SGN Jul 27, 2018 - Part 2

viding a call to action to end HIV/AIDS, stigma, and discrimination.

A five-member, community-based selection panel reviewed the submissions and interviewed three finalists in June. The committee, assisted by community advisers, selected social practice artist Horatio Hung-Yan Law to lead a team of artists to complete the project. Law pursued at MFA at Washington University in St. Louis, MO. The impetus for his arts degree was his firsthand experience during the early years of the AIDS crisis in the 1980’s and 1990’s.

“Much of my work stems from my identity and experience as a gay US citizen of Asian heritage,” says Law. “Social interaction and community participation are important aspects in my installation work and public art projects. I create work for regular people that examines issues of identity, memory, history and the meaning of community. As a public artist who is interested in socially engaged work, I value collaboration and partnership with community members through collecting ideas, cultural materials, and engaging residents in planning and production of public art.”

“Horatio has created wonderful works

of public art in Seattle and other communities,” according to Tom Rasmussen, The AMP’s Chair. “We’re thrilled to work with this talented and sensitive artist. There will be many opportunities for public involvement as he begins to develop the art plan for the AMP.”

Horatio Law’s public art portfolio includes works created for the City of Tacoma, the Housing Authority of Portland, City of Seattle, Oregon State Hospital, Sisters of the Road, Tri-Met’s Portland-Milwaukee Light-Rail Line, Portland Parks & Recreation, and Seattle’s Asian Counseling and Referral Service.

The AMP: AIDS Memorial Pathway is part of the Seattle Capitol Hill Light Rail Station Development, a long-awaited and transformational project for the Capitol Hill neighborhood. Slated to open in mid2020, The AMP will be located on the north edge of Cal Anderson Park and on the public plaza of the Capitol Hill Light Rail Station. The Station will include four buildings and will provide 428 apartments, including 178 affordable apartments, and ground floor retail. The development will also include a community room available to the public and a public plaza that will serve as the home of Capitol Hill Neighborhood Farmers Market as well as a venue for other community events.

Information about Horatio Law and the project’s history, site selection, and current status is available at TheAMP.org.

The AMP: AIDS Memorial Pathway is supported by the City of Seattle, the Seattle Parks Foundation, Pride Foundation, Lucky 7 Foundation, and individual donors.

About Horatio Hung-Yan Law

Horatio Hung-Yan Law is a Portlandbased installation and public artist. He was born and raised in Hong Kong and came to the US at age 16. Law pursued at MFA at Washington University in St. Louis, MO. The impetus for his arts degree was his first-hand experience of the AIDS crisis in the late 1980’s and early 1990’s.

Much of his Social Practice work stems from his Asian American identity and his experience as an immigrant and a former British colonial subject. His work interrogates the effects of our current culture of consumption and explores the invisible foundation of a community–identity, memory and history. He is interested in the intricate issues created by the long arc of global commerce: From ancient Silk Road trades to our current reliance on cheap labor in developing countries; and how different cultures can exert influence through the things they make for each other. He is equally fascinated by our ability to invest

meanings into ordinary objects. A common thread in his projects is the use of unexpected but simple material and imagery to create meaning and metaphor that connect individuals with community and place. His project often includes a strong community process, engaging stakeholders in planning and production of the artwork.

His public art portfolio includes works created for the City of Tacoma, the Housing Authority of Portland, Seattle Public Utilities, Oregon State Hospital, Sisters of the Road, Tri-Met’s Portland-Milwaukee Light-Rail Line, Portland Parks & Recreation, and Seattle’s Asian Counseling and Referral Service.

About The AMP:

AIDS Memorial Pathway

The AMP, community-driven and -funded, will use public art to create a physical place for remembrance and reflection; utilize technology to share stories about the epidemic and the diverse community responses to the crisis; and provide a call to action to end HIV/AIDS, stigma, and discrimination.

Courtesy of AIDS Memorial Pathway

Melissa Etheridge and special guest LeAnn Rimes rock Tulalip Resort Casino Amphitheatre

by MK Scott SGN Contributing Writer

MELISSA ETHERIDGE AND LEANN RIMES

TULALIP RESORT CASINO

AMPHITHEATRE

July 14

Summer reminds me of outdoor concerts; magical nights under the stars seeing music artists that I have enjoyed for decades. This was my first visit to the Tulalip Amphitheatre, and my second time in three years seeing Gay Icon Melissa Etheridge. Last time the venue was at the Woodland Park Zoo in 2015 and the opening act was Blondie, but this time Etheridge brought LeAnn Rimes to get the show going.

Rimes, 36, came out wearing her “Daisy Duke” ripped jean shorts, and a nude colored tank top that made her look … nude.

Rimes came out singing “Love Line” and “One Way Ticket” and went directly into her classic, Patsy Cline inspired, “Blue.” This song was a big hit for Rimes in 1994, who was 14 at the time. As a fitting tribute to her inspiration from Cline, Rimes then sang a Cline medley, which included classics like “Crazy” and “Sweet Dreams.”

Rimes pledged her support for the LGBTQ community with her 2016 song from her Remnants album, “Love is Love is Love.”

Then came her biggest hit, “How Do I Live,” in the middle of her set and then about four songs later that included, “The Bottle Let Me Down,” “Learning Your Language,” “Life Goes On” and “Can’t Fight the Moonlight.”

Despite the differences in music genre such as country to pop to blues, Rimes hasn’t decided what she wants to do; one thing for

sure is nobody does Patsy Cline better.

After a brief set change, Melissa Etheridge, 57, dressed like the rebel she is, with dark jeans, black leather jacket and light scarf, made her first appearance playing drums and then switched over to guitar and sang “No Souvenirs.” After switching guitars again she sang “I Take You With Me.”

After playfully talking about passion and love, she performed her hit, “I Want to Come Over.”

She played a different guitar for each song that she sang, from electric to acoustic; I believe that I counted 7 or 8 in all.

More songs came from “My Lover,” “All the Way to Heaven,” “Dance Without Sleeping,” Yes I Am,” “Ruins,” “Talking to My Angel,” and “Chrome Plated Heart.”

Then came two of her biggest hits, “Come to My Window” and “I’m the Only One,” that are also my faves, along with her 1989 song, “Bring Me Some Water,” that was sandwiched in between. This song was sensational and the beat felt like I was possessed closing my eyes listening to the beat.

After “I’m the Only One” Etheridge threw her guitar pick to one audience member and bowed with her bandmates. Then Etheridge returned with an encore of “Like the Way I Do.” She performed an incredible drum solo, threw those drum sticks to the audience, and then returned on a shiny new silver guitar and then threw that guitar pick to the audience to end the concert.

Etheridge is an incredible performer and is so genuine that her passion for her craft is visible. An Etheridge concert is never to be missed.

MK Scott is a Seattle-based writer. Check out his other work at unitseattlemag.com.

he waited to produce it here as soon as rights became available. It’s an anti-Disney-style “what happens after the ‘married happily ever after’” spoof.

He then cast six powerhouse local actors to take on all these princesses to tell you their wry stories of what didn’t really work any more. Led by force-of-nature Caitlin Frances as Snow White, writer/lyricist/composer Dennis T. Giacino includes Cinderella (Jessie Selleck), Sleeping Beauty (Ann Cornelius), The Princess Who Kissed the Frog (Camilla Smith), Belle, The Little Mermaid and Rapunzel (all played by Gloria Alcala), and Pocahontas, Mulan and Badroulbadour (all played by Aimee Karlin).

Giacino directs this version with help from his Off-Broadway director Feily A. Matias and it certainly seems like a production that could easily be found there today with this exact cast and design. An over-the-top set design by Lex Marcos invokes the fun and silliness of a colorful Disney production. The costuming by Vanessa Leuck (who also designed the OffBroadway show) also emphasizes the assets (read: boobs) of the actors and the look of cartoons. Zanna King is in charge of the lighting, including required spotlights. The three-piece band is helmed by Paul Linnes.

There are a lot of laughs in this production, and Giacino does a fairly good job of trying to get inside the mind of these princesses. Still, it’s pretty obvious that it’s a guy’s idea of what women think. So, while it’s a rollicking good time, and these actors give it 1000%, it feels like an “old” musical. But we see “old” musicals all the time and love them.

Most of the focus is on the stereotypes that the princesses must play. Each princess pokes fun at her particular aspects, and Pocahontas gets an entire song (“Hon-

estly”) about how she was really ten years old and then Disney ups her age and makes her a love interest with … boobs. Mulan sings (“Without the Guy”) about how she’s

the only princess who doesn’t “get” the guy – and realizes she’s a lesbian. The Little Mermaid kinda wishes she could give back her “Two Legs” and be a mermaid again, and Badroulbadour (the princess in Aladdin) makes good points about not being able to drive – the magic carpet even – until recently. Of course, The Princess Who Kissed a Frog gets a big number about it “Finally” being time for black princess – but ironically, and unfortunately, then doesn’t get much else to do in this musical. That stands out as the weakest plotline. There are a lot of funny lyrics, which might fly by if you don’t listen very closely. Here’s hoping the sound balance has been ironed out by now. Each of the actors manages to both belt and meld in their songs and inhabit their characters with panache. Even so, Selleck stands out with her sly comedic timing and sweetly subversive scene-stealing. She’s someone we should see a lot more of on Seattle stages – so people: Cast Her!

It’s not completely a family-friendly show, but there is not a ton of objectionable content or swear words, so kids 9 or 10 and up can probably see the show and enjoy the jokes. Maybe you’ll have a fun conversation with them about Disney princesses and whether those fairytales should be retired now. For more information, go to http:// mamches.com/tickets or call 917-768-9246 or www.brownpapertickets.com or call 800-838-3006.

Discuss your opinions with SGNCritic@ gmail.com or go to www.facebook.com/ SeattleTheaterWriters. More articles can be found at Miryams TheaterMusings. blogspot.com.

John Callahan bio Don’t Worry an emotionally bawdy celebration

by Sara Michelle Fetters SGN A&E Writer

DON’T WORRY, HE WON’T GET FAR ON FOOT

Now playing

Gus Van Sant’s latest frenzied human drama Don’t Worry, He Won’t Get Far On Foot is perfectly imperfect. Based on portions of the memoir by Portland-based quadriplegic cartoonist John Callahan, the movie is an often anarchic, ribald descent down the addiction and recovery rabbit hole. As melodramatic as that might sound, Van Sant paints with such a sardonically lacerating brush there’s little that ends up coming across as cloying, sophomoric, or slight, and even the preachy bits extolling the virtues of following all of Alcoholics Anonymous’ 12 Steps don’t feel anywhere near as didactic or pedantic as they easily could have in a lesser filmmaker’s hands.

But the ace in the hole that the director unleashes with reflectively mischievous brio is star Joaquin Phoenix. Already having a 2018 to remember thanks to his justifiably lauded performance in Lynne Ramsay’s revenge drama You Were Never Really Here, the celebrated actor once again transforms himself in ways that are as brazenly fearless as they are emotionally naked. His turn as Callahan is a maniacal balancing act that runs the gamut from obscene egotistical self-destruction to graceful selfless forgiveness to craven comedic politically incorrect mayhem, never hitting a false note. He drops himself inside the controversial cartoonist’s skin with unsettling ease, the ways in which he gave himself over so completely to the

character so introspectively massive it’s easy to wonder if he came out of filming without more than a few psychological scars thanks to the experience.

It’s weird, because even though all of this is derived from Callahan’s best-selling memoir, so much of this story does feel a little like “Cinematic Addiction Melodrama 101.” And yet, if Van Sant isn’t hitting on all cylinders (this is no Drugstore Cowboy or My Own Private Idaho), he’s just close enough to doing so as to give this motion picture a freewheeling devil-maycare meditative ferocity that’s mesmerizing. The majority of the scenes dealing with Callahan’s A.A. experiences happen in a small group setting inside the home of a wealthy Portland recovering alcoholic named Donnie (Jonah Hill), and these are anything but typical. Van Sant allows them to be a rambunctious celebration of truth, each participant telling their various stories with a vicious candor that’s striking. These conversations feature constant interruptions, overlapping bits of dialogue, and sudden outbursts whenever anyone attempts to stray from the truth that helped fuel their addiction to their particular vice of choice. The actors, which include the likes of a playfully anachronistic Udo Kier, a petulantly forceful Kim Gordon, and a gregariously honest Beth Ditto (a celebrated Portland singer and comedian making her movie debut), all command the screen in various ways, Hill lording over them all with a purposefully effete majesty that isn’t nearly as stereotypical or offensive as a viewer’s first impressions of Donnie might initially lead them to surmise. Van Sant digs deep during these conversations, allowing them to slowly

break down Callahan’s preconceived walls in a way that makes his eventual breakthroughs far more wrenchingly natural than I expected them to be.

The plot? As nonlinear and repetitive as it undeniably is, the actual story, even being true, isn’t exactly anything new. The film shows how Callahan went from being a drunken California deadbeat wasting away his life, to a person suddenly finding himself battling for survival in a wheelchair, to an admitted addict aching for recovery, to an unapologetic rabble-rouser who uses his cartoons to provoke newspaper readers into seeing the world through a different, oftentimes objectionable lens. Van Sant captures as much about this portion of this artist’s life as he can, doing so in ways that are as unbridled and as unhinged as the man himself so often proved to be.

It’s explosively emotional, but not all of it works nearly as well as I kept hoping it was going to. Rooney Mara shows up as a Swedish physical therapist who inexplicably makes a career change to become a flight attendant, and this character felt more like a figment of either the director’s or Callahan’s imagination than it did a living, breathing human being. The early stuff with Jack Black, portraying a Hollywood wannabe playboy whose drunken night of debauchery with Callahan leads directly to Callahan’s becoming a quadriplegic, is obnoxious in ways that drove me batty (and that’s not a compliment) while the device of having the artist tell the story of his accident to a menagerie of different audiences doesn’t work nearly as well as I’m certain Van Sant intended it to.

But Hill is excellent, delivering one of

the best performances of his career. There are also some terrific bits between Phoenix and Sleater-Kinney founding member Carrie Brownstein, portraying Callahan’s beleaguered Portland social worker, that held me spellbound, each moment the two are together building eloquently upon the one before it in ways that were consistently surprising. As for Black, I cannot discount his performance entirely because there’s a third-act reappearance that forced me to look at both him and his character in a whole new light, the actor descending to a level of starkly repentant sincerity that brought tears to my eyes. There’s also some superb camerawork from cinematographer Christopher Blauvelt (Indignation) and a marvelous score courtesy of veteran composer Danny Elfman (Good Will Hunting; Milk), Van Sant allowing both the freedom to put their own idiosyncratic stamp upon the film giving it an extra bit of spontaneity it otherwise would not have had.

Yet it is Phoenix, almost all on his own, who makes Don’t Worry, He Won’t Get Far On Foot something that borders on essential. Working together for the first time since 1995’s To Die For, director and star are in such mutual synchronicity watching them do their thing with such invigorating dynamism is a gripping treat that must be seen to be believed. While not the artist’s whole story from beginning to end, the pair still give this portion of Callahan’s life the agitated bawdy attentiveness it so richly deserves, and in doing so illustrate a freewheeling celebration of recovery, artistic integrity, and selfless friendship worthy of applause.

EIGHTH GRADE

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(Elsie Fisher) just days before she graduates and can look forward to high school next fall, the film is a spellbinding high-wire act of insight and empathy, the final minutes achieving a form of kindhearted grace that left me breathless. This is a movie that refuses to shy away from some fairly dark realities yet at the same time doesn’t dwell on them in ways that feel exploitive or supercilious. Instead, it’s the bigger picture that matters, Kayla’s journey so acutely haunting it’s likely I’ll be thinking about it in intense, fascinating detail for some time to come.

There are so many easy melodramatic outs to a story like this one, yet Burnham somehow finds a way to avoid almost all of them. Kayla isn’t so much bullied as she is invisible. She’s smart. She’s intuitive. But she’s also shy, pensive, and seemingly loath to stand out in ways that might get her recognized. Yet, just as clearly, Kayla does yearn to be noticed. She makes videos for her YouTube channel about the power of positivity and self-belief, urging her viewers to cherish their power and not be afraid of showing their true selves to the world. Yet she ends each one practically begging for likes and for viewers to share her videos before signing off with her catchphrase of “Gucci!” – a clear cry for acknowledgment if there ever was one.

It’s likely Fisher is best known for voicing unicorn-loving Agnes (“It’s so fluffy!!!”) in both of the first two Despicable Me hits. That’s about to change. Her Kayla is a benevolent, knowingly brittle firebrand of untapped resilience and strength, Fisher finding her way with such a delicately self-assured grace she held me spellbound for every second of the film’s briskly paced 93 minutes. This is as fearless a portrait of early teenage angst and uncertainty as any I can immediately recollect, the talented actress utilizing her purposefully awkward physicality to give things an extra layer of pensive validity that’s striking.

But at least one-third of the film’s humane, if still brusquely honest, effectiveness is directly due to the father-daughter story that plays out right alongside Kayla’s attempts to finish her final days of middle school. Mark (a sublime, understated Josh Hamilton) can tell there’s something going on with his child and knows she’s feeling a type of pain that he hasn’t the first clue how to help her ease. But just by being there, just by letting her know he’ll listen if she wants to talk, just by saying nothing he adds a hope chest of sensitivity that’s there whether his daughter realizes it or not, all of which helps give this story an extra layer of poignant wisdom that’s wondrous.

There’s honestly not a ton of plot. Kayla goes through her days at school, utilizes social media, and yearns to be seen. She makes unexpected friends with one of her school’s popular kids, Olivia (Emily Robinson), and ends up going to a pool party where she proceeds to do the type of embarrassing things kids often do when they’re trying to make an impression on those they long to impress. It’s awkward and weird but also endearing and adorable, all of which makes this youngster’s day-today journey uncomfortably prescient and lovably unctuous.

I can’t say I’ve seen a lot of Burnham’s standup comedy. I’m not familiar with him or his work. But this movie is such a startling, intelligently nuanced debut overflowing in observational expressiveness I’m all but ready to go opening night to whatever it is the filmmaker decides to bring our way next. Shot with documentary-like exactitude by Andrew Wehde and edited to within an inch of its shrewdly eloquent life by Jennifer Lilly (The One I Love), Burnham’s film is marvelous. While my own middle school experiences aren’t ones I’d want to relive, watching Eighth Grade is a trip back to school I’d be happy to take whenever the opportunity to do so might arise.

EIGHTH INTERVIEW

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it’s the bigger picture that matters, Kayla’s journey so acutely haunting it’s likely I’ll be thinking about it in intense, fascinating detail for some time to come.”

Apparently, I’m not alone in that assessment. Not only did Burnham’s debut play like gangbusters back in January when it premiered at Sundance, it also took home Golden Space Needle audience awards for Best Picture and Best Actress when it played as part of the Seattle International Film Festival this past June. It’s exhilarating, timeless stuff, the director’s script achieving a level of empathetic grace that in many ways is altogether stunning.

The day after taking home both Golden Space Needle prizes I had the good fortune to head over to Seattle Center and chat with both Burnham and Fisher about Eighth

Grade. Here are some of the highlights from our 20-minute conversation:

Sara Michelle Fetters: So. I guess nothing exciting happened yesterday? Nothing important?

Bo Burnham: [laughs] No. Nothing at all.

Elsie Fisher: Yeah. [laughs] It was a pretty quiet day.

Sara Michelle Fetters: Seriously. Congratulations to both of you. Not just for the film winning, but for you taking home that Best Actress prize as well, Elsie.

Elsie Fisher: Thank you. I was pretty shocked. But I’m really happy for Bo. I love this movie so much.

Bo Burnham: Oh, you’re just saying that because you have to be nice to me until the end of the press tour. [laughs] Honestly, though, thank you for saying that. I love the movie, too, and you’re performance is a major reason why.

Sara Michelle Fetters: So. As to that film. How many 13-year-old girls did you steal diaries from in order to write such an honest, emotionally affecting screenplay?

Bo Burnham: [laughs] That’s the question, right? I’ll never tell.

Honestly, the really impulse was that I wanted to tell a current story. I didn’t want to tell a nostalgic story. I’m was only consulting 13-year-old girls in 2017. The good thing about these girls in 2017 is they’re posting everything about themselves online, so you actually don’t need to sneak into their homes and read their diaries. They’re telling you everything about themselves on YouTube, Instagram, Facebook; you name it. Writing this, it was a lot of just watching videos of girls online giving advice on how to be confident, how to be cool, how to make friends, how to dress; all of that stuff. It was just getting in their head and trying to live it in as much as I could.

Sara Michelle Fetters: It seems like this movie very easily could have just been a diatribe about social media and about the way that young people right now are living more online and not having any real life social interactions. Instead, this ends up being a very empathetic movie about finding your voice.

Bo Burnham: I hope so. I don’t know. There’s been a lot of movies about the minefield of social media. Anyone that’s close enough to the Internet, it’s pretty obvious that it’s there. The closer you get to the Internet, the more fuzzy your feelings get about it. The hope is just to treat the world and the Internet on its terms and to not impose this adult judgment on it.

In regards to Kayla, she doesn’t hate the Internet. She loves the Internet. We want to see everything through her eyes. We want to experience the same things she does. Kayla’s story, it’s not a finger-wagging, ivory-towered TED Talk about the Internet. There’s more to her story than that. There’s more to life than just what happens on the Internet.

Sara Michelle Fetters: Elsie, what’s all of this been like for you? I think I have this right, but you were either in eighth grade or just finishing up eighth grade when you started making this movie.

Elsie Fisher: It was really cool personally, because through a lot of my middle school, and just my school experiences in general, I felt like a really weird person. I’m like, no one else is feeling what I’m feeling. Then I read this script and I’m suddenly like, everyone is feeling what I’m feeling. That was very cool for me. It’s insane. I can’t even describe it. It’s very cool.

Bo Burnham: We actually shot it the summer after you finished eighth grade. Crazy, right?

Elsie Fisher: Yeah. Like, I finished school and jumped right into this. So crazy.

Sara Michelle Fetters: Was it hard to have to go back and mine some of those emotions? Especially as a teen girl going through a lot of these things while also dealing with your own version of stardom. I mean, thanks to Despicable Me, at a very young age, even though people maybe didn’t know what you looked like, you were still famous.

Elsie Fisher: I guess so. A little bit, maybe. I’ve always just tried to be me, so I’m not sure I was honestly all that famous. But it was hard at times. I do think in general I was already kind of in the mindset of Kayla. It was just about continuing to feel that. I didn’t feel the need to look at something and get myself ready, I guess. I was already kind of there.

Bo Burnham: I bet you would have loved to get out of the headspace at times.

Elsie Fisher: At times. Yeah. But not all the time. Kayla’s pretty cool.

Bo Burnham: But I do think it’s similar to like what I used to do when I did standup. A lot of the feelings I was going through, it’s like, okay, just put them in the work. That would sometimes make it easier. I imagine that was similar to what you did.

Elsie Fisher: Definitely. Yeah.

Bo Burnham: But I also wanted to make Kayla universal. I think we all struggle with what Kayla’s going through in the movie. We’ve all had those feelings. Do you know what I mean?

Elsie Fisher: Yes. I do. I wasn’t the only girl, the only person, at school dealing with

these things, I’m sure. They’re hard for most people to talk about.

Bo Burnham: It actually becomes much more therapeutic when you can address those things in a work situation. Me with standup. You in the film.

Elsie Fisher: I like that. Therapeutic. That’s exactly what it was. It definitely felt like that for me. Doing the movie.

It’s not just about visibility. It’s not about being invisible. It’s visibility on your terms, wanting to be seen as you see yourself, which is something I’ve struggled with.

It’s ironic that I’m trying to get out of being perceived as the young kid on the Internet by making a story about a young kid on the Internet. I think everyone struggles with the way they perceive themselves and

Sara Michelle Fetters: It is such a rare thing, what this movie actually ends up being about. You could have made a film about bullying. You could have made one about cliques. You could have made one about so many things, almost all of them we’ve at one point or another likely seen before.

Bo Burnham: I could have. True. But that’s been done, don’t you think?

Sara Michelle Fetters: I do. But this movie. This movie is about a young girl dealing with her own perceived, and in some ways actual, invisibility. This isn’t something you see a lot of teenage stories tackling, at least not with such insight and nuance.

Bo Burnham: Yeah. I think that is the currency of the current moment: visibility. The sort of “mean girls” in the movie are actually just ignoring Kayla. They’re not really doing anything. When she’s walking into the pool party, it’s not like everyone is turning and pointing at her and laughing. They’re just not paying attention to her. I think that is the new fear. It’s not being thrown into a locker. Even more in my time, eighth grade was more bullying than visibility. Now, it’s sort of a cultural mandate that if you are not seen, you do not exist, which is just heavy.

Sara Michelle Fetters: Which is honestly a statement that might strike some as strange considering how you became a star, how you were a YouTube star before you became a recognizable standup comedian. Did that play into this story at all?

Bo Burnham: Some. Maybe. I got some visibility [via YouTube] and realized that it definitely didn’t fix anything in my life. I still had many of the same problems. Then there was a different thing, and I think it’s something that Kayla struggles with, too.

Sara Michelle Fetters: At the same time, and I know we were laughing about it here just a second ago, you just won the Best Actress prize from the Seattle International Film Festival yesterday. You came out of Sundance with stellar notices. I mean, if you go look at the reviews, every single one of them talks about how extraordinary you are and how talented you are. How do you not let something like that go to your head? What does all of this mean to you right now?

Elsie Fisher: Part of how I don’t let it get to my head is because it might be true and it might not be true. But that doesn’t matter because that’s not how I see myself. I don’t see myself as an actress. Sometimes, I have so much doubt about what I can do. It’s very grounding how every kid at school gives zero shits. I’m still borderline bullied at school. [laughs]

Not really, but it’s still like, cool, I’m in a movie and people are talking about it, now I have to go and do my math homework. That stuff doesn’t change. So what does all of this mean to me? I don’t know. I’m proud of the film. I’m very thankful people are saying these things about me. But none of that defines who I am. I have to figure that out.

Bo Burnham: I think Elsie’s incapable of having any of this go to her head. Her first instinct when people say she’s so great is to go like, “Shoot! Now everyone is going to think I’m great so I have to be great.” I think that’s kind of sweet.

Elsie Fisher: Or I think they’re just saying that because they have to. I don’t think everyone means it. That’s the first thing that comes to mind. I think they’re just being polite.

Bo Burnham: I guarantee you that isn’t true. That’s 100,000% not true. But I understand the sentiment.

Sara Michelle Fetters: So let’s flip this then a little bit. How about you, Bo? You’ve been popular as a comedian. You’ve been popular as a musician. You’ve been in some films. But now your first directorial outing is being lauded as one of the most groundbreaking, thought-provoking and interesting films of the year. What’s that been like for you?

Bo Burnham: Yeah, well, I have no problem letting my head get big. [laughs] But really, I have the same thing Elsie’s probably been dealing with. It’s like, oh God, the next one. What do I have to do in order to make the next one? How can I repeat this success?

that it isn’t always the way the world perceives them. I think that’s what Kayla struggles with, the fact she isn’t quiet and so many seem to perceive her that way. That’s what she says, “I’m not quiet. If people actually talk to me and got to know me, they would realize I’m actually really cool and funny and talkative.” That’s powerful stuff.

I had these feelings when I was in school. I thought the people that were called, “Most Shy,” in the yearbook don’t actually self-identify as being shy. I think that’s an interesting point. It has something to do with wanting to be affirmed by other people, I think, but also it has something to do with even the way a person perceives themselves. In a way, this is how Kayla perceives herself.

Sara Michelle Fetters: Self-actualization. Understanding who you are. Those are revelations that don’t necessarily happen for people when they’re Kayla’s age.

Elsie Fisher: Totally.

Sara Michelle Fetters: It’s really interesting to see a film that explores this. For you, as a young person figuring out who you are and what you want to do with your life, what was it like to explore those themes and hopefully put forth an image to other young people that says, “You can be okay with being you, no matter who or what you are. You are going to be okay.”?

Elsie Fisher: It felt very good inside. I haven’t worked on a project really where the message of it mattered so much to me. It felt like the message I wanted when I was in that time period. To get to do that for other people and even for myself? I loved that. Part of working on this was realizing that it’s chill to be who you are. It felt very good to say that, to say the least.

Still, it’s been good. It’s been really nice for me because I was really not happy with my previous job. I did not like being a comedian. It gave me a lot of stress and anxiety. The real relief, which I feel like I’ve already gotten, which is whatever the movie does that’s all gravy because making it was what I needed to do. I do feel secure in the path forward, and this is just a big relief. I feel like so much of my anxiety with comedy was like, I’m so anxious doing this, but if I don’t do this I’m on the street or I’m not doing anything. Now I finally feel like all I want to do is be in the position to make another movie. To tell more stories. If I can be in the position to make another small movie, that’s great.

Sara Michelle Fetters: At the end of the day, what do you want people to take away? Once it’s done with the film festival circuit and goes into wide release, what do you hope audiences are talking about?

Elsie Fisher: I just hope people relate to it. I don’t wish social anxiety upon anyone, of course. If you have it or if you don’t, you can still relate to the film and that’s good because this is about being honest with how you’re feeling. I always felt very outsiderish. Always. Making this movie made me feel less like that. That’s what I hope people take away. That’s would be great.

Bo Burnham: Yeah, I hope people feel a lot during the film and then maybe think a little afterwards. That’s what I hope. I hope it can just lay groundwork for a conversation, but that conversation is totally up to the viewer. I don’t want to tell them how or what to think. Our first impulse, though, is just wanting people to feel. I want 50-yearold men to see themselves in Kayla as much as middle school students her own age hopefully do. This isn’t a story about my daughter or my young sister. It’s also a story about me. Hopefully it’s a story about all of us.

Fallout lights the fuse on Cruise’s best Mission yet

by Sara Michelle Fetters

SGN A&E Writer

MISSION: IMPOSSIBLE

– FALLOUT

Now playing

As with any of the five previous installments in Tom Cruise’s astonishingly popular Mission: Impossible franchise, the less you know about Mission: Impossible – Fallout before stepping into the theater the more likely you will have one heck of a terrific night out at the movies. Not because the plot is overly intricate and filled with unexpected twists and turns (in all honesty figuring out where this latest installment is headed is fairly easy), but more because you’ll have less of an idea of the crackerjack practical stunts the filmmakers have devised for their international superstar actor to try and survive this time around. In this entry of the series these include more motorcycle action, a halo jump, bathroom fisticuffs, and a crackerjack helicopter chase where Cruise actually pilots the darned thing himself (but not before hanging off the side of it for a good two or three minutes before taking the controls). It’s all as crazy as it sounds. Better, it’s even more entertaining.

As good as this series has been, and as much as 2011’s Mission: Impossible –Ghost Protocol has towered above them all for some time now, this sixth entry is the new high-water mark for the franchise. Returning writer/director Christopher McQuarrie (Mission: Impossible – Rogue Nation) has raised the stakes to such an extent I’m almost flabbergasted by what he has achieved. In making the series’ first direct sequel, it’s almost as if he used his 2015 hit as a dry run for all he was going to attempt this time around. There is a fluidity and a cohesiveness to the storytelling that’s spectacular. Couple that with the type of action the likes of which Howard Hawks, John Frankenheimer, and William Friedkin would stand up and cheer for and we have all the makings of a sensation that ranks right up there with some of the finest the genre has produced during the 21st century. With the capture of Solomon Lane (Sean Harris), the Syndicate is in shambles. But a number of their operatives are still at large, and considering how dangerous they are it’s no wonder putting them behind bars and spoiling their various terrorist plots has become the Impossible Mission Force’s (IMF) number one priority. After an attempt to stop the group, now calling themselves the Apostles, from obtaining three plutonium cores goes off the rails, Ethan Hunt (Cruise) and his team now find

their every move shadowed by the CIA. Remorseless killer August Walker (Henry Cavill) isn’t just an observer, he’s also around to make sure no one deviates from their mission to locate the plutonium before the Apostles can manufacture and detonate a trio of nuclear bombs. If they do, he’s got orders from his boss Erica Sloan (Angela Bassett) to use whatever force he deems necessary, including lethal, to get them back on track.

There are complications, not the least of which is the fact Hunt and Walker unsurprisingly don’t trust one another. But former MI6 agent Isla Faust (Rebecca Ferguson) is also hanging around for some reason, while a secretive arms dealer known as the White Widow (Vanessa Kirby) with links to Hunt’s past holds vital information that hopefully will lead the IMF agents to the plutonium. Additionally, there’s a mystery man calling himself John Lark who appears to be orchestrating events in ways that defy rational belief, the Apostles apparently looking to him as their new leader with Lane incarcerated. As much as Hunt is loath to admit it, the key to solving this mystery might just be contained in the head of the one man who came the closest to ruining his life and murdering all whom he held dear not so long ago: the aforementioned Solomon Lane, for-

mer head of the Syndicate.

Pulling from a variety of sources for inspiration (most notably John le Carré’s spy novels, James Bond, John Boorman’s Point Blank, and Jackie Chan’s Police Story series), McQuarrie magically balances a myriad of varying characters and subplots without losing sight of the bigger picture. Interspersed between bouts of cleverly crafted pieces of exposition the director stages astonishing sequences of mayhem that get bigger, bolder, and more impressive as events catapult their way to a conclusion. The director also plants a number of witty callbacks to all five of the previous Mission: Impossible installments and does so in a way that feels authentically organic to this story, not merely placed there as some hackneyed piece of misbegotten fan service. Instead, these moments all help push the plot forward, and whether it be remembering the circumstances in which “Job” met “Max” or recollecting that Hunt enjoys taking vacations free-climbing walls of jagged rock, McQuarrie freely pulls from his hero’s past to make his and his team’s future prospects feel even more in jeopardy.

But it is the orgiastic nature of the action sequences that are undeniably the true draw here. The bare-knuckles bathroom showdown in which Hunt and Walker are barely able to fend off an unknown mystery assailant. A spellbinding sprint over the rooftops of London featuring a breakneck leap that resulted in Cruise breaking an ankle (which also happens to be the take used in the movie). A motorcycle chase through the streets of Paris that’s a full-throttle, viscerally intense spine-tingler that puts near-perfect similar sequences in both Mission: Impossible II and Mission: Impossible – Rogue Nation to absolute shame. A mountaintop face-off between predator and prey that culminates with some of the more jaw-dropping cliff dangling this side of 1993’s Cliffhanger. A high-altitude aerial duel between a pair of helicopters with, as already mentioned, Cruise piloting one of the whirlybirds himself.

McQuarrie stages it all magnificently. With gigantic assists from cinematographer Rob Hardy (Annihilation), editor Eddie Hamilton (Kingsman: The Golden Circle), and composer Lorne Balfe (The Florida Project), the director achieves a primeval elegance that’s heart-stopping. As much as I enjoyed many of his previous endeavors behind the camera, most notably his first Cruise collaboration Jack Reacher, never has McQuarrie showcased the level of

craftsmanship, care, and attention to every minute detail as he does here.

I loved the way that the script ties up some of the loose ends left dangling from previous installments, most notably ones concerning Hunt’s feelings for his in-hiding ex-wife Julia (Michelle Monaghan) and how she in turn continues to feel for him. I also adored how the director gave Luther Stickell (Ving Rhames) and Benji Dunn (Simon Pegg) new things to do while at the same time exploring just how important their friendship with their IMF team leader has become over the past two decades. Most of all, he allows the viewer insight into the toll these 22 years of government service have exacted upon our hero, and even if Hunt doesn’t look like he has any intent to slow down anytime soon, it’s equally clear that no matter how good the mask, the battle scars of his various ordeals can no longer be hidden quite like they used to be.

It’s easy to think, especially after Mission: Impossible – Ghost Protocol with its exhilarating Burj Khalifa climbing sequence, and Mission: Impossible – Rogue Nation with its dangling from the exterior door of an Airbus A400M Atlas during takeoff, that the only reason this series continues to fascinate audiences around the globe is the sight of a now-56-yearold Cruise laying his life on the line to do almost all of these stunts himself. As astonishing as that might be – it’s admittedly something else and I don’t think we’ve seen its like since Jackie Chan during his Police Story 3: Supercop heyday – I think the reason these films continue to resonate has more to do with the fact that they put character and story before the action, that component the key ingredient that I believe keeps bringing people back to see more.

While some installments are certainly more successful than others, at its absolute worst every entry in this series has still been a good one worthy of multiple watches. The same cannot be said about James Bond. It cannot be said about Jack Ryan. It cannot be said about Jason Bourne. Heck, it can’t even be said about other long-running, big-budget Hollywood sci-fi fare like Star Trek, the Marvel Cinematic Universe, or even Star Wars. So when I say Mission: Impossible – Fallout isn’t just the best film of the series but one of the great action epics of our time, know that I mean it, McQuarrie lighting the fuse on a piece of high-octane summertime entertainment we’re going to be excitedly talking about for quite a while to come.

Suitably violent Equalizer 2 satisfyingly predictable

by Sara Michelle Fetters SGN A&E Writer

THE EQUALIZER 2

Now playing

Currently residing in Boston, Robert McCall (Denzel Washington) is masquerading as a mild-mannered Lyft driver while still following through on his newfound calling of righting wrongs for people dealing with hopeless situations who otherwise would never see justice accomplished. He lives in a nondescript apartment building and makes nice with the other residents, paying particular attention to Miles Whitaker (Ashton Sanders), a young artist with potential whom he doesn’t want to see go down the wrong path.

Robert’s best friend remains his former government handler Susan Plummer (Melissa Leo). She and her academic husband Brian (Bill Pullman) are the only two people who know he is still alive. Heck, Susan’s even been assisting Robert in his little egalitarian side business, providing him information on many of the cases he’s hoping to solve. But when she becomes the target of lethal hired guns, the former assassin’s ferocity will not be contained. Seeking out his former partner and Susan’s most recent lieutenant Dave York (Pedro Pascal) for help, Robert will learn the identities of those involved in wanting to see his friend harmed and, when he does, nothing on this planet will stop him from delivering his own brand of lethal retribution.

The Equalizer 2 is the first sequel of Oscar-winning megastar Denzel Washington’s career. A follow-up to the 2014 film, itself a big-screen update of the 1980s television series starring Edward Woodward, this second chapter in Robert McCall’s story of redemption and violence is actually a slight improvement over its predecessor.

Once again directed by frequent Washington collaborator Antoine Fuqua (Training Day, The Magnificent Seven) and scripted by returning writer Richard Wenk (16 Blocks, The Mechanic), the movie is a relatively easygoing action-thriller with a solid, if not exactly original, premise and features a small handful of craftily violent set pieces of mayhem and mischief that certainly do a good job of getting the blood flowing. Not that there are any surprises. There was never a point where I didn’t know how things were going to turn out. I knew instantly who the bad guys were. I knew what was going to happen to the various individuals who came into McCall’s orbit.

After an early discussion between Robert

and Susan I even knew where Fuqua and Wenk were going to stage the climax. The only thing I didn’t know was that they’d set this final showdown in the middle of a hurricane. But even that minor twist isn’t as interesting or as sensational as it sounds, and while the wind blows, the rain falls, and the waves crash there is never any doubt how things will eventually turn out.

Yet I still liked this sequel. Washington is great as this character, slipping into McCall’s skin with a stoic confidence that suits this commanding righter of wrongs perfectly. He glides through events with a determined precision that’s almost Michael Myers-like in its unstoppable intensity, tapping into the emotional tragedies that have

helped shape him into the person he currently is with a pinpoint sincerity that only materializes when absolutely necessary. McCall might not be a stretch for Washington and yet he clearly enjoys playing him, and if The Equalizer 2 ends up being a success it won’t surprise me at all if the actor decides to portray the character for a third time sooner rather than later.

Wenk’s script doesn’t do the film a lot of favors, and the event that gets McCall’s blood boiling for revenge is as clichéd as it is formulaic (and does a huge disservice to Leo, who up until this point is excellent), while our hero’s moralistic sermonizing as it pertains to Miles is oftentimes tiresome. But there is a cutthroat finality to the way in which events steamroll towards a conclusion that’s effectively startling, and I did love the stark simplicity of many of the key sequences, the screenplay viciously bleak in its depiction of violence and its aftereffects in ways few big-budget Hollywood spectacles ever are.

It’s far from perfect, and as much as the first Equalizer left me rather indifferent there’s nothing in this sequel that ever comes close to equaling the crackerjack, cartoonishly absurd Home Depot-set climax of that original. Even though he never shies away from showcasing the exploitive bloody carnage McCall so effortlessly unleashes upon his foes, Fuqua is still far more restrained behind the camera than I anticipated. There is a tonal consistency to The Equalizer 2 its predecessor never had. This, coupled with Washington’s magnetically stalwart performance, resulted in a sequel I ended up enjoying just enough to exit the theater smiling, and as mid-afternoon matinees are concerned there’s just enough that works here to make this predictably explosive thriller easy to recommend.

Minimalist historical thriller Lighthouse a beacon of low-budget ingenuity

by Sara Michelle Fetters SGN A&E Writer

THE LIGHTHOUSE

Now streaming on-demand

Just 25 miles off the coast in the deadly Irish Sea sits Smalls Island. It is 1801 and Thomas Howell (Michael Jibson) and Thomas Griffith (Mark Lewis Jones) have been tasked with keeping the all-important lighthouse located there lit for the next 30 days. Isolated and alone, the pair is none too happy about being stationed together at this assignment. Griffith knows of Howell’s history, knows what happened the last time he had this sort of duty at a different lighthouse, and as such he believes having him here, on Smalls Island, is a giant mistake. He’s right, but not for the reasons the seasoned sailor and veteran lighthouse keeper thinks. When a freak storm hits the island, Howell and Griffith find themselves stranded in complete and total isolation with their food and water supply slowly dwindling down to nothing. They have zero chance of being rescued until the squall subsides, and as the days and nights drag on it becomes apparent this isn’t going to happen anytime soon. Through it all they attempt to put aside their differences and keep the lighthouse running so as to protect the waterway for passing ships trying to navigate these dangerous waters. But as things progress Howell and Griffith are quickly reaching the end of their combined psychological rope, and if by some miracle they do survive, they’ll likely do so at the cost of their sanity.

Based on a real tragedy, director and cowriter Chris Crow’s award-winning 2016 drama finally makes its domestic theatrical and VOD debut, and for the most part it’s been worth the wait. Methodically paced, the film does admittedly play more like a two character, dialogue-driven theater piece than it does a feature-length motion picture, and even at only 102 minutes things can noticeably drag. Yet Crow and fellow screenwriters Paul Bryant and Michael Jibson still do a nice job of keeping the focus on Howell and Griffith, all of which makes the horrors the pair end up facing far more emotionally affecting than they otherwise

would have been.

Both Jones and Jibson are excellent, the latter especially so. Howell is determined to put what happened in the past behind him even if the weight of his previous failure still keeps him up at night battling terrifying visions and debilitating nightmares, the actor’s exploration of these complicated emotional states, especially as things near their haunting climax, superb. Jibson’s conversations with Jones feel urgent and vital, the two exploring different variations on concepts of personal responsibility, selfless heroism, and 19th-century masculinity (which sadly isn’t that far removed from its

21st-century descendant) with a ruggedly withered intensity that’s fascinating. But all of this can be pretty slow going, and even if one knows nothing about the historical facts surrounding the Smalls Island Incident, it’s still hardly going to come as a surprise to anyone watching the film where things end up. Crow’s opus can feel more like a housebound (in this case lighthouse-bound) My Dinner with Andre than it does a psychological thriller analyzing isolated men under extreme duress. As such there are points where the tension inexplicably vanishes, my attention waning and my interest in whether or not Howell and Griffith would survive noticeably diminishing because of this. Thankfully Crow shows an ability to quickly right his ship anytime it starts to take on too much water. The last third is especially captivating, and once things start to center more on Howell and how he is battling his remaining demons from his last lighthouse assignment, while also doing all he can to ensure the light stays lit at this one, the film really hits its suspenseful groove and doesn’t let up until the end credits. I was especially taken with Alex Metcalfe’s exquisite cinematography, his use of shadows, fog, and rain effects coupled with how all of them respond to varying forms of light gorgeously unsettling. As a minimalist survival thriller showcasing humanity’s continual battle against the forces of nature, The Lighthouse is a beacon of lowbudget indie ingenuity worth shining a positive spotlight upon.

1533 13th Ave. - 323-1525

SEATTLE

BATHS

SEATTLE

CLUB Z - (men) 1117 Pike near Boren - 622-9958

CLUB Z - (men)

1117 Pike near Boren - (206) 622-9958

HOUSE SPA & SAUNA - (women) SW corner of Pike & 11th

(stairs behind Wildrose) - 568-3240

HOT HOUSE SPA & SAUNA - (women)

STEAM WORKS - (men)

SW corner of Pike & 11th

1520 Summit - 388-4818

(stairs behind Wildrose) - (206) 568-3240

STEAM WORKS - (men)

1520 Summit Ave - (206) 388-4818

RESTAURANTS & BARS

88 KEYS - 315 2nd Ave. S. - 839-1300

RESTAURANTS & BARS

BALTIC ROOM - 1207 Pine St. - 625-4444

THE BOTTLENECK LOUNGE

2328 E. Madison St. - 323-1098

88 KEYS - 315 2nd Ave. S - (206) 839-1300

C.C. ATTLE’S BAR & GRILLE

BALTIC ROOM - 1207 Pine St. - (206) 625-4444

1701 E. Olive Way - 726-0565

THE BOTTLENECK LOUNGE

2328 E. Madison St. - (206) 323-1098

RETAIL SHOPS

DIESEL BAR - 1413 14th Ave. - 322-1080

GLO’S - 1621 E. Olive Way - 324-2577

BABELAND - 707 E. Pike St. - (206) 328-2914

HOT MAMA’S PIZZA - 700 E. Pine St. - 322-6444

CASTLE SUPERSTORE #17 1017 E. Pike St - (206) 204-0126

JAZZ ALLEY - 2033 6th Ave. E. - 441-9729

JULIA’S - 300 Broadway Ave. E. - 860-1818

KREMWERK - 1809 Minor Ave. #10 - 682-2935

DOGHOUSE LEATHERS

MADISON PUB - 1315 E. Madison - 325-6537

1312 E. Pike St. - (206) 257-0231

NEIGHBOURS - 1509 Broadway - 324-5358

EMERSON SALON - 909 E. Pike St. - (206) 323-7437

OUT WEST - 5401California Ave. SW

FANTASY UNLIMITED

2027 Westlake Ave. - (206) 682-0167

THE PINE BOX - 1600 Melrose Ave - 588-0375

POCO WINE ROOM

1510 1st Ave - (206) 624-1784

1408 E. Pine St. - 322-9463

HASHTAG - 3540 Stone Way N - (206) 946-8157

POKE BAR - 1542 12th Ave - 402-5178

HERBAN LEGENDS - 55 Bell St - (206) 849-5596

HERB(N) ELEMENTS

PONY - 1221 E. Madison St. - 324-2854

PURR - 1518 11th Ave. - 325-3112

11013 Lake City Way NE - (206) 535-8769

LAUGHING BUDDHA TATTOO

R PLACE - 619 E. Pine - 322-8828

RE-BAR - 1114 Howell at Boren - 233-9873

ROOT TABLE 2213 NW Market St. - 420-3214

1534 Broadway - (206) 329-8274

NEW YORK EXCHANGE

THE CANTERBURY - 534 15th Ave. E. - 322-3130

CHANGES IN WALLINGFORD

CAPITOL CIDER - 818 E Pike St. - (206) 397-3564

C.C. ATTLE’S BAR & GRILLE

2103 N. 45th - 545-8363

1701 E. Olive Way - (206) 726-0565

SEATTLE EAGLE - 314 E. Pike - 621-7591

225 Broadway E. - (206) 726-3300

SHORTY’S 2222 2nd Ave - 441-5449

STOUT -1530 11th Ave - 397-3825

ONYX LEATHER

TOULOUSE PETIT

1605 12th Ave. #8 - (206) 328-1965

THE CRESCENT - 1413 E. Olive Way - 720-8188

THE CANTERBURY

THE CUFF COMPLEX

534 15th Ave. E - (206) 322-3130

CHANGES IN WALLINGFORD

2103 N. 45th - (206) 545-8363

THE CRESCENT

1413 E. Olive Way - (206) 720-8188

THE CUFF COMPLEX

1533 13th Ave. - (206) 323-1525

DIESEL BAR - 1413 14th Ave. - (206) 322-1080

GLO’S - 1621 E. Olive Way - (206) 324-2577

HOT MAMA’S PIZZA

700 E. Pine St. - (206) 322-6444

JAZZ ALLEY - 2033 6th Ave. E - (206) 441-9729

JULIA’S - 300 Broadway Ave. E - (206) 860-1818

KREMWERK - 1809 Minor Ave. #10 - (206) 682-2935

THE LUMBER YARD

9619 16th Ave. SW - (206) 695-2007

MADISON PUB - 1315 E. Madison - (206) 325-6537

NEIGHBOURS - 1509 Broadway - (206) 324-5358

OUT WEST

5401California Ave. SW - (206) 937-1540

THE PINE BOX - 1600 Melrose Ave - (206) 588-0375

POCO WINE ROOM

1408 E. Pine St. - (206) 322-9463

POKE BAR - 1542 12th Ave - (206) 402-5178

PONY - 1221 E. Madison St. - (206) 324-2854

PURR - 2307 24th Ave E - (206) 325-3112

QUEER BAR - 1518 11th Ave - (206) 687-7491

R PLACE - 619 E. Pine - (206) 322-8828

RE-BAR - 1114 Howell at Boren - (206) 233-9873

ROOT TABLE 2213 NW Market St. - (206) 420-3214

SEATTLE EAGLE - 314 E. Pike - (206) 621-7591

SHORTY’S 2222 2nd Ave - (206) 441-5449

STOUT -1530 11th Ave - (206) 397-3825

TOULOUSE PETIT

601 Queen Anne Ave. N - (206) 432-9069

UNICORN - 1118 E Pike - (206) 325-6492

WILDROSE - 1021 E Pike - (206) 324-9210

ZIPPY’S GIANT BURGERS

5633 Airport Way S - (206) 466-5954 9614 14th Ave SW - (206) 763-1347

OZ - 3831 Stone Way N - (206) 251-0630

601 Queen Anne Ave N - 432-9069

UNICORN - 1118 E Pike - 325-6492

PACIFIC NORTHWEST SHOP

4411 Wallingford Ave. N. - (206) 535-6920

PANACHE - 225 Broadway E. - (206) 726-3300

RUCKUS - 1465 E Republican St - (206) 257-4805

TABOO ADULT VIDEO

9813 16th Ave SW - (206) 767-4855

TRUE LOVE ART GALLERY & TATTOO

1525 Summit Ave. - (206) 227-3572

UNDER U 4 MEN

709 Broadway Ave. E - (206) 324-6446

UNCLE IKE’S

2310 E Union St - 1-800-GET-DRUGS 501 15th Ave E - 1-800-GET-DRUGS

9822 15th Ave SW - 1-800-GET-DRUGS

WILD AT HEART

1111 NW Leary Way - (206) 782-5538

BELLINGHAM

LOVER'S 193 Telegraph Road - (360) 752-1862

RUMORS CABARET 1119 Railroad - (360) 671-1849

DES MOINES

ADULT AIRPORT VIDEO 2 21635 Pacific Hwy S - (206) 878-7780

SECRETS 22862 Pacific Hwy S - (206) 878-8480

EVERETT

ADULT AIRPORT VIDEO

11732 Airport Road - (425) 290-7555

LOVER’S - 112 SE Everett - (425) 353-3607

LOVER’S - 3402 Broadway - (425) 252-8754

KENT

WILDROSE - 1021 E. Pike - 324-9210

ZIPPY’S GIANT BURGERS

5633 Airport Way S - 466-5954

9614 14th Ave SW - 763-1347

LOVER’S - 25801 104th Ave. SE - (253) 852-1720

RETAIL

SHOPS

THE FANTASY SHOP 604 Central Ave. S - (253) 850-8428

CASTLE SUPERSTORE #17

NASHVILLE’S SPORTS BAR (Drag Shows) 114 - Railroad Ave. N - (253) 852-0909

1017 E. Pike St - 204-0126

DOGHOUSE LEATHERS

LA CONNER

1312 E. Pike St. - 257-0231

EMERSON SALON - 909 E. Pike St. - 323-7437

HASHTAG - 3540 Stone Way N - 946-8157

NEW YORK EXCHANGE

THE HERON INN & WATERGRASS DAY SPA 117 Maple Ave. - (877) 883-8899 info@theheron.com

225 Broadway E. - 726-3300

ONYX LEATHER - 1605 12th Ave. #8 - 328-1965

OZ - 3831 Stone Way N - 251-0630

PANACHE

OLYMPIA

225 Broadway E. - 726-3300

DARBY’S CAFE 211 5th Ave. SE - (360) 357-6229

RUCKUS 1465 E Republican St. - 257-4805

LOVER’S

THE FANTASY SHOP 9630 16th Ave. SW - 762-3299

TABOO ADULT VIDEO 9813 16th Ave SW - 767-4855

3959 Martin Way E, Suite D - (360) 456-7300

JAKES - 311 4th Ave. E - (360) 956-3247

TOYS IN BABELAND - 707 E. Pike St. - 328-2914

UNDER U 4 MEN

PORT ANGELES

709 Broadway Ave. E. - 324-6446

UNCLE IKE’S

2310 E Union St -

MAPLE ROSE INN 112 Reservoir Rd - (800) 570-2007

SPOKANE

ANDY’S - 1401 W. 1st Ave. - (509) 747-0304

THE BLIND BUCK

BELLINGHAM

204 N. Division St. - (509) 343-9425

LOVER’S

GLOBE BAR AND KITCHEN

204 N. Division St. - (509) 443-4014

NYNE BAR AND BISTRO

232 W. Sprague Ave. - (509) 474-1621

DES MOINES

EVERETT

KENT

LA CONNER

TACOMA

CASTLE SUPERSTORE

6015 Tacoma Mall Blvd. - (253) 471-0391

CLUB SILVERSTONE

739½ St.

OLYMPIA

PORT ANGELES

SPOKANE

Meetings Events Activities

TO GET A CALENDAR LISTING: To have your meeting or event considered for the Community Calendar, please mail, fax, or drop off details to: SGN, Attn: Community Calendar, 1707 23rd Ave., Seattle, WA 98122. SGN phone: (206) 324-4297. E-mail: sgn2@sgn.org.

INCLUDE: Date, time, location, contact phone # for publication (if possible), brief description of event & sponsoring organization. DEADLINE: Tuesday 5pm. ACCESSIBILITY: Is your event accessible to LGBTQ people with visible or hidden disabilities? See Jean’s List webpage www.scn.org/activism/calendar/disabilities. html for Marla Nonken’s disabilities accommodations lists.

NOTE: 10-digit dialing has come to the Seattle area. The (206) area code must now be used to dial local calls. Location of meetings/events is in Seattle unless otherwise noted.

SATURDAY - July 28

Seattle Frontrunners Fun Run. 9am. Greenlake (outside Evans Pool). Every Saturday. GLBT running & walking club sponsors weekly runs, monthly potlucks, track & field activity, annual Run With Pride. (206) 4488518. www.seattlefrontrunners.org.

Positively Living Coffee Social. 9:30am-12 noon. Cupcake Royale, 1111 E Pike St. Every Saturday. Casual social get-together for the HIV community. Anthony, 206-957-1600. Sponsored by LIfelong.

“Breaking Glass: Hyperlinking Opera & Issues.” 10:30am. Nesholm Lecture Hall, McCaw Hall, 321 Mercer St. Free forum sponsored by Seattle Opera explores the intersection of race and opera. National art leaders of color Page Hernandez, Matthew Morrison, Tazewell Thompson will lead the discussion. All are welcome to attend this community conversation. This event will be livestreamed. For more information and to RSVP go to seattleopera.org/breakingglass.

Rainbow Walk for LGBTQ Elders 50+ - Green Lake Walk. 12 noon-1pm. 7201 E Green Lake Dr. N. Every Saturday - Come Rain or Shine! - Meet at the Wading Pool (along the north end of the lake). Hot coffee and beautiful Rainbow umbrellas to use “just in case.” For info, call (206) 393-3400;. Wheelchair-friendly walk. Sponsored by Generations Aging With Pride. Emerald City Black Pride - “Beyond the Red Ribbon: Make It KINKY, Make It SAFE, Make It HOT!” Social Event at ACME Bowl. 4-8pm. 2826, 100 Andover Park W #100, Tukwila. FREE BOWLING, FREE FOOD, FREE FUN!!! Sponsored by Center for Multicultural Health. Mature Friends Monthly Potluck. 6pm. Wallingford Community Senior Center, Good Shepherd Center, 4649 Sunnyside Ave N, Suite 140. Monthly potluck meets last Saturday most months. MF is a social organization for Gay men & women, 40 years & over. www. maturefriends.org

Oasis Youth Center in Tacoma - For Gay, Lesbian, Bisexual, Transgender & Questioning Youth, Ages 14-25. 6pm-12 midnight. Call for location & details. Every Saturday. (253) 671-2838. www.oasisyouthcenter.org. (Also Thursdays & Fridays 4-10pm.)

SUNDAY - July 29

Center for Spiritual Living. 8:25, 9:45, 11:30am. 5801 Sand Point Way NE. Blessings & we hope to see you soon! (206) 527-8801 ext 203, www.cslseattle.org

Ravenna United Methodist Church. 8:30am “Seattle’s most dangerous Sunday school” - 9:45am Worship. 5751 33rd Ave NE. A reconciling congregation, fully inclusive and affirming of LGBTQ persons. (206) 525-7988. Seattle Unity Church. 9am & 11am Sunday Services. 200 8th Ave N. “Come join our Gay & Lesbian-friendly, spiritual family at Seattle Unity Church. Our mission is to bring love, miracles & spiritual awakening into everyday life!” (206) 622-8475; www.seattleunity.org.

Seattle Soto Zen. 9:15am Zazen Instruction, 9:30am Zazen. 101 Nickerson St, Lower Level. Follow the traditional forms of the Soto school of Zen in a spirit of warmth & inclusion. Anyone interested in meditation, whether new or experienced in Zen practice or other traditions, is welcome. (206) 323-1659, www.seattlesotozen.org

Gay Men’s Bowling in Everett 9:30am. Glacier Lanes, 9630 Evergreen Way, Everett. Every Sunday. Spectators welcome. Join us for lunch afterwards! Sponsored by the Snohomish County Gay Men’s Task Force. For info email John at johndmarsh@mac.com; www.gaysnohomish.org Tacoma First United Methodist Church. 9:30am Worship, 11am Adult Education. 423 Martin Luther King Way, Tacoma. This reconciling congregation welcomes with warm hands, warm hearts & open minds GLBT persons seeking a spiritual home. (253) 627-0129, www. fumctacoma.org

University Lutheran Church. 9:30am Worship, 10:30am Coffee Fellowship, 11am Adult Forum & Education Hour. 1604 NE 50th St. All are welcome. We choose love. (206) 525-7074. universitylutheranseattle.org

University Unitarian Church. 9:30am & 11:15am Sunday Services. (Late June-Aug 9:30am only.) 6556 35th Ave NE. Interweave is the official name for LGBTQ groups in the Unitarian-Universalist family as a common thread of identification. UUC’s Interweave group meets the first Friday every other month (Oct, Dec, Feb, April & June) usually at UUC for a potluck, a summer picnic or whatever else we might dream up. Drop in & join us. www.uuchurch.org for details.

Central Lutheran Church. 10am Worship. 1710 11th Ave (just north of E Pine St). An open & affirming church,

community calendar

which in Lutheran churches is called “Reconciled in Christ.” “We seek to share God’s love with all people regardless of race, age, gender or sexual orientation.” All are welcome. (206) 322-7500.

East Shore Unitarian Church. 10am Sunday Service. 12700 SE 32nd St, Bellevue. An open & affirming congregation. (425) 747-3780.

Gethsemane Lutheran Church. 10am Worship. 911 Stewart St. A downtown faith community centered in justice. An open & affirming congregation. (206) 682-3620.

Plymouth Church United Church of Christ. 10am Workship. 1217 6th Ave. Love your (LGBTQ) neighbor as yourself. (206) 622-4865, plymouthchurchseattle.org

Queen Anne United Methodist Church. 10am Worship. 1606 5th Ave W. (206) 282-4307.

Unity Church of Kent. 10am. 218 State Ave S, Kent. A welcoming congregation open to people of all races, religions, creeds & lifestyles. Join us any Sunday for an inspirational message, joyful fellowship & a fresh spiritual outlook. (253) 854-9747.

University Congregational United Church of Christ. 9am all ages education; 10am Worship. 4515 16th Ave NE. UCUCC is an open & affirming congregation. (206) 524-2322; www.universityucc.org.

Wallingford United Methodist Church. 10am Worship. 2115 N 42nd St. A progressive congregation. In 1984

Wallingford UMC became the 9th reconciling Methodist church in the U.S. (206) 547-6945 (office); (206) 2855077 (George).

All Pilgrims Christian Church. 10:30am Worship. 500 Broadway E. Come as you are. All are welcome. A congregation of the Disciples of Christ & the United Church of Christ. (206) 322-0487, www.allpilgrims.org

St. Clement’s Episcopal Church. 10:30am Worship. 1501 32nd Ave S. Great music. Dynamic preaching. Holy communion. Encountering the transformative and unconditional love of God in Christ. Join us! www. stclementseattle.org

Seattle Sunday Bowling. 10:30am. West Seattle Bowl, 4505 39th Ave SW (at SW Oregon St). Open bowl every Sunday for the GLBT community & friends. You don’t have to worry about how you bowl! $6.50 + $3 shoe rental. (425) 785-4729.

Welcome Table Christian Church. 9:45am Meditation; 10:30am Worship; Labyrinth 2nd Sundays 1-4pm. 1322

S Bayview St. Where people of all genders and sexualities, and families of all shapes & sizes are welcome and celebrated. A welcoming and affirming community since 1987. welcometablecc.org

Westside Unitarian Universalist Congregation. 10:30am. 7141 California Ave SW. (206) 935-0418, office@wsuu.org, www.wsuu.org

Emerald City Metropolitan Community Church Seattle. 11am Worship. Chapel at University Temple United Methodist Church, 1415 NE 43rd St. MCC is a progressive Christ-centered faith community committed to providing a nurturing environment for individual & community growth thru Jesus Christ while celebrating unity in diversity. MCC is Seattle’s oldest Gay-friendly church. (206) 325-2421, www.mccseattle.org.

Meditation for GBT Men. 11am-1pm. Cal Anderson House, 400 Broadway. Suitable for beginning & experienced meditators. Sponsored by Dharma Buddies. Contact Forrest Rode, (206) 920-6117, or Doug Allison, doug.l.allison@gmail.com. Find us under “Dharma Buddies” under Meetup.com or DharmaBuddies.org. (Women are invited to contact our sister meditation group at www.LotusSisters.org.)

St. Paul’s United Church of Christ. 11am Worship. 6512 12th Ave NW. An “open & affirming” congregation. “We celebrate our diversity in religious background, sexual orientation, race, age & abilities.” (206) 783-6733; www.stpauluccseattle.com.

St. Paul’s Episcopal Church. 11:15am (also 7:30am, 9am, 5pm). 15 W Roy St. We are an accepting, progressive, Anglo-Catholic parish, renewing its people for their Christian lives in today’s world through worship, spiritual formation, engagement in the arts, and acts of compassion. www.stpaulseattle.com

Holy Covenant International Christian Community Church. 12pm. 4525 19th Ave NE. Outreach to the LGBT community. holycovenantccc@gmail.com

Just for Today (NA). 12-1:15pm. SASG, 115 15th Ave E, Suite 201. Every Sunday. Drop-in 12-step Narcotics Anonymous group open to anyone in recovery. (206) 322-2437; www.sasgcc.org

New Beginnings (SLAA). 12 noon-1pm. SASG, 115 15th Ave E #201, O’Neil Room. MEETS DAILY (except Saturday). Sex and Love Addicts Anonymous is a 12-step/12- tradition-oriented fellowship of men and women who share their experience, strength and hope to overcome sex and love patterns of addiction. (206) 322-2437; www.sasgcc.org

Paths to Recovery Al-Anon Family Group. 12-1:30pm. Seattle University Student Center, 901 12th Ave, Room 122. Every Sunday. LGBTQ supported. The Al-Anon Family Groups are a fellowship of relatives & friends of alcoholics who share their experience, strength & hope in order to solve their common problems. We believe

alcoholism is a family illness & that changed attitudes can aid recovery. Greater Seattle AIS 24-hour number (206) 625-0000; www.seattle-al-anon.org

Rainbow Walk for LGBTQ Elders 50+ - Green Lake Walk. 12 noon-1pm. 7201 E Green Lake Dr. N. Every Sunday - Come Rain or Shine! - Meet at the Wading Pool (along the north end of the lake). Hot coffee and beautiful Rainbow umbrellas to use “just in case.” For info, call (206) 393-3400;. Wheelchair-friendly walk. Sponsored by Generations Aging With Pride. Orca Swim Team Workout. Sun: Afternoon; Mon/ Weds/Fri: Evenings; Tues/Thurs: Mornings. Seattle University, Redhawk Center, 14th Ave & E Cherry St. Pre-registration required. Orca Swim Team workouts are for both competitive & recreational swimmers. www. orcaswimteam.org

Emerald City Black PRIDE BBQ. 1-6pm. Jimi Hendrix Park, 2400 S Massachusetts St (behind the Northwest African-American Museum). FREE FOOD, FREE ENTERTAINMENT!!!

Rain City Soccer Club - Kickabout. Sunday afternoon usually at 3pm. Location varies. Join us for Seattle’s mostly-weekly mostly-LGBTQ pickup soccer game. We play an organized, 2-hour scrimmage on nice fieldturf surface. Sometimes there is a brief training/practice session before we play. Usually there is a “one-beer” after the scrimmage. To sign up visit www.raincitysoccer.org Shame to Grace (SAA). 6-7:30pm. SASG, 115 15th Ave E, Suite 201. Every Sunday. Sex Addicts Anonymous is a fellowship of men & women who share their experience, strength & hope with each other so they may overcome their sexual addiction & help others recover from sexual addiction or dependency. Seattle SAA helpline (206) 237-8828, SAA International Service Organization 1-800-477-8191. (206) 322-2437; www.sasgcc.org Integrity/Puget Sound. 7pm Worship & Fellowship. St. Mark’s Cathedral, Thomson Chapel, 1245 10th Ave E. Integrity is an international ministry of Gay & Lesbian Episcopalians, their friends & families, dedicated to education, support & service within the Church & the GLBT community. (425) 226-2746.

Noche Latina - Latino Night. 10pm. Capitol Lounge, 916 E Pike St. Every Sunday. Go-go dancers at 10:30pm; drag show at midnight. 21+ ID required. $10 cover. Co-sponsored by Entre Hermanos.

MONDAY - July 30

Rainbow Walk for LGBTQ Elders 50+ - Volunteer Park Walk. 12 noon-1pm. 14th Ave E & E Prospect St. Every Monday - Come Rain or Shine! - Meet at Black Sun sculpture across from museum. Hot coffee and beautiful Rainbow umbrellas to use “just in case.” For info, call (206) 393-3400;. Sponsored by Generations Aging With Pride.

SLAA New Beginnings: 12 Steps of SLAA. 12 noon1pm. SASG, 115 15th Ave E, Suite 201, in the O’Neill Room. Every Monday. SLAA step-study meeting starting with Step One in “A Gentle Path.” The meeting is open to anyone interested in doing 12-step work. No matter where you are in the steps, or if you haven’t begun, feel free to join us. Books, paper, and pens provided. You need only bring your willingness to grow!

SOBER On Meds. 1-2pm. SASG, 115 15th Ave E, Suite 201. Every Monday. 12-step group open to anyone in recovery & living on a medicine regimen. (206) 3222437; www.sasgcc.org

Strength Over Speed (SOS). 2-3:30pm. SASG, 115 15th Ave E, Suite 201. Peer support for Gay and Bisexual men recovering from crystal meth addiction. www. strengthoverspeed.org. (206) 322-2437.

Orca Swim Team Workout. Evening. Seattle University, Redhawk Center, 14th Ave & E Cherry St. (See Sunday afternoon listing.)

Freely Speaking Toastmasters. 7pm. Seattle Unity Church, 200 8th Ave N. Every Monday (except holidays & the last Mondays in August & December). Seattle’s only LGBT speaking club. www.FreelySpeaking.org Trans Youth Group. 7-8:30pm. Lambert House, 1818 15th Ave. Every Monday. A chance for youth to talk with others about their experiences & concerns related to identifying as Transgender. www.lamberthouse.org

Lambert House Art Night. 7:30-9:30pm. 1818 15th Ave. Every Monday. Bring your ideas & let’s have some fun. (206) 322-2515, www.lamberthouse.org

Destiny/Unity AA Meeting in Tacoma 7:30-8:30pm. Christ Episcopal Church, 310 N “K” St, Tacoma. Every Monday. LGBTQ-friendly AA meeting. (253) 474-8897. (Also meets Fridays.)

Washington Gender Alliance Support Group Meeting in Shoreline 7:30pm. Center for Human Services, 17018 15th Ave NE, Shoreline. Every Monday. www. washingtongenderalliance.com

TUESDAY

- July 31

Orca Swim Team Workout. Morning. Seattle University, Redhawk Center, 14th Ave & E Cherry St. (See Sunday afternoon listing.)

LGBTQ+ Group. 1:15-2:15pm. Orion Center, 1828 Yale Ave. Every Tuesday. A group for LGBTQ youth ages 13-24 & their allies. Sponsored by Youthcare. (206) 622-5555.

Rainbow Walk for LGBTQ Elders 50+ - Alki

10 [HOUSEMATES] 11

[FOR RENT] 14

[HELP WANTED]

LANDSCAPING/GARDENING

We are an organic residential landscaping company looking for experienced gardeners/landscapers to join us. We design, build and maintain sustainable gardens and work year-round throughout the greater Seattle area.

Job requirements: Experience in garden maintenance and installation; Plant knowledge; Ability to lift 50 pounds; WSDL and proof of insurance; Must own your own vehicle, truck greatly preferred. Salary DOE. Contact: Pat Reh, General Manager; Northwest Botanicals, Inc.; 206-932-1850 (office); 206-683-3030 (cell); www.NorthwestBotanicals.com.

Visit our Blog for pictures and news. We design, build and maintain sustainable gardens. 30/3

19

[SERVICES]

20 [HEALTH & WELL-BEING]

ENERGY/BODYWORK

Therapeutic massage. 30 years experience. Relaxation, major/minor injuries, chronic muscle pain. Small Ballard home office/studio. Massage table or massage chair. Convenient parking. (I’m a Gay-friendly straight male graphic artist, web author.) First session 50% off = $45/1.5 hours (travel extra). By appointment only. References available. Chris Pringer, Reiki Master, 206-286-0899. If you get a voice message mentioning “extension #,” please hang up and call back again; otherwise, please leave a message. Brochure, testimonials, etc. via chalicebridge.com/BMI-Brochure. html. 44/21

PETS OF THE WEEK

Adoption Center

Sunday – Wednesday | 11 a.m. – 6 p.m. Thursday – Saturday | 11 a.m. – 8 p.m.

13212 SE Eastgate Wy, Bellevue, WA 98005 (425) 649-7563 | adoption@seattlehumane.org

Is your life missing a furry friend? Now is the perfect time to open your world to a pet in need. Coldwell Banker’s Homes for Dogs program with Adopt-a-pet.com has helped place 20,000 dogs into homes across the country. Could your place be the next happy ending for a pet in need? Make your house a home by visiting the shelter and bringing back the pet of your dreams.

CLAWS

July 23-29

Celebrate Shark Week next week by visiting Seattle Humane in Bellevue! Just like sharks, cats are mysterious, powerful and misunderstood creatures. Investigate both wondrous species this summer! From July 23-29, take advantage of discounted adoption fees for cats and kittens. These sweet felines are sure to add intrigue and entertainment to your household for this year’s Shark Week and many more to come! See adoptable cats at SeattleHumane.org.

21 [LICENSED MASSAGE - NON-SEXUAL]

ENJOY A SOOTHING MASSAGE

Swedish, Deep Tissue, Sports, and Hot Stone Massage on Capitol Hill. $65 an hour. Jeff, LMP. 206-6500542; rjeffa@hotmail.com; www.broadwaymassage. com. 29/3

EXCEPTIONAL BODYWORK

Given by highly trained LMP. I specialize in injury treatment, acute, chronic, and repetitive stress motion. I have a studio on CapHill, and one just north of the UW. Insurance accepted. Matt Shafer, LMP, 206-2357766. 29/12

22 [FOR SALE] 37 [BODYWORK]

EROTICALLY CHARGED nude full body rubdown from playful top, stimulating the senses. Get seduced. Incalls in Renton area. Scott, 206-355-4469. 27/3

GREAT MASSAGE

Given by highly-trained, clean-cut, handsome guy. I have two private studios, one on CapHill, and one just north of the UW. Call/text Matt, 206-235-7766. In/ out calls. 29/12

Jasper

Jasper is a silly, energetic and playful 2-year-old Pit Bull Terrier mix. He gives nice kisses and he enjoys spending time with loving, awesome people. Jasper already knows commands such as 'Sit' and 'Down,' and he's willing to learn more if you're willing to teach him (especially if you have tasty treats available!).

Jasper will thrive in an active home where he can join you in daily exercise and adventures! Interested? Please come in and meet Jasper today!

As with all of our dogs, Jasper has been neutered, microchipped, vaccinated and behavior-tested. He will go home with a certificate for a veterinary examination and an identification tag. PLUS, most dog adoptions include six weeks of training in one of our on-campus dog behavior courses - a great way to start off on the right paw!

Introduce to teenagers with dog experience or adult only home. Resident dogs are required to visit Jasper prior to adoption. Cat-free home.

Stacy

This dashing one-year-old black kitty is Stacy! She's a sweet girl with gorgeous green eyes who is looking for her new best friends. Stacy is quite the affectionate girl who loves head scratches and face rubs and also enjoys exploring her surroundings. Stacy tested positive for FeLV. When kept indoors, an FeLV-positive kitty can live a long, happy life like any other feline. Our staff would be happy to speak with you about FeLV and Stacy's long-term care! Come meet Stacy at Seattle Humane! She can't wait to steal your heart!

As with all of our cats, Stacy is spayed, microchipped and vaccinated. She will go home with a certificate for a complimentary veterinarian examination and an identification tag. PLUS, most cat adoptions include 30 days of pet insurance from Trupanion - a great way to start off on the right paw!

RAIN CITY JACKS

RCJ is Seattle’s private club hosting hundreds of group jack-off events since 2005. Hot, friendly, and genuine male bonding for men 18+ only. Email or visit our web site for information. info@raincityjacks.org; www. raincityjacks.org. 30/12

FREE & ANONYMOUS HIV & STD COUNSELING/TESTING Walk-In or by Appt GAY CITY HEALTH PROJECT 517 E. Pike St. M-F: 3pm-8pm; SAT: 12:30pm-5pm More Info & to Schedule Appt 206-860-6969