CLOUD ROOM PRESENTS: A VIRTUAL CONVERSATION WITH ON THE BOARDS

Join Artistic Director Rachel Cook for an introduction to and evolution of 18/19 Artists-in-Residence Tim Smith-Stewart and Jeffrey Azevedo's project Salvage Rituals hosted by The Cloud Room and On the Boards [May 6, 6:30PM PST].

This event is free with pre-registration! RSVP HERE and you will receive a confirmation email containing information about joining the webinar.

ABOUT THE ARTISTS
Tim Smith-Stewart is a queer interdisciplinary artist who uses text as his primary medium for creating installations and performances. He was recently a resident artist in the spring 2018 PICA Creative Exchange Lab cohort.

Jeffrey Azevedo is a Seattle-based theater artist and the managing director of Washington Ensemble Theatre. As an actor Azevedo has performed in the Washington Ensemble Theatre’s productions of Cherdonna’s Doll’s House, The Things Are Against Us, and Teh Internet is Serious Business. He holds degrees in Theater Arts and Electrical Engineering from Cal Poly San Luis Obispo.

In 2017, Smith-Stewart and Azevedo premiered Awaiting Oblivion... at On the Boards and The Perpetual Insurrection of Claude Cahun at the Henry Art Gallery. They have also presented performances at On the Boards' NW New Works Festival, Risk/Reward (Portland), Velocity Dance Center, and Fresh Oysters Performance Research (Minneapolis), as well as installations at New Tomorrow, Erasure (curated by Lion’s Main Art Collective), and the Lofi Arts Festival. From 2010-2013 they co-created The Eternal Glow Project—a four part performance/installation which premiered work at The Seattle Center Next50, OtB's NW New Works Festival, and the Lofi Arts Festival.

ABOUT SALVAGE RITUALS
Salvage Rituals invites the audience into the first iteration of an ongoing community practice and dance party. Born from a private ritual to mourn friends very much alive but lost to unsupported neurodivergence and addiction, Salvage Rituals is interested in the potential of communal ritual intersecting with DIY engineering as an embodied practice of mutualism/mutual aid. A rigorous movement score takes place on a hexagonal platform constructed of piezoelectric tiles, which transforms the mechanical stress from the performers' bodies into electrical current, actively powering the stage lights.

Performers/collaborators include Alyza DelPan-Monley, Sophie Franco, Alice Gosti, Alexandra Harding, Erin McCarthy, Stefan Richmond, Charles Smith-Stewart, and Paul Smith-Stewart. The performance culminates in a dance party featuring DJ Alice.

ABOUT ON THE BOARDS
As one of the leading organizations of their size and focus in the United States, On the Boards produces unique performance projects by leading artists and creates one-of-a-kind experiences for our audiences. 

On the Boards make significant investments in the performing arts community to help increase the quality of new work created. On the Boards contributes to the vitality of arts and culture in our region by helping launch and continue the careers of some of its most promising artists while growing audiences for experimental performance.

The Cloud Room Quarantunes

Here's a look at some of our most played tracks of the past year!

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SING-A-LONG-A-LONE LYRICS

Led by Shenandoah Davis

STAND BY ME

When the night has come

And the land is dark

And the moon is the only light we'll see

No, I won't be afraid

Oh, I won't be afraid

Just as long as you stand

Stand by me

 So darlin', darlin'

Stand by me, oh, stand by me

Oh, stand, stand by me

Stand by me

If the sky that we look upon

Should tumble and fall

Or the mountain should crumble to the sea

I won't cry, I won't cry

No, I won't shed a tear

Just as long as you stand

Stand by me

And darlin', darlin'

Stand by me, oh, stand by me

Oh, stand now, stand by me

Stand by me

Darlin', darlin'

Stand by me, oh, stand by me

Oh, stand now, stand by me

Stand by me

Whenever you're in trouble, won't you stand by me?

Oh, stand by me

Won't you stand now?

Oh, stand, stand by me

THE RAINBOW CONNECTION

Why are there so many

Songs about rainbows

And what's on the other side

Rainbows are visions

They're only illusions

And rainbows have nothing to hide

So we've been told and some chose to

Believe it

But I know they're wrong wait and see

Someday we'll find it

The Rainbow Connection

The lovers, the dreamers and me

Who said that every wish

Would be heard and answered

When wished on the morning star

Somebody thought of that

And someone believed it

And look what it's done so far

What's so amazing

That keeps us star gazing

What so we think we might see

Someday we'll find it

That Rainbow Connection

The lovers the dreamers and me

All of us under its spell

You know that it’s probably magic

Have you been fast asleep

And have you heard voices,

I've heard them calling my name,

Is this the sweet sound that calls

The young sailors,

The voice might be one and the same.

I've heard it too many times to ignore it

It's something that i'm supposed to be,

Someday we'll find it

The rainbow connection...

The lovers, the dreamers and me

La lala la lala la la la lala la la la

LET IT BE

When I find myself in times of trouble

Mother Mary comes to me

Speaking words of wisdom, let it be.

And in my hour of darkness

She is standing right in front of me

Speaking words of wisdom, let it be.

Let it be, let it be.

Whisper words of wisdom, let it be.

And when the broken hearted people

Living in the world agree,

There will be an answer, let it be.

For though they may be parted there is

Still a chance that they will see

There will be an answer, let it be

Let it be, let it be. Yeah

There will be an answer, let it be.

And when the night is cloudy,

There is still a light that shines on me,

Shine on until tomorrow, let it be.

I wake up to the sound of music

Mother Mary comes to me

Speaking words of wisdom, let it be.

Let it be, let it be.

There will be an answer, let it be.

Let it be, let it be,

Whisper words of wisdom, let it be.

SO HAPPY TOGETHER

Imagine me and you, I do

I think about you day and night, it's only right

To think about the girl you love and hold her tight

So happy together

If I should call you up, invest a dime

And you say you belong to me and ease my mind

Imagine how the world could be, so very fine

So happy together

I can't see me lovin' nobody but you

For all my life

When you're with me, baby the skies'll be blue

For all my life

Me and you and you and me

No matter how they toss the dice, it had to be

The only one for me is you, and you for me

So happy together

I can't see me lovin' nobody but you

For all my life

When you're with me, baby the skies'll be blue

For all my life

Me and you and you and me

No matter how they toss the dice, it had to be

The only one for me is you, and you for me

So happy together

Ba-ba-ba-ba ba-ba-ba-ba ba-ba-ba ba-ba-ba-ba

Ba-ba-ba-ba ba-ba-ba-ba ba-ba-ba ba-ba-ba-ba

Me and you and you and me

No matter how they toss the dice, it had to be

The only one for me is you, and you for me

So happy together

So happy together

How is the weather

So happy together

We're happy together

So happy together

Happy together

So happy together

So happy together (ba-ba-ba-ba ba-ba-ba-ba)

I WILL SURVIVE

At first I was afraid, I was petrified

Kept thinking I could never live without you by my side

But then I spent so many nights thinking how you did me wrong

And I grew strong

And I learned how to get along

And so you're back

From outer space

I just walked in to find you here with that sad look upon your face

I should have changed that stupid lock, I should have made you leave your key

If I'd known for just one second you'd be back to bother me

Go on now, go, walk out the door

Just turn around now

'Cause you're not welcome anymore

Weren't you the one who tried to hurt me with goodbye

Do you think I'd crumble

Did you think I'd lay down and die?

Oh no, not I, I will survive

Oh, as long as I know how to love, I know I'll stay alive

I've got all my life to live

And I've got all my love to give and I'll survive

I will survive, hey, hey

It took all the strength I had not to fall apart

Kept trying hard to mend the pieces of my broken heart

And I spent oh-so many nights just feeling sorry for myself

I used to cry

But now I hold my head up high and you see me

Somebody new

I'm not that chained-up little person and still in love with you

And so you felt like dropping in and just expect me to be free

Well, now I'm saving all my lovin' for someone who's loving me

Go on now, go, walk out the door

Just turn around now

'Cause you're not welcome anymore

Weren't you the one who tried to break me with goodbye

Do you think I'd crumble

Did you think I'd lay down and die?

Oh no, not I, I will survive

Oh, as long as I know how to love, I know I'll stay alive

I've got all my life to live

And I've got all my love to give and I'll survive

I will survive

Oh

Go on now, go, walk out the door

Just turn around now

'Cause you're not welcome anymore

Weren't you the one who tried to break me with goodbye

Do you think I'd crumble

Did you think I'd lay down and die?

Oh no, not I, I will survive

Oh, as long as I know how to love, I know I'll stay alive

I've got all my life to live

And I've got all my love to give and I'll survive

I will survive

I will survive

LANDSLIDE

I took my love, I took it down

Climbed a mountain and I turned around

And I saw my reflection in the snow covered hills

'Til the landslide brought me down

Oh, mirror in the sky, what is love?

Can the child within my heart rise above?

Can I sail through the changin' ocean tides?

Can I handle the seasons of my life?

Mmm

Well, I've been 'fraid of changin'

'Cause I've built my life around you

But time makes you bolder

Even children get older

And I'm gettin' older, too

Well, I've been 'fraid of changin'

'Cause I've built my life around you

But time makes you bolder

Even children get older

And I'm gettin' older, too

I'm gettin' older, too

Ah, take my love, take it down

Oh, climb a mountain and turn around

And if you see my reflection in the snow covered hills

Well, the landslide will bring it down

And if you see my reflection in the snow covered hills

Well, the landslide will bring it down

Oh, the landslide will bring it down

YOUR SONG

It's a little bit funny, this feelin' inside

I'm not one of those who can easily hide

I don't have much money, but boy, if I did

I'd buy a big house where we both could live

If I was a sculptor, but then again, no

Or a man who makes potions in a travelin' show

Oh, I know it's not much, but it's the best I can do

My gift is my song and this one's for you

And you can tell everybody this is your song

It may be quite simple but now that it's done

I hope you don't mind

I hope you don't mind

That I put down in words

How wonderful life is while you're in the world

I sat on the roof and kicked off the moss

Well, a few of the verses, well, they've got me quite cross

But the sun's been quite kind while I wrote this song

It's for people like you that keep it turned on

So excuse me forgettin', but these things I do

You see, I've forgotten if they're green or they're blue

Anyway, the thing is, what I really mean

Yours are the sweetest eyes I've ever seen

And you can tell everybody this is your song

It may be quite simple but now that it's done

I hope you don't mind

I hope you don't mind

That I put down in words

How wonderful life is while you're in the world

I hope you don't mind

I hope you don't mind

That I put down in words

How wonderful life is while you're in the world

WE ARE NEVER GETTING BACK TOGETHER 

I remember when we broke up, the first time

Saying this is it I've had enough

Because like we hadn't seen each other in a month

When you said you needed space, what?

Then you come around again and say

Baby I miss you and I swear I'm gonna change

Trust me

Remember how that lasted for a day?

I say I hate you, we break up, you call me, I love you

You called it off again last night

But this time I'm telling you

I'm telling you,

We are never ever ever getting back together

We are never ever ever getting back together

You go talk to your friends talk to my friends talk to me

But we are never ever ever ever getting back together

Like ever

I'm really gonna miss you picking fights

And me falling for a screaming that I'm right

And you hide away

And find your piece of mind with some indie record

That's much cooler than mine

You called me up again tonight

But this time, I'm telling you, I'm telling you

We are never ever ever getting back together

We are never ever ever getting back together

You go talk to your friends talk to my friends talk to me

But we are never ever ever ever getting back together

I used to think that we were forever, ever

And I used to say never say never

We are never ever ever getting back together

We are never ever ever getting back together

You go talk to your friends talk to my friends talk to me

But we are never ever ever ever getting back together

We are never ever ever getting back together

We are never ever ever getting back together

You go talk to your friends talk to my friends talk to me

But we are never ever ever ever getting back together

TIME AFTER TIME

Lying in my bed, I hear the clock tick and think of you

Caught up in circles

Confusion is nothing new

Flashback, warm nights

Almost left behind

Suitcase of memories

Time after

Sometimes you picture me

I'm walking too far ahead

You're calling to me, I can't hear

What you've said

Then you say, "go slow"

And I fall behind

The second hand unwinds

If you're lost you can look and you will find me

Time after time

If you fall, I will catch you, I'll be waiting

Time after time

If you're lost, you can look and you will find me

Time after time

If you fall, I will catch you, I will be waiting

Time after time

After my picture fades and darkness has

Turned to gray

Watching through windows

You're wondering if I'm okay

Secrets stolen from deep inside (deep inside)

And the drum beats out of time

If you're lost you can look and you will find me

Time after time

If you fall I will catch you, I'll be waiting

Time after time

If you're lost, you can look and you will find me

Time after time

If you fall, I will catch you, I will be waiting

Time after time

Time after time

I've got a suitcase of memories that I almost left behind

Time after time

Time, time, time

But you say to go slow but I fall behind

Time after time after time (after time, oh)

SPACE ODDITY

Ground Control to Major Tom

Ground Control to Major Tom

Take your protein pills and put your helmet on

Ground Control to Major Tom (ten, nine, eight, seven, six)

Commencing countdown, engines on (five, four, three)

Check ignition and may God's love be with you (two, one, liftoff)

This is Ground Control to Major Tom

You've really made the grade

And the papers want to know whose shirts you wear

Now it's time to leave the capsule if you dare

"This is Major Tom to Ground Control

I'm stepping through the door

And I'm floating in a most peculiar way

And the stars look very different today

For here

Am I sitting in a tin can

Far above the world

Planet Earth is blue

And there's nothing I can do

Though I'm past one hundred thousand miles

I'm feeling very still

And I think my spaceship knows which way to go

Tell my wife I love her very much she knows

Ground Control to Major Tom

Your circuit's dead, there's something wrong

Can you hear me, Major Tom?

Can you hear me, Major Tom?

Can you hear me, Major Tom?

Can you "Here am I floating 'round my tin can

Far above the moon

Planet Earth is blue

And there's nothing I can do"

UMBRELLA

You have my heart

And we'll never be worlds apart

Maybe in magazines

But you'll still be my star

Baby, 'cause in the dark

You can't see shiny cars

And that's when you need me there

With you, I'll always share

Because

When the sun shine, we shine together

Told you I'll be here forever

Said I'll always be your friend

Took an oath, I'ma stick it out to the end

Now that it's raining more than ever

Know that we'll still have each other

You can stand under my umbrella

You can stand under my umbrella, ella, ella, eh, eh, eh

Under my umbrella, ella, ella, eh, eh, eh

Under my umbrella, ella, ella, eh, eh, eh

Under my umbrella, ella, ella, eh, eh, eh, eh, eh-eh

These fancy things

Will never come in between

You're part of my entity

Here for infinity

When the war has took its part

When the world has dealt its cards

If the hand is hard

Together we'll mend your heart

Because

When the sun shine, we shine together

Told you I'll be here forever

Said I'll always be your friend

Took an oath, I'ma stick it out to the end

Now that it's raining more than ever

Know that we'll still have each other

You can stand under my umbrella

You can stand under my umbrella, ella, ella, eh, eh, eh

Under my umbrella, ella, ella, eh, eh, eh

Under my umbrella, ella, ella, eh, eh, eh

Under my umbrella, ella, ella, eh, eh, eh, eh, eh-eh

You can run into my arms

It's okay, don't be alarmed

Come into me

There's no distance in between our love

So gon' and let the rain pour

I'll be all you need and more

Because

When the sun shine, we shine together

Told you I'll be here forever

Said I'll always be your friend

Took an oath, I'ma stick it out to the end

Now that it's raining more than ever

Know that we'll still have each other

You can stand under my umbrella

You can stand under my umbrella, ella, ella, eh, eh, eh

Under my umbrella, ella, ella, eh, eh, eh

Under my umbrella, ella, ella, eh, eh, eh

Under my umbrella, ella, ella, eh, eh, eh, eh, eh-eh

It's rainin', rainin'

Ooh, baby, it's rainin', rainin'

Baby, come here to me

Come into me

It's rainin', rainin'

Ooh, baby, it's rainin', rainin'

You can always come into me

Come into me

The Cloud Room’s Curatorial Picks

L O O K:

First Thursday from Your Sofa

As we all begin to adapt to a new reality under Covid-19 lockdown, many little impulses or traditions must be denied or redirected. One of those beloved traditions, to take in new art at local galleries at the start of each month -- as so many Seattleites often do on ‘First Thursdays’-- would be yet another one of those canceled occasions, were it not for two arts enthusiasts who decided to create a virtual First Thursday experience for us to enjoy in our own homes. While Seattle galleries have closed their doors during the Covid lockdown, Lauren Gallow, Gray Magazine’s executive editor, teamed up with Gabriel Stromberg, creative director at Civilization to document a virtual tour of 25 local art exhibits.

They’ve titled the ephemeral virtual art walk “By The Hour,” and filmed it live last Thursday. In case you find yourself lusting after some artistic inspiration, you can watch the entire 90 minute segment here. Tune in to learn more about so many artists and the important work they’ve done that is now on display in Seattle’s shuttered galleries. Lauren and Gabriel would like to encourage people to continue to think and talk about art during this time, even though we might not be able to witness it in person. “By The Hour is a way for people to show up for the arts, without leaving their homes. By tuning in to our live broadcast, people can learn about the artists, curators, and galleries who are the cultural lifeblood of our community,” said Gallow. “I love nothing more than sharing stories about art, so producing and hosting By The Hour is my dream come true! I can't wait to see what we do next.”

One favorite is the group show at SOIL gallery titled “Conscious Collaboration with Spirit” curated by Leah Nyugen. This show features seven artists and focuses on artists who use a collaboration with spirit as part of their work. Nyugen wants to bring awareness and conversation to a topic that is typically ignored or avoided by the art world. Brain Flows by Nola Avienne is also on display in the back gallery space. Avienne’s work features drawings done in acrylic ink on rag vellum of dendritic brain structures inspired by MRI’s. As Gallow points out, it’s an interesting juxtaposition of both the spiritual and the scientific in one gallery. We’re also crushing on Jennifer Ament’s prints over at Zinc Gallery, and the Fruitsuper show. Check out the instagram handle @_by_the_hour_ for updates in real time and continued posts of artists’ works, and don’t forget to use the hashtag #bythehour as you share and discuss art with your friends online.

Photo: Artwork entitled “Here We Are Now, Entertain Us” by Jennifer Ament

E X P E R I E N C E:

Yoga at Sanctuary or Breathwork with Josephine Edmondson

Now more than ever, our collective anxiety may be heightened as we think about the members of our society who are out on the front lines, and our loved ones who are sick or struggling. It is a critical time to remember to breathe and to move our bodies (if we are able to do so). An array of workout videos and streaming classes are available online to help with this. We’d like to recommend a new-ish studio based in Queen Anne called Sanctuary. Sanctuary offers virtual yoga classes in a variety of settings. They were one of the first studios to offer free classes online, particularly important for members of the community who are struggling to find work right now.

If you are looking for an intense psychological cleansing in addition to the more physical variety, Josephine Edmondson has been offering virtual breathwork classes that are both cathartic and rejuvenating. She plays eclectic music throughout the forty minutes of intense breathing, and her calming voice can help anyone face down the eye of the storm in these turbulent times. She also offers reduced rates or free classes for those who are in need. More information is available on her website, and her next class is scheduled for April 11 from 1 to 2:30pm.

Photo: Sanctuary — Seattle, WA

T A S T E:

Dinner and a Movie via Golas Kitchen

Long gone are Saturdays and Sundays packed full of parties and brunch dates. That said, putting some planning together for your upcoming weekend isn’t impossible (it just might be in the form of local take-out and the House Party app), but Golas Kitchen just made booking a date night in the time of Covid-19 a little easier and a lot more fun with their curated “Dinner & A Movie” series. Golas Kitchen is a catering company owned by husband and wife team Michal Gola and Osiris Navarro. Their Czech and Filipino backgrounds enhance their colorfully creative cuisine and events. Like most other local food businesses, they’ve had to pivot their business model and are now offering prix-fixe menus available for curbside pickup, available every Friday, Saturday, and Sunday “until this is done,” (according to their recent Instagram post).

This coming weekend their menu will be inspired by the film “Good Fellas,” available on Netflix, and will feature baked ziti, pork cutlets in a sage and mushroom sauce, garlicky green beans, and cannoli. Future food and film pairings include suggested home-screenings of “Joy Luck Club,” paired with congee and housemade dumplings, “Julie and Julia” with a Boeuf Bourguignon and potato galette and chocolate mousse for dessert, and for the film “Chef,” they’re pairing Mojo Marinated Pork Shoulder with citrus salsa, arroz verde & beans, and Maduros, which are sweet plantains. The menus are $75 for three courses, and $15 for a dessert portioned for two people. You can order online, or contact info@golaskitchen.com for more information. That’s amore!

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Shop to Support Chophouse Row + Friends

We’re all in this together.

Given the circumstances in this city, we’re all looking for ways to support each other in community and one of the easiest way to instantly support right now is by providing small businesses with the resources they need to make it through these times and they’ve made it easy by creating Gift Certificates that allow you to “Buy Now, Enjoy Later”. Chophouse Row houses and supports an incredible community including all of the wonderful artisans, barbers, chefs, restauranteurs, aestheticians, furry friend caregivers, wine enthusiasts and two wheeled (yes, bikes) specialists that make our home… HOME. 

We love and adore our community, our appreciation goes beyond words.

For those of you who keep asking how you can support these small businesses, we’ve linked directly to their websites below. There you’ll find amended hours, links to purchase gift certificates, and more information on each business’ response to this situation.

Cake Skincare

cuniform

Foundation Crossfit

Pacific Supply

Plum Chopped

Play Doggie Day Care

Good Weather

Osteria La Spiga

The Scotch Pine

Bai Tong Thai Street Cafe

Retrofit Home

Marmite

Cafe Pettirosso

Cupcake Royale

HONED Boutique

Sweet Alchemy Ice Creamery

Ghost Gallery 

Amandine Bakeshop

By Tae

Plum Bistro

Drink Digby

#shoplocal #supportsmallbusiness

The Cloud Room’s Curatorial Picks

L O O K:

Georgia O'Keeffe's Abstract Variations at SAM

A new exhibit at the Seattle Art Museum immerses viewers in the early works of one of the great pioneers of American Modernism, Georgia O’Keeffe who was known for her beautifully myopic portraits of flowers, starkly luminous city scapes, and poignant desert renderings. With a style that was all her own, O’Keeffe explored the limits of form, often pushing her subjects past the precipice of figurative representation, and was in fact one of the first American artists to paint pure abstraction.

Abstract Variations features 17 of O’Keefe’s works that span the earlier part of her career, dating from 1910 through 1930. Chief among these paintings is a recent SAM acquisition titled Music, Pink and Blue, No. 1. This painting, gifted to SAM by a late trustee Barney A. Ebsworth, was O'Keeffe's first major oil painting and is an important addition to SAM’s permanent collection. A similar painting titled Music, Pink and Blue, No. 2, on loan from The Whitney, is also on display, bringing the pair of paintings back together again for the first time in recent history, and thus revealing how O’Keeffe sometimes treated her works like musical voicings, with subtle variations in form and color.

This SAM exhibit deftly reiterates O’Keeffe’s pioneering style and highlights her ability to capture the feeling of truly looking at a thing, rather than an insistence on capturing an element of the thing itself. “I had to create an equivalent for what I felt about what I was looking at - not copy it,” O’Keeffe once said when speaking about her artistic process. O’Keeffe’s Abstract Variations will be on display from March 5 through June 28 at Seattle Art Museum. More information on the exhibit is available here.

W A T C H:

Never Rarely Sometimes Always

The premise for this film is simple; Autumn, a seventeen-year-old girl finds that she is pregnant and wants to terminate her unwanted pregnancy. A story that should be simpler is complicated by the fact that she must travel from her rural Pennsylvania town to NYC to have the abortion. Her cousin Skylar agrees to go with her. The film follows Autumn intimately throughout the scary, and at times harrowing experience as she travels to NYC with very little funds and even less experience. Upon arriving in the city, a wider world reveals itself, one that reiterates the sometimes brutal systems of authority, finances, and power.

This film was written and directed by Eliza Hittman who has been lauded by Variety Magazine for her naturalistic yet dreamlike style. Hittman’s two previous films “Beach Rats” and “It Felt Like Love” both follow similar trajectories of youth in crisis, but “Never Rarely Sometimes Always” seems to surpass those films in both substance and style. The film showcases the real impacts of the war on abortion in this country without being didactic, and is particularly pertinent right now. In 2019 12 states passed abortion restrictions, Alabama attempted to ban abortion outright, and just last week, oral arguments began in a supreme court case over a Louisiana law that observers worry could undermine Roe v Wade. The film opens at Siff on March 27.

T A S T E:

Sri Lanken and Indian Cuisine at Rupee Bar

If recent travel bans (or working from home in your pajamas for a few too many days in a row) has you yearning for some exocitism, this bright jewel of a restaurant and cocktail bar might be the ticket. Rupee, a colorful Ballard staple, features a lively blend of Sri Lanken and Indian cuisines. The team behind Fremont’s famous Manolin brought Rupee to life in October of last year, and it’s been met with excellent praise. The dinner menu boasts an array of curries, and playful plates like Deviled Prawns, Kerala Fried Chicken, and Mutton Rolls. Executive Chef Liz Kenyon was recently nominated for the prestigious James Beard Rising Chef of The Year award. Meanwhile, Patrick Thalanos runs the bar program and combines traditional South Asian flavors with PNW-sourced ingredients to create tantalizing cocktails like the King Coconut, made with bourbon and East India Solera sherry, or a barrel aged gin-cardamom infusion called Paan. Rupee is open on Tuesday through Saturday from 4pm to 10pm, and on Sundays from 4pm to 9pm and is walk-in only.

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SHOWING SIGNS OF WEAR

SHOWING SIGNS OF WEAR
Solo Show by Eliaichi Kimaro [ On display at The Cloud Room March 12-April 6 ]
Artist Statement

As a self-taught artist and creative storyteller, I am constantly reinventing myself, experimenting with new materials and techniques, and learning whatever medium it takes to tell the story that is emerging.

Over the past 40 years, I have used writing, music, photography, film, and now mixed media art to explore my personal/family narrative.  Across every medium, I find beauty in the rusty, weathered and worn. I love the stories that scars hold ~ and feel compelled to take those stories of survival and turn them into something beautiful to behold.

This body of work hangs together loosely.  To me, they are more about the process, the journey of becoming.  They evoke the layered narratives that we all carry—as individuals in this present moment, and as the embodiment of our ancestors’ stories spanning generations and continents.   They represent new directions I am taking as an artist -- using mark-making, texture, cold wax medium and organic materials to tell a story.  Some of these pieces came into being fully-formed.  Some were labors of love, with 2 or 3 completely different paintings existing beneath the surface.

While I am excited to share these paintings in their current incarnations, some of them will be radically transformed – scraped down, carved into, painted over—when they return to my studio.  But as a lover of process, I believe that even our work-in-progress selves deserve an occasional spotlight…to be seen, witnessed and considered in our current state of being…and becoming.

L O O K:

Ken Moore: Another Conversation in Black Surreality

Frederick Holmes & Company showcased the paintings of contemporary artist Ken Moore last year in his first-ever solo show in the Pacific Northwest. This month, the Pioneer Square gallery is bringing back his impressive collection of paintings for a second month-long exhibition. A resident of Los Angeles and an owner of The Howling Monk jazz club, Moore paints in a colorfully vivid blend of Cubist & Surrealist styles, and frequently incorporates motifs reminiscent of his love for jazz music into his work in addition to themes around the culture, history, and myths of the African Diaspora.

Born and raised in Southside Chicago, Moore began nurturing a talent for painting and drawing as a young child. He recalls that his favorite day of the week was Sunday, the day on which his father would bring home a pressed shirt from Chinese Laundry on 43rd St, “Each shirt was packaged with a thin piece of cardboard. One side was very glossy white, the other side was very dull grey…the cardboard was mine to use as I pleased. The cheap cardboard may as well have been a sheet of expensive Strathmore drawing paper…” Moore continued to develop his talent and eventually studied at The Art Institute of Chicago under Ray Yoshida.

In this solo Seattle exhibition titled Another Conversation in Black Surreality, Moore’s 25 paintings dating from 1973 to 2018 will encompass the gallery’s entire first floor. In his artist statement, Moore references an essay by James Baldwin titled Many Thousands Gone in which Baldwin described the ‘Negro in America’ as “that shadow which lies athwart our national life” and further as “a series of shadows, self-creating, intertwining,” and finally as people who do not “really exist except in the darkness of our minds.” Moore goes on to say that “Baldwin’s descriptions contain an unsettling mysterious quality; a surreal quality that is not uncommon in most African American cultural expression; a conscious worldview I call Black Surreality. As a "Black Man" I assume this consciousness comes into everything I do - including my art.”

W A T C H:

Atlantics by Mati Diop and Keepers of The Dream

In honor of Oscar season, which dismayed us with its glaring lack of diversity, specifically in the Best Director and Best Films categories, we sat down with local filmmaker and cultural critic Charles Mudede to ask him what film should have been in the running this month. His top pick is a Senegalese film from up-and-coming director Mati Diop. This past year Diop made history with her first feature film Atlantics, and its presence at the 2019 Cannes Film Festival. Not only was Diop the first-ever female black director to compete at Cannes, but she also was the first to win, and took home the prestigious Grand Prix award.

Atlantics portrays the plight of Ada, a young 17-year-old girl living in the suburbs of Dakar, the capital of Senegal. She is set to marry a wealthy man, but is in love with Souleiman, a poor construction worker. After Souleiman’s sudden disappearance, Ada must contend with a life without him, and allegations arise of her involvement in a crime that Souleiman may have committed. The story weaves in themes of death, escape, and migration, and does so in an ethereal, and sometimes fantastical way. Throughout the film, the backdrop of Dakar and the luminous (and at times, looming) sea stand out, and are as important as the two main characters themselves, who were both first-time actors.

“It’s really shocking to me that this film, which stunned critics and viewers at Cannes Film Festival this year, was just completely ignored by the Oscar committee. It should have at least been in the running for best foreign film,” said Mudede. “It’s a beautifully haunting film that portrays a side of the African experience that is not typically seen in cinema. It’s both a romance and a sort of ghost story. So often the African films that get noticed portray war and violence (films like War Witch, Beasts of No Nation, The Pirates of Somalia), but this film gives us another dimension of what it means to be African, and it’s an important film to consider. It deserves much more attention than it’s getting stateside.” Sadly Atlantics’ release in theaters has also been minimal, but it is now available for streaming on Netflix and is an absolute must-see.

Mudede also encourages everyone to head to The Film Forum for the upcoming screenings of Keepers of The Dream: Seattle Women Black Panthers, a series of short documentary films from Patricia Boiko and Tajuan LaBee. This series of five short documentaries shares individual stories in varied Seattle settings significant to the SBPP, and features an original score by SassyBlack. Following the screening on 2/7 will be a Q&A with filmmakers and a panel discussion with Vanetta Molson-Turner, Youlanda Givens, Winona Hollins Hauge, and Phyllis Noble Mobley, facilitated by Malika Lee. The panel Q&A will be filmed and shown following the 2/20 and 3/6 encore screenings. More details on screening dates and times are available here.

T A S T E:

Edouardo Jordan & Nyesha Arrington’s Creations

Acclaimed chef Edouardo Jordan will be hosting a series of eclectic culinary events all throughout the month of February highlighting an array of talented African American chefs, winemakers, and food writers. In case you missed his culinary event Soul of Seattle, which he hosted in partnership with The Junior League earlier this month, there are still several dinners coming up. Of particular note, Jordan will be teaming up with L.A.-based Nyesha Arrington, who will be preparing a multi-course menu at Salare on February 27. Arrington was a star contestant on Top Chef, and has worked in multiple Michelin-starred kitchens in Las Vegas and L.A. Most recently she opened and ran restaurants in Santa Monica and Venice. Her vibrant creations weave in an array of traditions and uniquely local ingredients. Jordan will also be hosting a dinner with Woodinville winemaker Bertony Faustin of Abbey Creek Wines—the first noted black winemaker in the Pacific Northwest—for a multi-course dinner and limited-edition wine release tonight at Salare, and a vegan dinner with writer Bryant Terry on Sunday February 16. All of these dinners are sure to be delicious, festive, and thought-provoking! More details are available here.

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here’s to them

Photography by Stefano Altamura
On display at The Cloud Room Feb 13-March 10

Stefano Altamura originally got into photography with the sole objective of taking reference photos for his full time work as a figurative painter. Soon after getting his first camera in 2016, he began surfing here in the Pacific Northwest, purchasing a water housing kit and diving in, curious to capture the light and variation of the waves. Over time, these new ventures, paired with his partner’s career as a dancer, deepened his affinity for movement in nature and the human form. After the physicality of surfing and the excitement of a spontaneous subject like water, the challenges and possibilities in dance photography felt familiar. Shooting live performance required the same focus, forcing him to be present and adaptable in order to get the shot. With this catalyst into photography, he began to wonder if he could capture what he found in his paintings through dance photography: intimate frame and composition of the anatomy. Since then, he has worked with over 100 dance artists nationally and internationally as well as signed on as the official photographer for Seattle-based dance company, Whim W’him. Inspired by the dedication and risk-taking of dancers, he has strived to overcome the inertia of traditional photography by aiming to not just document but to capture each image as an evocative, stand-alone frame of the fleeting moment. Now, whether he is photographing surf, dance, fashion, or events, his unique and poignant painting framework plays out in his shots. 

“I've curated a collection of some of my favorites shots throughout the years from my experiences working with dancers and performers. I want the evening to be about showcasing their works and my deep appreciation for their support.”

Kintsugi, 2020

A Champagne Arcade Production
Featuring: Paulo Castillo, Samantha Kelly, Napoleon Do

Kintsugi is the Japanese art of rebuilding broken pottery using poisonous sap as an adhesive and gold in order to highlight its imperfections. Through the process of repairing broken things, we can create something more desirable, beautiful and unique. Each crack tells a story like the lines on our palms. How we choose to react when our lives break apart and shatter, the feeling of loss, and the conversations that we have with ourselves is the work featured in Kintsugi. It's a terraforming of the mind, saving us from ourselves.

Paulo Castillo is a storyteller who currently focuses on documenting glimpses of the atypical through photography. His zine titled Champagne Arcade started out as a solo retrospective project that soon turned into a platform for collaboration. It’s a slice of life, showcasing the vitality of the artists involved. An extension of his reality. 

Napoleon Do uses his lens to create narratives that situate people within their environments and capture the interactions or contrasts between the two-context and people. Napoleon has always lived in the Pacific Northwest and began shooting 35mm film in 2013.

Samantha Kelly is a photographer and filmmaker based in Los Angeles. Her work explores the emotional elements of human nature and the subconscious symbolism of light, color and human figures.

W A T C H:

An Agnès Varda Retrospective at SIFF

Agnes Varda, a prolific French filmmaker and multidisciplinary artist, passed away at age 90 this past year, leaving behind an enduring legacy of beautiful and groundbreaking films that have forever changed the history of cinema. Siff will be showcasing a series of some of Agnes Varda’s most famous works throughout the month of January.

Though she is frequently associated with the French New Wave film movement, Varda’s cinematic inventions actually predate the rise of New Wave cinema. Varda began making and directing films when she was only 26. She brought to the silver screen a sumptuous creativity and playful spirit. One of her most famous works, “The Gleaners and I” will be playing at Siff on January 18. This documentary, shot by Varda in 2000, profiles a subculture of people who gather food, objects and other items that would otherwise go to waste. Feeling that she was in some ways more alike than different from these “Gleaners,” Varda captures the idiosyncratic group with tenderness and the documentary offers a refreshing antidote to mass consumerism. Laurie Elkin, an editor at The Paris Review points out that “as climate change becomes undeniable and inevitable, The Gleaners & I feels more relevant than ever."

The Varda retrospective is showing now through January 19. A full list of films that are part of the Varda retrospective is available here. You can learn more about Varda in this NYT feature that summarizes her entire career, which spanned more than six decades.

W I T N E S S:

The Metropolitan Opera LIVE at Pacific Place

The Metropolitan Opera in New York City has made a name for itself as one of the premier destinations in the world to witness an Opera. If you’ve ever had a chance to watch an Opera from a seat at the Met, you’d probably agree. However, for most of us, hopping a plane to see a performance that you might’ve only vaguely heard of before doesn’t really make all that much sense. Fortunately, there’s a solution. Enter The Met LIVE! The Met now broadcasts its performances to theaters all around the world, including a few theaters in Seattle. Some proponents of ‘The Met Live’ showings claim that it’s actually a completely novel experience, and very different from being at the actual opera. In addition to behind-the-scenes footage, cinema-goers are also privy to stunning close-ups of the actors, which offer amazing visual details that one just doesn’t get while attending a live performance.

In January and early February, AMC Pacific Place 11 will be showing two different Metropolitan Operas; Wozzeck and Porgy & Bess. A variety of other Seattle-area theaters will also be screening these operas.

T A S T E:

A bottle you haven’t tried before at Petite Soif

The owners of the esteemed wine shop/coffee shop/cafe/wine bar known simply as Vif on Fremont Avenue have recently opened a new outpost on Beacon Hill. Much like its predecessor, this new hybrid one-stop bottle shop and cafe will offer a limited menu that is available all day, and a superb by-the-glass list along with a comprehensive selection of natural wines available for purchase by the bottle.

Also unique to Petite Soif is the opportunity to try all of the wines they carry on-site via their “Petite Soif Wine Share” program where guests may open any bottle (with a minimum purchase of two glasses). This gives people the opportunity to try a greater array of wines and learn more about Petite Soif’s inventory. Any wine leftover from said purchase goes up on the blackboard as a by-the-glass special until it sells out. The all-day menu features the fabulous bread from Sea Wolf Bakers, and delicious salty things like anchovies, olives, platefuls of prosciutto, and more. Hot items and salads are available after 4pm on weekdays and 2pm on weekends. The cafe is open Tuesday through Saturday until 10pm, and until 9pm on Sundays.

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By Amy Musser

W I T N E S S:

Donald Byrd: The America That is To Be

This latest Frye Gallery retrospective of Donaly Byrd follows the artist’s works from his early dances in a punk-inspired aesthetic made while in residence at California Institute of the Arts near Los Angeles, through works with his own company, Donald Byrd/The Group, in New York during the 1980s and 1990s, to his arrival in 2002 in Seattle, where his commitment to social justice has found full expression in a remarkable array of dance theater works. While the primary medium is a striking body of photography featuring the artist and his work, Spectrum Dance Theater company artists will also be performing choreography by Donald Byrd throughout the duration of the exhibition.

In case you aren’t familiar with Donald Byrd, he is a Tony-nominated (The Color Purple) and Bessie Award-winning (The Minstrel Show) choreographer, and has been the Artistic Director of Spectrum Dance Theater in Seattle since December 2002. Formerly, he was Artistic Director of Donald Byrd/The Group, a critically acclaimed contemporary dance company, founded in Los Angeles and later based in NewYork that toured both nationally and internationally. Details on showtimes and the exhibit are available here.

W A T C H:

Portrait of a Lady on Fire

This 2019 film release is a French historical drama directed by Celine Sciamma. Portrait of a Lady on Fire takes place on an isolated island in Brittany and follows the story of a young painter and the relationship that unfolds between her and Heloise, the subject that she’s been commissioned to paint a portrait of. The film has been widely applauded for its stunning cinematography, acting, writing, and production. As Dana Stevens at Slate points out, “Portrait of a Lady on Fire is that rare movie in which every choice feels thought through, meaningful, and right, from the costumes by Dorothée Guiraud to the cinematography by Claire Mathon.”

Portrait of a Lady on Fire won the Queer Palm Prize at Cannes this summer, becoming the first film directed by a woman to win the award. Sciamma also won the award for Best Screenplay at Cannes. While the film was theatrically released in France in September of 2019, it will be hitting American cinemas across the nation in early December.

T A S T E:

Off the Rez Cafe

Mark McConnell and Cecilia Rikard are behind this new Native American cafe in the University District. The couple first became known for their food truck that goes by the same name, and just recently opened a sit-down cafe inside the Burke Museum. McConnell was raised in Ballard and frequently ate frybread and Indian tacos prepared by his mother who grew up on the Blackfeet Reservation. The inspiration for “Off The Rez” came from missing the food that he ate as a child, and also a realization that there was a complete lack of native american food available in the region.

“We gathered recipes, we talked to a bunch of my family members and got a bunch of different variations on frybread recipes, blended them together and added our own touches,” McConnell said in a recent Seattle Times interview. “Everything we have has a traditional side to it, but is tweaked a bit and modernized.” The cafe is open Monday through Friday from 8am to 6pm, and on the weekends from 10am to 5pm.

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Q+A with Photographer Francisco Macias O

Interview: Francisco Macias O, Photographer

flâneur

noun: flä-'nər / city saunterer

Opening reception at The Cloud Room on 11/14 @ 6:30pm—collection on display through 12/9.

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CR: We are so happy to have you as a member at the Cloud Room. Could you tell us a little bit about your work and your unique perspective?

FM: Thank you for having me. You’ve created such an inspiring community and I am so thrilled to be apart of it. I am a photographer and art director. Most of my work have been focused on editorial, fashion, street shots, but I’ve also done commercial creative and art direction for start-ups and corporations. People and portraiture is the focal point of my work. I love experimenting with lighting and surrounding negative space in order to keep the subject in focus as much as possible.

CR: Where did you grow up? How does this influence your work?

FM: I moved to the U.S. when I was 23 but I was born and raised in Monterrey, Mexico. Mexico is one of the most diverse and vibrant places on Earth, so it shapes and inspires a lot of my work. It’s full of color, joy, flavor and music. Improvisation is everywhere. The people are earnest, hard-working, caring and always ready to flash a smile. Of course it also has a darker side, but the strength of the Mexican people and the perseverance of the community in times of adversity inspires me to capture how people keep going even when things get tough.

My family has also had a huge impact on me any my work. The family, followed closely by the community in the plaza, are the focal points of Mexican life. I was raised in a working class neighborhood. It is loud, busy, and bustling with characters who all love to pose for me when I roam around with my camera. My mother is a seamstress who takes tremendous pride in her work. Her designs are not shy. They are adventurous, full of life and maybe a bit too colorful, but so am I and I am so thankful to her for that.

CR: How did you get started as an artist? Where are your artistic roots?

FM: As a kid I was always playing with a camera and experimenting with lighting to capture my subjects. I love the rush of capturing the spontaneous. That’s why shooting anonymous subjects on the street and exploring angles in a short amount of time excites me so much.

CR: Let’s talk specifically about this show. It will be up from November 14th-December 9th. Can you tell us a bit about this body of work specifically?

FM: Over the last five or six years, cities and the people who inhabit them have become the subject of my curiosity as a photographer. And I’m hoping to expose in a personal way how indirectly and unwittingly, architecture and the urban backdrop affect passersby and vice versa. I think this group of images speaks to what I’ve been doing in the past 5 years. At first I didn’t feel that had a story to tell until I saw images together. But when I started working with Rafael to curate a the show, we both saw that the series captures the energy on the streets and a passion for discovering hidden stories, subjects and angles that we might otherwise miss if we’re not paying close attention.

CR: Do you work in any other mediums besides photography?

FM: Photography is my passion and main medium, but I also do quite of experimentation in post production.

CR: What are your favorite places around Seattle to grab a bite, drink or coffee? We’d love your recommendations.

FM: I could work, eat and drink all day at Cafe Presse. Tacos Chukis for a bite with friends. Homer is my new favorite place for a special night out.

CR: Do you have any favorite museums or galleries where you go to get inspired?

FM: I just got involved with the Henry Art Gallery. I have always been a fan of contemporary art and get excited when I see great artists being shown in town. In general, The Frye is always great, and I’m lucky to have free access to this space. The last exhibition that I was captivated by was by Zanele Muhuli: Somnyama Ngonyama, Hail The Dark Lioness at the SAM Museum. This truly was a powerful show about a discomforting, self-defining artist’s journey, and her outcome rethinking the culture of self-representation and self-expression.

I’m also very excited for Museum of museums (MoM) to open in Capitol Hill.

CR: Last, if you have anything you’d like to share about your experience at the Cloud Room and being a part of the community, please share!

FM: I love this place and I love that you all created a place like this in Seattle. I have been really enjoying working here and finding a spot where people of any industry just come to make it through their working day in a cozy and warm spot; it’s just perfect for the rainy city we live in.

By Amy Musser

W I T N E S S:

Digital Perspectives: Maja Petric, Peter Gronquist, Etsuko Ichikawa

In the latest exhibit at Winston Wachter Fine Art Gallery, three artists display their art through different digital mediums. Each artist’s forray is otherworldly and somehow similarly transformative, but also stand well on their own. Maja Petric has gained recognition for her other most recent show We Are All Made of Light, an interactive exhibition where viewers become ephemeral “stardust” trails that linger over time, highlighting the interconnectedness of all things. In this current exhibit from the artist, she places the viewer in surreal landscapes where they can interact with nature as she has created it. Also on display is the meditative work of Peter Gronquist, which features an undulating golden sheet flapping in the wind, playing with light, shadow, and perhaps a touch of the absurd, or maybe the beauty of a small moment in translation.

In case you aren’t familiar with this gallery, Winston Wachter is located on Denny Ave. and showcases primarily contemporary and 20th Century art. The gallerists also have a showroom in New York City, and specialize in acquiring and selling unique and striking works of art. DIgital Perspectives opens tonight and is on display through December. If you like more cutting-edge contemporary work, this is surely a gallery to keep an eye on.

W A T C H:

The Battle of Algiers or SIFF Italian Style

“Maybe if we told the truth about history, we’d start telling the truth about the present;” wise words from director Gillo Pontecarvo. His 1966 film, The Battle of Algiers, is playing at the newest little arthouse heater in South Seattle, The Beacon. This film, which has been noted by many as one of the best war films of all time, features a stunning soundtrack by Ennio Morricone, and is shot in a neorealist style. The film itself chronicles the three-year Battle of Algiers, and the screenplay was adapted from the memoirs of Saadi Yacef, a leader in the National Liberation Front. The film is so realistic, in fact, that the U.S. issued a decree that “not a single real newsreel” was actually used when it hit American theaters in the sixties.

If war movies aren’t your thing, but Italian cinema is, then skip The Beacon and head to SiFF Uptown where some of Italy’s best contemporary films will be playing for the next week or so during this mini Italian film festival. From the rise of the first Italian female boxer in the Butterfly documentary, to a commentary on the Selfie, there is sure to be something that strikes your fancy. Cinema Italian Style runs from Nov. 7 through 14, and tickets are available for preorder here.

T A S T E:

Harry’s Beach House on Alki

In between rough-hewn brick walls, where vintage art and mismatched silverware abound, is a new little restaurant in the old Tully’s Coffee spot on Alki that radiates charm and warmth. Those who know Harry’s on Capitol Hill will find the same cozy vibes here too, only with a bit more of a beachy feel, and some nice sunset views too.

Harry’s has become known for its delicious seasonal menus, natural wine, and ultra-friendly waitstaff. Based upon reviews from the fans who’ve dined there, this new locale doesn’t disappoint. Many folks have called out the brunch waffles and schnitzel, and apparently the burger is the best in the city. Sounds like a perfect day date after a stroll along the beach. You’ll find us there this weekend! Harry’s Beach House is open for brunch and dinner Wednesday through Sunday.

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By Amy Musser

L I S T E N:

EARSHOT JAZZ FESTIVAL

Every autumn the Earshot Jazz Festival brings a stellar line-up of jazz acts to venues all across the city. This year it’s back and bigger than ever with more than 50 concerts showcasing some of the best and hottest talent in the contemporary jazz scene. This breadth of talent spans genres, styles, and proclivities of all kinds. From the “telepathic free jazz” of Marilyn Crispell, Joe Fonda, Harvey Sorgen at the Chapel Performance Space, to the Yemenite Jewish and ancient Arabic sounds from Yemen Blues Plays Hallel at The Triple Door, there is truly something for everyone.

Not to be missed: Cecile McLorin Salvant a thirty year old three-time Grammy winning jazz vocalist will take the stage at Town Hall with Aaron Diehl on keys. Salvant has been lauded as one of the best jazz singers to emerge from the last decade by the NYT, and blends elements of classic jazz vocals with a fresh, unique spin that is all her own. She gives herself away with abandon in moments, and then springs back to a more restrained but impeccable style, creating connection and intrigue all the while with her crystalline vocals. Other acts that are sure to impress include Gerald Clayton, Orrin Evans, and Makaya McCraven, among many others. You can discover these artists and more here on this exclusive mix of Earshot artists.

W I T N E S S:

LOCALLY SOURCED AT PNB

Locally Sourced is a triple header that features three contemporary dance performances from local choreographers.These never-before-seen performances offer a tonal shift from the usual PNB suspects, and showcase three distinctly creative choreographers’ works from the region.

First on the roster is Choreographer Eva Stone who worked with an all-women design team and selected music from five female composers for her first work to grace the PNB stage, F O I L. Meanwhile local choreographer Donald Byrd, a grammy-nominated choreographer (The Color Purple), will debut his sixth performance for the PNB. His own Love and Loss is a 22-person performance set to music by Emmanuel Witzthum. Last but not least is a multi-media work titled Wash of Gray that features video, visual arts, and soundscapes from Miles Pertl, his sister, visual artist Sydney M. Pertl, and composer Jherek Bischoff. Locally Sourced kicks off October 29 and runs through early November

.

W A T C H:

PARASITE AT SIFF

Class conflict is centerstage in Parasite, the latest film from Joon-Ho Bong. Set in modern day Tokyo, the plot revolves around two families, the Kings and the Parks. The Kings, a picture-perfect example of wealth and privilege, begin to employ various members of the impoverished Park family in order to maintain their life of ease and entitlement. But things go awry when a mysterious interloper arrives, threatening to nullify this balanced, seemingly symbiotic relationship between the two families.

It’s hard to imagine that Parasite isn’t going to be good given its current 100 percent rating on Rotten Tomatoes, and the fact that it took home the Palme D’or this year at The Cannes Film Festival. What’s more elusive, however, is the genre of this film. Whatever this comedy/drama/thriller mashup is, it certainly seems to be shocking and inspiring audiences and critics everywhere, specifically with the way it unravels into something completely unexpected. But suffice it to say, you should see this film from Joon-Ho Bong, who wrote and directed the film, when it finally debuts in Seattle at SiFF in mid-October.

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By Amy Musser

S E E:

HOMECOMING AT TOWN HALL

Town Hall, the local nonprofit and arts & culture venue, is celebrating its return to its historic home that’s been undergoing renovations. To ring in the return, a flurry of writers, artists and activists will be gracing its stage throughout September. During the month-long housewarming more than 40 guests will be hosting a series of speaking events and performances. As noted on its website, “Town Hall’s Arts & Culture series elevates the voices of local artists while bringing world-renowned cultural icons to Seattle audiences. The series celebrates music, photography, sculpture, philosophy, heritage, and traditions around the world that enrich our lives.”

Of note are lectures by famed writers Jonathan Safron Foer, who will be speaking about climate change as it relates to his latest book We Are the Weather, and a “Short Stories Live: Emerald City Blues” session curated by poet and essayist Claudia Castro Luna that features live renditions of short stories from more than 20 local Seattle-based writers. The complete Town Hall Homecoming roster is available here. This series is also incredibly affordable; almost all of the events are priced at $5 or less, many are free, and all sessions are free for youth who are age 22 and under.

D I N E:

MELISSA MIRANDA’S NEW RESTAURANT MUSANG

Native Seattleite Melissa Miranda has wowed people with her delicious Filipino cuisine for the past three years via her popup MUSANG. Now, she’s moving into a brick and mortar location on Beacon Hill, the neighborhood where she grew up and still lives to this day. Throughout her life, Miranda has seen a variety of Filipino restaurants come and go in the neighborhood, and is ready to create a welcoming space of her own. In a recent interview with Seattle Met, Miranda explained that not only does she want to share her culture and her food, but also a space where guests feel like they are “walking into my family’s dining room.”

Named one of the most anticipated restaurant openings of Fall 2019 by Eater, everyone is wondering when the exact opening day will be-- and rightfully so, Chef Miranda has garnered a staunch following via her popups, and likewise her Sunday brunches that she did at Bar Del Corso where she cooked alongside Jerry Corso for years. Miranda’s soon-to-open restaurant will reside in the old Travelers Thali House. Keep an eye on her website for the grand opening day and other special events, or check out her Kickstarter campaign that helped fund the much anticipated restaurant. And, If you happen to have no plans tonight, you can sample her delicious culinary creations at FareStart!

L O O K:

BLIND STUDY AT ZINC GALLERY

Zinc Gallery in Pioneer Square is displaying works from L. Bassis, E. Chamberlain, J. Dempcy, J. Johnson, K. McCarthy, and G. Occhiogrosso, and A. Spafford for their 3rd Annual Anniversary Exhibition now on display through mid September. Why are the artists listed with only their first initials instead of their first names? It's a tribute to the “blind auditions” that boosted gender equality in orchestra in the '70s and '80s.

The notes from the show point out that "In 2018, only 30% of gallery-represented artists in the U.S. were female, and female artists made an average of 25% of art sales compared to their male counterparts. In Blind Study, ZINC seeks to address the continuing gender disparity in the art world, and will feature a selection of abstract works.” Don’t miss this beautifully curated show of evocative contemporary work that is confronting the lack of equality in the art world right now.

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Astrology and Wellness Insights by Stephanie Gailing

8.23 – 9.23: The Sun is in Virgo

It’s a time when we’re inspired to become organized, find delight in details, and work towards refining our craft. We may gain glimpses into how a penchant for perfectionism harnesses our inner critic and depletes our vitality.

9.23 – 10.23: The Sun is in Libra

All eyes turn towards relationships, diplomacy, and justice, and we gravitate towards creating beauty where we can. The trick during Libra season is to not get stuck in indecision and watch when compromise turns from being an asset to a liability. 

9.13                PISCES FULL MOON

                        How can I make more space for forgiveness?

9.18                SATURN STATIONS DIRECT

                        Where do I really want to invest my resources? 

9.21                JUPITER/NEPTUNE SQUARE

                        What’s getting in the way of my dreams coming true?

9.23                FALL EQUINOX

                        How can I invite in more balance and harmony?

9.28                LIBRA NEW MOON 

                        How can I create more beauty in my life?

Keep a Dream Journal

As the astrological landscape of the coming weeks provides us with an opportunity to forge a deeper connection with our inner wisdom, intuition, and imagination, it’s a great time to tune into our dreams. Keeping a dream journal doesn’t have to be complicated: just keep a simple notebook by your bed. When you wake up, jot down any threads of your dream that you remember. Don’t worry if you can’t remember the whole “story line” as even capturing select images, people, or scenes may provide great fodder for learning, wisdom, and healing. If it feels right, bring the journal with you during your waking hours to write down any inspiring daydreams that you may have.

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Graphics by Wildern.

By Amy Musser

S E E:

ZANELE MUHOLI

Johannesburg-based activist and artist Zanele Muholi has an exhibit now at SAM through August that features 76 portrait photographs taken by the artist between 2013 and 2017. These stunning, sometimes starkly powerful portraits fuse fashion photography with more conventional portraiture and weave in ethnographic themes that serve to establish powerful archetypes. Each portrait is symbolically named in isiZulu, the artist’s first language, and the works communicate questions about social injustice, human rights, and representation of the human body.

Zanele Muholi, equally esteemed for her activism, co-founded the Forum for Empowerment of Women (FEW) in 2002 and Inkanyiso (www.inkanyiso.org), a forum for queer and visual (activist) media, in 2009. Muholi studied Advanced Photography at the Market Photo Workshop in Newtown, Johannesburg, and in 2009 completed an MFA: Documentary Media at Ryerson University, Toronto. In 2013, they became an Honorary Professor at the University of the Arts/Hochschule für Künste Bremen. Most recently, Muholi was bestowed France’s highest cultural honor, the Chevalier de l'Ordre des Arts des Lettres.

W A T C H:

WHERE’D YOU GO, BERNADETTE?

Bernadette is a woman who ostensibly has it all. Her family lives in a beautiful home perched atop Upper Queen Anne, and her only worries are the meticulous details concerning her daughter’s esteemed elementary school education, and a throng of pervasive blackberry bushes overtaking her yard. It’s worth noting that she’s also an insomniac architect in a major rut, and hasn’t designed anything in twenty years. When she suddenly disappears, her husband and daughter undertake a voyage to find her and solve the mystery of the whereabouts of Bernadette.

Maria Sample penned the Seattle-based familial mystery that was a NYT bestseller. Now adapted for film, the film stars Cate Blanchett and was directed by Richard Linklater (known for films like Before Sunrise, Waking Life, & Boyhood) and opens in Seattle theaters on August 15. While some have derided the book as a shallow depiction of privilege, others find the character of Bernadette beguiling and complex in a refreshing way. It was the character’s complexity that drew Richard Linklater to become involved in the project. A recent NPR interview with Linklater and Blanchett posits that the story serves as a cautionary tale about putting creativity aside after having kids. Check out the interview with Linklater and Blanchett here.

D I N E:

IL NIDO

For those of you who have been meaning to eat a huge plateful of pasta at noon at the famous Il Corvo, but can never manage to make it to Pioneer Square in time for a midday carbo load, you’re in luck. The famed chef Mike Easton has opened another Italian outpost with equally delicious pasta that’s open for dinner (Il Corvo is a lunch-only spot, and frequently cited as the best pasta in the city).

Il Nido is located on Alki in an old log cabin that was built in 1904 and is one of West Seattle’s most beloved historic landmarks. Mike Easton and his wife Victoria co-own their restaurant. Easton first began working in restaurants when he was sixteen, but it was while living and working in Florence that he developed his love for handmade pasta, the nuanced flavors of flours from different grains, and how perfectly handmade pasta pairs with seasonal ingredients. Apparently it’s still fairly difficult to get a reservation at Il Nido, but Seattle Met has some tips for you, and the beautifully fresh vegetables, plates of pasta, and handmade focaccia on the restaurant’s Instagram handle certainly make it seem worth the wait!

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By Amy Musser

W A T C H:

HONEYLAND

Honeyland, a new documentary now in distribution via NEON, is fresh off the film festival circuit, and was the most-awarded film at Sundance where it received the World Cinema Grand Jury Prize: Documentary, the World Cinema Documentary Special Jury Award for Cinematography, and the World Cinema Dramatic Special Jury Award for Originality. This film follows a woman who is the last of Macedonia’s nomadic beekeepers. Her ancient methods of tending to the land, “only ever taking half,” and living in a hut made of wood and mud, while she cares for her ailing mother are put in jeopardy when a new family with six children set up shop next to her home. While she welcomes the break from her isolation, other issues arise.

This debut feature from documentarians Ljubo Stefanov and Tamara Kotevska was shot over three years by a skeleton crew who committed to an intimate collaboration with their subject. That intimacy is visually evident throughout the film. Also central to Honeyland are man’s detrimental environmental impacts on nature, and the film serves as a kind of elegy for sustainability amidst the ecologically destructive forces of capitalism. Honeyland opens across the U.S. on July 26. Stay tuned for showtimes in Seattle (most likely Film Forum or Siff).

T A S T E:

FURLANI AT LEFT BANK’S NEW OUTPOST

Matteo Furlani’s vineyard, which consists of small precariously-placed parcels, is situated high in the Dolomite mountains. A fourth generation winemaker, Furlani’s wines pay tribute to his family’s heritage and techniques. Furlani himself studied agronomy and learned winemaking from his elders, but manages to be even more rigorous with his his approach to biodynamic winemaking.

We first tasted Furlani at Left Bank, a little wine bar down at South Park, but Juicebox Cafe is now carrying a selection of wines curated by Left Bank during its cafe hours, and will be moonlighting as Left Bank on Monday nights starting July 15. Come sample Furlani’s delicious and lightly sparkling bright white, the Antico Frizzante, that was fermented in concrete tanks and vinified with frozen grape must at Left Bank’s Capitol Hill outpost.

L I S T E N:

BLOCK PARTY

We are right around the corner from one of Seattle’s biggest outdoor music festivals, Block Party, happening July 19-21. Prepare for the neighborhood to fill to the brim as big acts grace our city stages this year. LIZZO, the classical violinist-turned-rapper prodigy who has some incredibly catchy hits, is headlining the main stage on Saturday night. Tickets to see her are already 90 percent sold out, so you may have to act quickly. Check out this compelling NPR interview with Lizzo here where she shares her thoughts on the joy in writing her first body-positive song, finding self-love, and feminism.

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By Amy Musser

W A T C H:

Before Stonewall: The Making of a Community

Here in time for Pride is a reissue of the 1994 documentary “Before Stonewall,” playing at The Northwest Film Forum in late June. This award-winning documentary explores the riots that occurred fifty years ago after a police raid at The Stonewall Inn in NYC in 1969, and the Gay Liberation movement it sparked. Narrated by Rita Mae Brown, Before Stonewall features interviews with activists and pioneers like Ann Bannon, Martin Duberman, Allen Ginsberg, Barbara Gittings, Harry Hay, Mabel Hampton, Dr. Evelyn Hooker, Frank Kameny, and Audre Lorde.

Equally moving are the timeless, profound stories of LGBTQ Americans who populate this film as it artfully traces the historical roots of a rising movement. On making the film, Director Greta Schiller explains that soon into the process she realized she had to tell the story of the marginalized people who hadn’t yet really had a voice, not just the doyens. To capture those narratives, she had a team that interviewed hundreds of people to create “scrapbooks” of their stories for all the world to witness and learn from. Don’t miss the series of screenings happening at Northwest Film Forum from June 23 through June 28 commemorating the 50th anniversary of the historic Stonewall riots.

W I T N E S S:

A Hugo House Tribute to Allen Ginsberg

On June 22, an outstanding group of writers, poets and artists will gather at Volunteer Park to celebrate the works of famed poet, philosopher and activist Allen Ginsberg. Writers Rae Armantrout, Ron Silliman, Dorothea Lasky, Sadie Dupuis, Ryo Yamaguchi, and more will explore Ginsberg’s legacy and the enduring relevance of his poem Howl--one of the most widely read poems of our times. Howl, a rollicking three-part critique of modern society that sings of jazz, radicals, and the original hipsters with bravely graphic intimacy via breath-length narrative lines, reads like an enraged outcry full of subversive and poignant imagery.

The idea to do a festival in honor of Ginsberg was partially prompted by Geoffrey Farmer’s installation piece “If You Want to See Something Look at Something Else.” Tree Swenson, Director of the Hugo House, said the installation provides an unexpected perspective, much like Ginsberg’s work. The writers and poets participating in this tribute have been asked to respond to Ginsberg in whatever way they please. Some will be providing comment on Ginsberg himself, and others will be reading their own work.

“It wouldn’t be in the spirit of Ginsberg to be too dictatorial,” says Tree, “so we’ve simply asked these writers to share their perspective in whatever form they choose, and it will be festive, in honor of PRIDE.” This free poetry festival will undoubtedly provide a unique opportunity to not only remember the Beat generation and Ginsberg, but to also to see him through the eyes of so many brilliant contemporary poets and writers. The festival is Saturday June 22, 2-4pm.

R E A D:

The Paris Review, Summer 2019, Issue No. 229

This quarterly literary review, first founded in Paris in 1953, has made a name for itself by featuring an array of beautifully edited literary prose, poetry, interviews and nonfiction. Within the first five years of its naissance, writers like Kerouac, Robert Bly, and V.S. Naipaul were already gracing its pages. Today’s issues feature a nice mix of new and known writers. In this particular Summer 2019 issue, there seems to be a fluid and subtle theme around the notion of revisiting the past, and of revision in general. In an interview with Lewis Lapham titled “The Art of Editing,” the famed essayist and editor, first at the helm of Harper’s, and later at Lapham’s Quarterly, explains his own revisionist methods in both revising his own, and other people’s work, and likewise revising his own life.

“A lot of my life has been learning what I’m not,” Lapham says on learning he wasn’t a gambler, and maybe not a musician, but rather a journalist or writer and editor, as he moved to endeavors in his life that better-suited his talents. On explaining how he’d select and edit content for Lapham’s Quarterly, he speaks of history and how it is always informing us.

“History is the vast store of human consciousness adrift in the gulf of time, the present living in the past and the past living in the present…It’s why we still read Edith Wharton, Virginia Woolf, James Baldwin, and Flaubert—what survives the wreck of time is the force of the imagination and the power of expression.”

In another poem in this same issue, we revisit Jorge Luis Borges through one of his earliest published works, “Morning,” first published in Ultra, a Spanish avant-garde magazine, in 1921. Fans of Borges may be excited to read such an early work from the esteemed Argentinian poet and essayist. Pick up a copy of The Paris Review at Elliot Bay Book Company, or check out the podcast at https://www.theparisreview.org/podcast.

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