ THERE DO I SEE MY BROTHER 12/10 FUNHOUSE - HUNNY 12/11 - BLACK SABBITCH 12/11 FUNHOUSE - WIMPS 12/12 - THE BLASTERS 12/12 FUNHOUSE EARLY - KINGDOM OF THE HOLY SUN 12/12 FUNHOUSE LATE - KIDS ON FIRE

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

ne of my favorite things to do is get stoned to the bejesus and clean house. And I’m not just talking about casual dusting, either; I’m talking about down on your belly, shoving the long extension vacuum tool deep under the bed and sucking up dust mites and fur balls, only to discover long-lost socks, exercise equipment, underwear (whose are those?!), and enough change to go out and buy MORE weed to smoke and then Shop-Vac the garage. In this way, stoned cleaning is a sustainable endeavor. Hyperactive cleaning, you may say—but that’s counterintuitive! The stereotype, of course, is that smoking marijuana puts you on the couch, not wildly vacuuming under it. But like so much Reefer Madness, the clichés are all wrong. Turns out cannabis has been proven to aid in focus and concentration, as the body contains cannabinoid receptors for THC that can stimulate and modulate our brain’s neurotransmitters. In states where medical marijuana is legal, it’s even being used to treat attention-deficit disorders, replacing prescription stimulants like Adderall, Ritalin, and Concerta that have nasty side effects and withdrawal symptoms. “Cannabis appears to treat ADD and ADHD by increasing the availability of dopamine,” noted Dr. David Bearman, who has spent 40 years looking into drug-abuse treatment and uses for medical marijuana. “This then has the same effect but is a different mechanism of action than stimulants like Ritalin (methylphenidate) and dexedrine amphetamine, which act by binding to the dopamine and interfering with the metabolic breakdown of dopamine.” I know what the Doc’s talkin’ about! When I smoke weed, the THC gives my often scattered flea-brain laser-focus; I’m like Mr. Clean on steroids—intensely scrubbing the grout, determinedly deodorizing and disinfecting, even fire-hosing the disgusting recycling bins caked with foodstuff, wine splatter, and spaghetti sauce. Two-fisted Cannabis Clean! “The most accepted theory about ADHD rests on the fact that about 70 percent of the brain’s function is to regulate input to the other 30 percent,” Dr. Bearman corroborates. “Basically the brain is overwhelmed with too much information coming too fast. In ADHD, the brain is cluttered with and too aware of all the nuances of a person’s daily experience.” In essence, pot can drive millions of incoming ideas out of your monkey mind, and allow you to focus on the tasks at hand—like spiderweb removal whilst listening to The Rise and Fall of Ziggy Stardust and the Spiders From Mars.

For me, getting baked is like a triple espresso, with a shot of spiritual matcha chai on the side. My attitude is energetic and focused, with a little theatrical whimsy thrown in for good measure. Suddenly an overwhelming task such as organizing the jam-packed kitchen drawers becomes an important NASA mission! Run by Commander Clutter-beGone, the vital undertaking will be executed quickly, efficiently, and with a few odd BRIAN NA CA SHIN brogue verbal commands uttered randomly throughout the exercise. High on ganja, the steps become crystal-clear: EVERYTHING must be dumped on the counter, and items slowly reintegrated into the newly labelled (and vacuumed!) drawers: Sharp Things, FSK, Expired Coupons, TupperWare, and a CatchAll drawer for rubber bands, pens, matches, odd keys, and those fawking square things you twist around a plastic bread bag. Two hours later I’ve made Martha Stewart look like a disorganized lowbrow street thug. Not only are the new drawers impeccably organized, they’ve been lined beautifully with all that excess wrapping paper I couldn’t find a place for. Now has marijuana ever derailed my efforts at cleaning? Yes. Certainly. In fact, I once began with a toilet wand in my hand and somehow wound up naked in my living room under one of the most amazing pillow forts ever created. Stoned cleaning sometimes leads to related but tangential tasks, such as trips to the refrigerator (more for munching than defrosting), getting lost in family photo albums, and cleaning out closets. While conducting a fashion show for my friend Julie (to determine which items needed to be given away), I began to see how truly cluttered my life had become. Who needs five baseball hats and a dozen belts? Getting rid of the weight of 1,000 unworn Tommy Bahama shirts lifted my worldly burden, and I began tossing unwanted paperweights, plastic cups, filing cabinets, and additional tchotchkes that not only were cluttering my overcrowded physical space, but, more important, my mind, man! Chipping away at the inside of my microwave the other day, I came to another reefer-induced realization: What do I really know about this strange food-warming machine? What is a “micro-wave,” and what are the effects of molecules being radiated in this way? And why did I choose a toothbrush to clean the grit and grime when a chisel or power-washer would have been far more apt? I pulled my head out of the nuclear device, unplugged the thing, and put it on top of the ever-growing Goodwill pile, then began scrubbing the empty space on the counter. “When it comes to clean, there’s only one Mr.”: Mr. Chronic. Holy smokes—I think I missed a spot! E For more Higher Ground, visit highergroundtv.com.

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MUSIC

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PROM SEATTLE WE EKLY • DE CEMBER 2 — 8, 2015

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DININGW W W. S E AT T L E W EWEEKLY Want to stop drinking E K LY. C O M / S I G N U P to numb the pain?

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).

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