How the Freedom Wall strengthened and developed the WNY Urban Arts Collective

It’s been over a year since the Freedom Wall was officially unveiled as complete to the public. In addition to becoming a nationally recognized work, the Albright-Knox Public Art Initiative project helped grow the Western New York Urban Arts Collective. The completion of the wall was one made by many voices, but it didn’t start out that way. WBFO’s Nick Lippa looks back on how everything came together and the lasting impact it’s had on the region.

Vietnamese-American Chuck Tingley was originally supposed to complete the majority of the project before African-American artists like John Baker spoke up about the wall needing more representation.

“I remember telling someone at one point, it’s like coming in to your house, looking at your family album, and tell you who the pictures are in the album and what they’re about,” said Baker. “Originally that wasn’t part of the process. Aaron Ott, who is the curator of the Albright-Knox, did a good job of listening to the community and seeing what their desire was and what they were looking for, what they were hoping for. And they became a part of it. So it’s no longer the Albright-Knox wall. It’s not the artist’s wall, but it’s the community’s wall. Whenever you can do a project like that and of that magnitude and the community buys into it, it ends up being larger than you even anticipated it would be initially.”

When Ott chose Tingley to take on the bulk of the wall, he believed he found the person to create the image he desired.

“What I failed to recognize in that moment, in those early stages, was how that would be received as a denial of an opportunity for the African-American community,” Ott said. “It was in our public meetings where some of the community members… we had some pretty forthright conversations what it meant, not just to tell this story but to produce it visual. It wasn’t necessarily any one person’s story to tell, but certainly not mine alone to tell.”

What it led to was the discovery of more local talent. Edreys Wajed contributed, as well as Julia Bottoms, a young African-American artist in her twenties. Ott called Baker an elder statesmen of the project.

“The project is a much stronger project now having had, not just voices in the community, but the change that they wanted to see which was a work that dealt with their story told through their voice,” he said.

And since their voice has been heard, more minority artists have appeared. Baker is President of the Western New York Urban Arts Collective and said the group has more than doubled since the completion of the Freedom Wall drew more attention to it.

“All of sudden now we got a group of like 70 artists of color. And they are all getting opportunities now that were lacking before,” Baker said. “It used to be a point where we didn’t know where they were. We can’t find them. Where are they at in the community? Now we got a resource that people can reach out to.”

This leads to members receiving important professional development.

“How do you submit work to galleries? How do you fill out an application for a particular public arts project? How do you present your work? What’s the best medium to use? How do you do PR? So a lot of things that comes with being an artist that in most cases, you don’t know, your parents don’t know, not enough people in the community know because they don’t know that much about being an artists,” Baker said.

Jay Hawkins is a younger member of the group who found out about the collective through a Juneteenth event.

“We’re definitively growing and it’s diverse,” said Hawkins. “Senior artists. Younger artists. People that do sculpture. People that do photography. Different mediums. It’s just great to have all these people in one place that are all so different.”

The group currently meets bi-weekly at the Michigan Street Corridor—where they are now residency artists.

Ott said the history of this area is one reason why the corner of Michigan and East Ferry Street was the perfect spot for the Freedom Wall.

“That intersection is the northern entrance into the Michigan Street African-American heritage corridor. It’s right across the street from Bethel AME, the oldest black church in Buffalo. It is a block in from Main Street. So you have this natural divide between white and black in the city that people know, but we don’t necessarily talk about. It seemed like that content could come together in this space as a way for us to really bring people together in a dialogic way,” Ott said.

And it did for Hawkins, who didn’t know much about Bethel AME before the Freedom Wall.

“I learned about that church by being at events geared around the Freedom Wall,” said Hawkins. “The barbecues and meeting with the artists as they were working on them. Getting to see that process. I think that was amazing for the community to get to see it.”

With the collective continuing to grow in size, Baker believes more artists of color have an opportunity to pursue their passion professionally.

“We’ve been collaborating with a lot more organizations, a lot more galleries and museums, a lot more activities that are coming back, and a lot more possible opportunities that are coming back for artists,” he said.

Ott calls the Freedom Wall one of the most transformative projects of his entire career. Now he’s asking different questions as he takes new projects.

“Have we truly considered artists of color? Have we truly considered our community? Have we asked the right people? Have we asked enough questions? That’s something that my committee and I as an individual curator really pay attention to these days,” said Ott. “There was a lot of good faith generated at the end of the day with this project. I’m proud of that. It was difficult at the beginning, but I couldn’t have imagined how successful it would have been at the end, so I’m very happy.”

The inclusion of minority artists on just one important project looks to have opened the door for several more across the region.

RankTribe™ Black Business Directory News – Arts & Entertainment

$90 Million Hockney Smashes Record for a Living Artist Amid Broad Market Shift

A celebrated and enigmatic painting of two men and a turquoise pool by David Hockney sold at Christie’s on Thursday night for $90.3 million with fees, shattering the auction record for a living artist and cementing a major broadening of tastes at the turbocharged top end of the market.

The price for the 1972 painting, “Portrait of an Artist (Pool with Two Figures),” easily surpassed the previous high of $58.4 million, held by Jeff Koons for one of his “Balloon Dog” sculptures.

The auction also produced new highs for works by two African-American artists, following highs for three African-American artists and a 42-year-old female painter at Sotheby’s the night before. Together the sales signaled a new inclusivity in the art world, driven by a generational shift toward artists who have been out of the mainstream and by stratospheric prices for more established names. That has forced collectors to expand their search for emerging names who might be undervalued.

The new demand for living artists, coupled with a dearth of masterworks for sale, has given greater exposure to nonwhite and female artists, with more museums exhibiting them and several of their works notching multimillion-dollar sales.

The Hockney painting is a different kind of trophy, by an openly gay artist about the emotional life of gay men. While the subject is hardly verboten in art, it is still rare to see same-sex themes in an artwork at this price point.

David Hockney, in 2017, sitting on his royal blue deck, a frequent subject of his paintings.CreditNathanael Turner for The New York Times

“Diversity is exactly what you’re seeing in the auction rooms — museums have done a huge job in positioning these artists,” said Brett Gorvy, a prominent dealer who was formerly head of contemporary art at Christie’s. “There’s definitely an investment mentality — the market is always looking for new areas.”

Despite the snowy night, the salesroom at Christie’s Rockefeller Center headquarters was full and many in attendance raised their phones to film the sale of the Hockney. In addition to the usual heavy hitters in the crowd — collectors like Peter M. Brant, Martin Margulies and Alberto Mugrabi as well as dealers like Larry Gagosian and Christophe Van de Weghe — the actor Jake Gyllenhaal was in the third row, though he did not bid on the Hockney.

Offers quickly reached $70 million in a flurry of bidding among three people in the room and five calling in. The competition came down to two phone bidders and lasted nine minutes before the hammer came down to a round of applause at $80 million, or $90.3 million with fees. The buyer, as is customary, was not identified.

Mr. Hockney, a multitalented painter, draftsman and set designer who burst onto the British art scene in the early 1960s, has become one of the most popular living artists, though his work was not always taken seriously. His colors were too bright, his figures too realistic — the octogenarian Mr. Hockney even described his younger self as a “peripheral artist, really.”

But he is enjoying a commercial and reputational renaissance, thanks to three recent retrospectives, including one at the Metropolitan Museum of Art and another at Tate Britain that broke museum records. And at 81, though he has lost his hearing, Mr. Hockney continues to paint and experiment with digital art.

Auction prices for work by Mr. Hockney, who declined to be interviewed, had achieved a new benchmark in May, when his joyously colored 1990 landscape, “Pacific Coast Highway and Santa Monica,” sold for $28.5 million. It was only 2016 when his works broke the $10 million barrier.

The much-reproduced “Portrait of an Artist (Pool with Two Figures)” was one of the Met show’s most admired paintings. Yet, despite its familiarity, this sun-drenched hilltop scene of a pink-jacketed young man standing by a pool, gazing down at a swimmer submerged in the wobbly blueness below, remains one the artist’s most mysterious works.

David Hockney’s “Portrait of an Artist (Pool with Two Figures),” one of many paintings that drew from the artist’s life. His art acquaints us with his parents, his boyfriends, even his dachshunds.Creditvia Christie’s

The painting was executed during a three-month period of intense creativity after the artist broke up with his American art student lover, Peter Schlesinger. Many viewers assume that the scene is set in California, where Mr. Hockney has lived for decades. But the canvas was painted in London, based on photographs taken at a pool in the South of France. The standing figure is derived from photographs the artist took of Mr. Schlesinger in London’s Kensington Gardens.

Ian Alteveer, who curated the Met’s Hockney show, said he singled out the painting in the show’s catalog because it signaled a shift in the artist’s portrayal of water — from a distinct splash to a watery soaking of the canvas — and it marked the “culmination” of Hockney’s double portraits.

“It’s also a farewell to the relationship, which had come to an end,” Mr. Alteveer said, “and this grand statement about his interest in the psychology between two people that he’s been trying to capture.”

And where is the artist in the painting? Art critics have pointed out that there is little indication Mr. Schlesinger represents that title role. It has instead been suggested that the artist is Mr. Hockney himself, looking back at his lost lover, symbolically suggesting his own presence in the form of one of his iconic swimming pools.

The painting drew huge interest during the presale viewing in Christie’s Rockefeller Center showroom. “I’m only here for this,” said Post Villafane, 32, a young collector from Queens who viewed the painting on Wednesday. Mr. Villafane was not in the league of would-be bidders, but he was representative of a noticeably younger and more diverse crowd mingling with the usual middle-aged white art world insiders at this week’s presale showings. “The colors are so realistic,” he said. “They blend so well. Look how the paint shimmers. It’s beautiful.”

In reviewing the Met show, the New York Times art critic Roberta Smith described the artist’s “pictures of homosexual love and comradeship” from the early 1960s as “courageous,” given that they were made at a time when homosexuality was a criminal offense in Britain. “They should be a revelation to younger generations,” she added, “including painters using figurative styles to tell their own stories.”

The painting’s seller was not publicly revealed, but was widely reported to be Joe Lewis, a market-savvy British billionaire based in the Bahamas. He audaciously offered his Hockney without reserve, meaning he set no minimum price, a sign of how confident he was that it would sell for its estimate of $80 million. He bought the painting in 1995 from the entertainment magnate David Geffen.

Works from five African-American artists, two of them living, hit new highs at Christie’s and the Sotheby’s sale the night before. On Thursday night, “Cultural Exchange” by Robert Colescott, the first African-American to represent the United States at the Venice Biennale, sold for $912,500, nearly triple his previous record. “Lady Day II” by Sam Gilliam, the 84-year-old color field painter, sold for $2.2 million, almost twice his earlier high.

Jacob Lawrence’s “The Businessmen,” from 1947, sold for $6.2 million Wednesday, triple its high estimate of $2 million. Lawrence was best known for multipanel series about historical figures — Harriet Tubman, Frederick Douglass — and the Great Migration.CreditThe Jacob and Gwendolyn Knight Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York; via Sotheby’s

On Wednesday, Jacob Lawrence’s 1947 The Businessmen” — featuring five African-American subjects in black suits with briefcases and paperwork — sold for $6.2 million, triple its high estimate of $2 million. Jack Whitten’s 1985 “Ancient Mentor I,” in which he pressed wet acrylic paint onto a mesh grate, sold for $2.2 million, nearly double the high estimate. And Henry Taylor’s 2004 canvas “I’ll Put a Spell on Yousold for $975,000, nearly five times the high estimate.

Nine bidders competed at Sotheby’s for “Her Arms,” a monumental 2003 painting by Dana Schutz, whose painting “Open Casket” depicting Emmett Till in his coffin caused a cultural furor at last year’s Whitney Biennial. “Her Arms,” which depicts a woman with a guitar, sold for $795,000, nearly four times the high estimate of $200,000.

Dana Schutz’s painting “Her Arms,” from 2003, sold for $795,000 with fees Wednesday.Creditvia Christie’s

The $21.1 million Sean Combs paid in May for Kerry James Marshall’s 1997 painting “Past Times” — an auction high for any work by a living African-American artist — heralded this shift in collecting sensibility. So, too, did the $12.4 million bid last month in London for Jenny Saville’s “Propped,” raising the bar for living female artists at auction.

Henry Taylor’s “I’ll Put a Spell on You” (2004) sold for $975,000 with fees on Wednesday.Creditvia Sotheby’s

While none of the newly appreciated living artists will directly benefit from the recent sales, they may be able to command higher prices for any later works they sell.

“My mama always said I was worth something,” Mr. Taylor, 60, said in a telephone interview. “There are a lot of artists who have gone unnoticed and are getting recognition, and that’s a good thing.”

In that way, Mr. Taylor said, the auction was gratifying. “All this posthumous love ain’t no good,” he said. “Give me my flowers when I’m here.”

RankTribe™ Black Business Directory News – Arts & Entertainment

Buy Black, Build Black, Support Black at Shop Black Friday Event

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SOUTH SACRAMENTO – Sacramento entrepreneurs are urging local shoppers to forgo the pushing and shoving typically associated with the day after Thanksgiving in favor of a more pleasant shopping experience.

The African Marketplace hosts Shop Black Friday on one of the busiest shopping days of the year, November 23. Shop Black Friday Sacramento is being held at 2251 Florin Road from 10:00 a.m. to 6:00 p.m. Hosted by the Black Friday Coalition, the event is being billed as an opportunity to “Buy Black, Build Black, Support Black.”

Vendors will be on hand offering local shoppers a chance to fulfill their holiday list. whether it’s Black art, custom jewelry or handmade soaps, there will be a variety of gifts for everyone. Organizer have also planned activities throughout the day to encourage family and community togetherness. Including a line dancing class with Lettuce Walker at 4:00 p.m. and a Paint & Sip event “after hours” at 6:00 p.m. featuring Sojourner Truth Museum founder and artist Shanna McDaniel and live music by saxophonist Shawn Rayford.

For more, visit or call (916) 542-8927.
By Genoa Barrow
OBSERVER Senior Staff Writer

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RankTribe™ Black Business Directory News – Arts & Entertainment

Trump honoring Elvis? It’s about time.

Contributing columnist

November 21 at 9:08 AM

Gary Abernathy, a contributing columnist for The Post, is a freelance writer and former newspaper editor based in Hillsboro, Ohio.

When Elvis Presley was included among President Trump’s honorees for the Presidential Medal of Freedom, my first thought was, “It’s about time,” followed by the recognition that it would reignite the popular revisionist claim that Presley “appropriated” black culture and music, a nonsensical allegation that wasn’t shared by most of the black artists of the 1950s.

That sentiment is most succinctly summed up by Public Enemy’s Chuck D in the 1989 hit “Fight the Power,” which includes the line, “Elvis was a hero to most, but he never meant s— to me.” Obviously, Chuck D likewise means nothing to Presley, but the rapper’s follow-up line that Presley was “straight up racist” indicates a lack of awareness.

Presley was raised in poverty in the Tupelo, Miss., slums, side-by-side with African Americans, and the rhythm and blues and black gospel that influenced him were as much his music as anyone’s. It was in his DNA. Far from making a calculated decision to capitalize on it, Presley performed it as naturally as he downed the fried peanut butter and banana sandwiches that his mother prepared as part of her poor family’s menu.

Presley, again merely by instinct, merged rhythm and blues with another genre he loved, country music — white music — to create a brand-new sound. Comparing the rhythm songs like “That’s Alright, Mama” as originally performed by Arthur Crudup with Presley’s version makes clear the creativity and distinction he brought to bear.

Rather than being hailed by critics as an innovator, Presley was initially reviled and shunned by polite society for performing “race music,” embraced only by teenagers of all races. Economics eventually forced the popular variety shows of the day, hosted by Milton Berle, Steve Allen and, most famously, Ed Sullivan, to relent and feature Presley on their airwaves. Once Presley knocked down the door, multiple black artists stepped through it, suddenly welcome on television and in concert halls.

It is noteworthy that Presley’s biggest hit was not a rock-and-roll number. It was instead a song called “It’s Now or Never,” based on the operatic “O Sole Mio,” making it somewhat surprising that Presley hasn’t been accused of appropriating Italian music.

A recent documentary by Eugene Jarecki called “The King” examines Presley’s life as a metaphor for America in the age of Trump, with the director implying the United States is in its “late Elvis” stage — self-indulgent, sick and dying. Among the criticisms from the many celebrities and musicians who are interviewed is that Presley never participated in the civil rights movement. He never marched for the cause.

In fact, Presley participated the only way he ever participated, through his music. Two of his biggest hits — both recorded against the wishes of his management — spoke out against social injustice. “If I Can Dream,” which Presley used to close his famous 1968 “comeback” TV special on the heels of the assassinations of the Rev. Martin Luther King Jr. and Robert F. Kennedy, had Presley dreaming “of a better land where all my brothers walk hand in hand.” He followed it up the following year with “In the Ghetto,” which told the story of “a poor little baby child” born in the ghetto who, by song’s end, is gunned down in the street, while “his mama cries.”

But what is particularly misleading about labeling Presley a thief of black music is that it ignores what truly makes him worthy of last Friday’s honor — his embrace and mastery of music in multiple forms, including rock, gospel, country, ballads and pop. His stage performances of the 1970s blended many genres into his unique vision of the universality of all people. He insisted on being backed up by the black, blues-tinged Sweet Inspirations side by side with the white, gospel melodies of the Imperials and, later, the Stamps Quartet.

During his later years, many of Presley’s contemporaries complained that he had abandoned his roots. They wanted him to come out with a five-piece band and perform “That’s Alright, Mama” and other early hits. But to do so would have made Presley nothing more than another oldies act.

While he always included a sampling of his early hits in his 1970s concerts, Presley focused more intently on contemporary music, covering everything from Simon and Garfunkel’s “Bridge Over Troubled Water” to Olivia Newton-John’s “Let Me Be There” to Tony Joe White’s “Polk Salad Annie.” After too many mid-career years of being forced to sing bad movie songs, by the 1970s Presley did what he wanted. If he liked it, he performed it, critics be damned.

By honoring Presley with the Medal of Freedom, Trump may have been playing to his Middle America base. But he also paid tribute to someone who arguably did as much to bridge the cultural and racial divide as anyone who ever lived, an impressive and unifying act from someone usually considered the most divisive of presidents. 

RankTribe™ Black Business Directory News – Arts & Entertainment

‘It is our story:’ Why a contest inspired by Viola Desmond was cut short

The owner of the former New Glasgow, N.S., theatre where Viola Desmond stood up to segregation is rethinking a contest inspired by the civil rights pioneer after being accused of cultural appropriation.

MacGillivray Injury and Insurance Law planned to display artwork on the outside of what used to be the Roseland Theatre where, in 1946, Desmond refused to give up her seat in the whites-only section.

On Monday, Desmond was immortalized on the $10 bill, the first Canadian woman to receive the honour.

The firm asked artists from across Atlantic Canada to submit work as part of its “protest art contest” and people could vote online for their favourites. The firm also advertised the contest on billboards and bus ads. 

None of this sat well with Angee Bowden, who calls the contest “reckless” and done without proper consultation with the black community.

Angee Bowden said she heard from many members of Nova Scotia’s black communities who were concerned about the art contest. (Mairin Prentiss/CBC)

“All we are trying to say is it is our story. Include us in the telling of it. That’s not that difficult to understand,” said Bowden, who grew up in New Glasgow and calls herself a social justice advocate. 

Bowden said she suggested early on that the firm instead ask black artists to collaborate on what story needed to be told and how to do it before putting a public call out.

She takes issue with people, many of whom may not be African-Nova Scotian, interpreting the racism that Desmond had to endure. 

“It had sort of a historic feel to us where our story is being told by someone else and excludes the custodians of that pain,” she said.

Bowden sent a letter outlining her concerns to the firm’s founding partner, Jamie MacGillivray, in October.

The contest asked artists to create work inspired by Viola Desmond’s act of protest in 1946 when she refused to leave the whites-only section of the Roseland Theatre. (Communications Nova Scotia/Bank of Canada/Flickr)

He responded by cancelling the contest’s public art shows and forming a committee to figure out how to commemorate Desmond on the building. 

“We called the contest to an early close because hurting people was the opposite of what we wanted to do, no matter how small the number,” MacGillivray​ wrote in an email to CBC News.

Our story is being told by someone else and excludes the custodians of that pain.– Angee Bowden

MacGillivray said the firm received more than 500 submissions, and the cash prizes totalling $20,000 will still be handed out even if the pieces don’t end up on the building. 

He declined to be interviewed, saying he believes it’s time for “others to have their voice heard, not mine.”

“Hopefully this process, although painful at times, will result in something that Viola Desmond would be proud of,” MacGillivray​ wrote.

Wanda Robson, Desmond’s sister, was in support of the contest, and Bowden said she’s glad MacGillivray​ included her in the process.

But she doesn’t know why other voices were left out.

Bowden said the backlash to the contest should be a reminder that 1946 wasn’t that long ago. Given recent allegations of a racially motivated attack in Pictou County, Bowden said it’s important for people to first listen to members of the black community. 

“It’s dangerous to tout that we’ve arrived, when in fact the custodians of that pain are at their kitchen tables saying we haven’t arrived,” she said.

‘Viola commemorative committee’ formed

While the art shows have been cancelled, it’s still possible that some of the submissions will end up displayed on the former theatre.

The firm has formed a committee, chaired by Henderson Paris, a former town councillor and long-time resident, that will decide how to commemorate Desmond.

The law firm bought the former Roseland Theatre two years ago. (Submitted by Alexis MacDonald)

Paris said committee members are still being chosen, and it’s too soon to say what pieces, if any, will hang on the building.

Still, he believes the contest, and the conversations it forced people to have, are worthwhile. 

“We envision something wonderful happening, something that will be educational in nature and do honour to Viola Desmond, a pioneer who stood up and stepped up and helped make a change,” he said. 

RankTribe™ Black Business Directory News – Arts & Entertainment

Black Nativity by Langston Hughes 2018 Returns to the Marcus Center’s Wilson Theater at Vogel Hall

MILWAUKEE, WI  – Black Nativity by Langston Hughes will run December 7-16 with a special Community Night preview performance on Thursday, December 6 at the Marcus Center’s Wilson Theater in Vogel Hall.

Directed by Bronzeville Arts Ensemble’s co-founder Malkia Stampley, the production features returning music director/arranger, Antoine Reynolds and choreography by Daync Studio’s founder Christopher Gilbert.  Black Nativity by Langston Hughes is a Black Arts MKE production in collaboration with the Marcus Center for the Performing Arts.  This presentation is supported by Bader Philanthropies, Greater Milwaukee Foundation, Johnson Controls Foundation, United Performing Arts Fund, VISIT Milwaukee, and We Energies Foundation.

Each year Stampley inspires social change through acknowledgement of a current community issue through performance prologue and post-performance audience engagement.  “I allow a social issue that affects Milwaukee and the national community to be a guide as I stage the production. I like to think of it as a backdrop, a seed that will grow on its own once you leave the stage” says Stampley.  She adds, “Our production takes place today, in a city like Milwaukee, so I also ask myself every year ‘is this relevant?’ In 2016, I was struck by the unrest in Sherman Park. In 2017, the killing of unarmed Black men still dominated my heart as well as the controversy of Colin Kaepernick’s kneeling and dismissal from the professional game of football. There are so many issues that touch my heart on a daily basis so it’s not always an easy task.”

“Bronzeville Arts Ensemble, a member of Black Arts MKE, tackles the role of presenting producer,” says the show’s Executive Producer Barbara Wanzo.  This year marks our fourth year of Black Nativity by Langston Hughes and features many exciting show updates including new set design tagged by talented local youth artists from TRUE Skool.  We are fortunate to have a knock out cast and team each year and this year is no different.

Some of Milwaukee’s favorite performers return this year as well as some joining Black Nativity by Langston Hughes for the first time. Dimonte Henning (NBC’s Chicago PD, Milwaukee Rep’s Guys and Dolls, First Stage’s The Wiz, Forward Theater’s Skeleton Crew, Milwaukee Chamber’s Deathtrap) joins the cast as Joseph and Natalie Harris (national touring gospel recording artist, teaching artist, and three years of Black Nativity in Alabama) returns this year as Mary. Returning cast members include Tasha McCoy, Camille Hunt (singing the show stopping number “Rise Up Shepherd” as the Angel of the Lord), Michaela Usher, Shawn Holmes and youth ensemble members Nafia Johnson, Zephaniah Ponder and Carolyn Stampley. Additional new members include Raven Dockery, Brandite Reed, Justin Lee and youth ensemble members Raniyah Edwards, Ashlyn Woodley and Naima Gaines.

“The Marcus Center for the Performing Arts understands the importance of African American arts in our community for the ENTIRE community” says Paul Mathews.  Mathews, President and CEO of the Marcus Center. “As the community’s performing arts center, we strive for inclusiveness.  It is our vision at the Marcus Center to provide the setting for outstanding arts experiences like Black Nativity by Langston Hughes for all of Milwaukee’s cultures.

Black Nativity by Langston Hughes opens Friday, December 7 through Sunday, December 16.  Special pricing will be available for Community Night on December 6.  Tickets are now on sale and can be purchased in person at the Marcus Center Box Office at 929 North Water Street, Downtown Milwaukee, by phone at 414-273-7206 or online at
or   Groups of 10 or more should call Group Sales at 414-273-7121, x210 or x213. Special church group pricing is also available.  For more information, visit



Founded in 2013, Bronzeville Arts Ensemble strives to illuminate the black experience in America by developing and creating theater while also providing artistic and educational programming opportunities, collaborating with the local and national community, inspiring healing and positive social change.



We’re committed to increasing the availability and quality of African American arts.  We collaborate with local artists and arts organizations to bring renowned and original performance arts works by African American authors, playwrights, poets, musicians, and composers to our community.  Our arts education outreach and community programs serve over 8,850 at-risk youth and their families.  Presented by member group Bronzeville Arts Ensemble, our annual signature event Black Nativity by Langston Hughes is a new holiday musical favorite in Milwaukee.  Black Arts MKE is a proud Affiliate Member of United Performing Arts Fund (UPAF) and an in-residence group at the Marcus Center for the Performing Arts.  Black Arts MKE is a nonprofit 501(c)(3) corporation.


Established in 1969, the Marcus Center for the Performing Arts is the premier performing arts community gathering space in Southeastern Wisconsin. As the Marcus Center moves into its 49th year, it continues to build bridges between diverse members of our community through high-quality arts entertainment in the region and the state. The touring Broadway series, sponsored by Associated Bank, is recognized as bringing the best of Broadway entertainment to Milwaukee for the past 20 years and provides opportunities to educate, entertain and engage audiences. The Marcus Center is also the home to the Milwaukee Symphony, Milwaukee Ballet, Florentine Opera, First Stage plus a variety of other important community and family events throughout the year. For more information about events visit the Marcus Center website at The Marcus Center is a private non-profit 501(c) 3 corporation and is a dedicated veterans memorial in Milwaukee.

RankTribe™ Black Business Directory News – Arts & Entertainment

5 The dazzling Harlem Renaissance that flowered in New York nearly a century ago

Norman Lewis. “Jumping Jive,” 1942, Oil on canvas. (Michael Rosenfeld Gallery)
November 19 at 1:39 PM

The Harlem Renaissance kicked off after a summer of bloody race-related riots in 1919. It flourished in the 1920s and ’30s, a mere half-century after the abolition of slavery, amid a nationwide revival of the Ku Klux Klan.

The context suggests immediately how absurd it would be to divorce the Harlem Renaissance from questions of sociology and — most obviously — race. And yet it’s worth insisting that what makes the Harlem Renaissance special — what makes it such a shining moment in American history — is its legacy of literary, artistic and musical brilliance.

That’s why it matters that “I, Too, Sing America: The Harlem Renaissance at 100,” a wonderful show at the Columbus Museum of Art, is named for a poem by Langston Hughes. (“Besides,” the poem concludes, “they’ll see how beautiful I am/ And be ashamed,–/ I, too, am America.”)

Palmer Hayden. “The Subway,” about 1930. Oil on canvas. (New York State Office of General Services/Harlem Art Collection)

Horace Pippin. “Self-Portrait,” 1941. Oil on canvas board. (Collection Albright Knox Art Gallery)

That’s why it matters that the first works in the show are portraits of artists and writers such as Zora Neale Hurston, Aaron Douglas and W.E.B. Du Bois: They were among the bold, creative spirits who made the Harlem Renaissance happen.

And that’s why it matters that, displayed throughout the exhibition, are dozens of original editions of the magazines and books they created. Among them: “Harlem: Mecca of the New Negro,” the March 1925 issue of Survey Graphic magazine compiled by Alaine Locke; and “The New Negro,” the expanded anthology it spawned later that year. No publications did more to shape what became known as the Harlem Renaissance.

“I, Too, Sing America” was put together by Wil Haygood, who, at 64, is a first-time curator. He’s been busy at other things: The author of seven nonfiction books (including biographies of several figures linked to the Harlem Renaissance), he was born and raised in Columbus in the historically African American district of King-Lincoln Bronzeville, adjacent to the Columbus Museum of Art.

Augusta Savage. “Gamin,” c. 1930. Painted plaster. (The John and Susan Horseman Collection of American Art/Columbus Museum of Art)

Haygood has worked for both the Boston Globe and The Washington Post (his 2008 Post story about Eugene Allen, an African American who worked in the White House under eight presidents, was made into the film “The Butler,” starring Oprah Winfrey, Forest Whitaker and Cuba Gooding Jr.) His journalistic background shows: The catalogue, focused on facts, personalities, and events, is a pleasure to read.

What’s more, he and his fellow curators, all from the Columbus Museum of Art, avoid the pitfalls the Metropolitan Museum of Art fell into in 1969 when it mounted “Harlem on my Mind.” That show, intended as a progressive-minded celebration of the black community, was a fiasco for reasons hard to sum up in a sentence. (Susan E. Cahan offers a riveting account in “Mounting Frustration: The Art Museum in the Age of Black Power.”)

Suffice it to say that it was a show about the culture of Harlem that failed to include original art by African American artists; that it was organized by a well-meaning but overly controlling white curator, Allon Schoener, who tried to deploy respected African Americans for window-dressing; and that the catalogue’s introduction, by a 17-year-old high school student, contained an extraordinary claim linking African Americans with anti-Semitism.

The Met show broke attendance records. Many people loved it. But in terms of PR, everything that could go wrong, did go wrong. Artists picketed the show. Art critics condemned the Met’s move away from art toward leftist sociology. The American Jewish Congress took out a full-page ad in the New York Times condemning the Met.

In Columbus, things have been done differently. The artists and writers of the Harlem Renaissance are front and center. Their achievements are not celebrated just in the abstract; they are on the walls and on pages bound between beautiful book covers.

We see in the first galleries, for instance, Edwin Augustus Harleston’s 1930 portrait of Aaron Douglas, palette and brushes in hand. “I create,” it calmly announces. Nearby, offered as proof, are Douglas’s stylized images in gouache of Harlem jazz clubs; his woodblock prints illustrating a Eugene O’Neill play; his dusk jacket illustration for James Weldon Johnson’s “God’s Trombones”; and his cover designs both for FIRE!!, a single-issue magazine of lasting impact; and the May 1928 issue of The Crisis, the most widely read and distributed magazine of the Harlem Renaissance.

The Crisis was (and still is) put out by the NAACP. In operation since 1910, it was edited until 1933 by Du Bois, whose 1925 portrait, by the German artist Winold Reiss, we see in the second gallery.

Reiss was a big influence on Douglas. The German’s pastel portraits were commissioned by Locke for “Harlem: Mecca of the New Negro.” Among them was a double portrait of two young public school teachers that is as freshly beautiful today as it was confronting to racist mind-sets then. (At a reception for Reiss, one man declared that the two teachers would have scared him had he encountered them on the street. Galleries wouldn’t show them, Anastasia Kinigopoulo writes in the catalogue, “out of fear they would attract black clientele.”)

Winold Reiss. “Harlem Girl,” about 1925. Pencil, charcoal and pastels on heavy illustration board (Museum of Art and Archaeology, University of Missouri/Columbus Museum of Art)

Sargent Johnson. “Mask of a Girl,” 1925. Copper repoussé with gilding. (Collection of the Newark Museum/Columbus Museum of Art)

Reiss also made a study, in three-quarter profile, called simply “Harlem Girl,” with affinities to a nearby face, “Mask of a Girl,” sculpted by Sargent Claude Johnson. Made from hammered copper and enhanced with gilding on the girl’s braided hair, Johnson’s small piece came out of an impulse he articulated 10 years later: He wanted, he said, to show “the natural beauty and dignity in that characteristic lip and that characteristic hair, bearing, and manner; and I wish to show that beauty not so much to the white man as to the Negro himself.”

Some might be embarrassed by such sentiments today, taking their premise for granted. But, at the time, few people could. “It is fair to say,” wrote Arnold Rampersad, a biographer of both Hughes and Ralph Ellison, in his introduction to a 1992 edition of Locke’s “The New Negro,” “that, in the face of racial ‘science,’ most of the [black] contributors to the volume accepted the notion of black racial and cultural inferiority compared to the highest standards of European civilization.”

Yet these writers and artists also believed passionately that things were changing. They believed they were part of a transformation that would lead to political agency and a broad-based cultural flourishing.

And so it did. The Harlem Renaissance began soon after 200,000 black soldiers returned from Europe at the end of World War I. The U.S. Army was still segregated. Most black soldiers had served as support troops. But some African American regiments — most notably the 369th Infantry Regiment, the so-called “Harlem Hellfighters” — fought and were recognized for their bravery.

In France, they had been treated with a level of respect they were rarely afforded at home. Now, returning victorious, they demanded equality with renewed urgency.

Meanwhile, during the four years of the war in Europe, half a million blacks had left the American South for northern cities such as Chicago, Detroit, Columbus, Cleveland and New York, where they settled in Harlem. Racial tensions were inflamed both in the South, whose white farm owners resented the departure of cheap black labor, and in the North, where whites felt uneasy about the changing face of their cities.

Lynchings remained common in the South, but attempts to pass an anti-lynching bill in Congress were repeatedly frustrated. White racial supremacy, widely accepted, was reinforced by influential books and movies, including D.W. Griffith’s landmark film, “Birth of a Nation,” based on “The Clansman,” by Thomas Dixon, Jr., a close friend of President Woodrow Wilson. Labor disputes increased in frequency. And in summer 1919 — known as the Red Summer — bloody confrontations between blacks and whites broke out across the nation.

How did a so-called “renaissance” — what one of its leading figures, Arna Bontemps compared to “a foretaste of paradise” — emerge from so much strife? Sociology explains only so much. It cannot plumb the deeper reasons for creative flourishing, which might have less to do with statistics and social movements than with friendships, rivalries, love affairs and the strange sparks sent off by souls in turmoil. “A blue haze descended at night,” Bontemps wrote, “and with it strings of fairy lights on the broad avenues.”

Jacob Lawrence. “The Long Stretch,” 1949. (Bill and Holly Marklyn)

“I, Too, Sing America” tells the story of the central figures in the Harlem Renaissance. But it also takes a wider look at the movement’s legacy. It shows great art made in the ’40s and ’50s, for instance, by Jacob Lawrence, Romare Bearden and Norman Lewis. All three were stars of the next generation, but they were taught by the sculptor Augusta Savage, a central figure in the Harlem Renaissance.

The show takes us beyond Harlem, too. Allan Rohan Crite painted black life in Boston, but very much under the influence of Harlem Renaissance figures. Several of his pictures are here, along with sculptures by Meta Fuller, who studied with Rodin in Paris and was close to Du Bois and Savage but who never lived in Harlem.

Accusations of intellectual snobbery have long hovered around the Harlem Renaissance. Locke was the first black Rhodes scholar, a graduate of Harvard and Oxford, and a philosopher who had studied in Paris and Berlin. Du Bois, despite his misguided impatience with art that was not overtly propagandistic, could seem cautious compared with Garvey, whose more radical, Pan-African rhetoric and entrepreneurial energies were also part of the story of Harlem in the 1920s.

Locke may have papered over some sociopolitical realities in favor of vaguer conjectures in the realm of culture. But what his energies helped make possible should not be underestimated: a truthful, respectful and authentic depiction of black humanity and recognition for burgeoning black creative brilliance. The message — essentially, that black culture matters — should never have been required; but it was as important then as it remains today.

I, Too, Sing America: The Harlem Renaissance at 100, through Jan. 20, at the Columbus Museum of Art, 480 E. Broad St., Columbus, Ohio.

RankTribe™ Black Business Directory News – Arts & Entertainment

A story of freedom, ‘Blue Note Records: Beyond the Notes’ to screen at Sound Unseen

The Sound Unseen films-on-music festival is under way, and as always, it covers various genres, extremes, and intersections of music and culture. Kudos to Jim Brunzell and Rich Gill for keeping this niche party humming.

“Blue Note Records: Beyond the Notes,” which screens on Sunday afternoon, is a must-see if you love John Coltrane … or Kendrick Lamar. If you believe Alfred Lion and Francis Wolff were the greatest record producers of all time … or you keep close track of the very interesting young hip-hop producer Terrace Martin. And especially if you think jazz is dead.

As Martin says in the film, “Blue Note is the past, present and the future. It’s always doing something different. It’s always turning on the next generation to something that could change their life.”

Swiss filmmaker Sophie Huber’s feature-length documentary chronicles the birth, development, near death and phoenix-like rise of the most important label in the history of jazz. Let’s just say in the history of American music, because jazz is American music. This tale hasn’t been told since German filmmaker Julian Benedikt’s Peabody-winning “Blue Note: A Story of Modern Jazz” in 1997, and a lot has happened in the 20 years since.

Founded in 1939 by friends and passionate jazz fans Alfred Lion and Francis Wolff, two German Jews fleeing the Nazis, Blue Note was never about signing stars, making money or pumping out hit records. Best-sellers were accidents. Blue Note was about freedom: creative freedom, freedom of expression, freedom for the artists to reflect their experience, respond to their times (including the civil rights movement), push their own boundaries and speak their truth.

That’s what Lion and Wolff wanted to hear. They gave us John Coltrane, Thelonious Monk, Bud Powell, Miles Davis, Herbie Hancock, Wayne Shorter, Art Blakey, and the list goes on and on – nearly 1,000 records, many iconic, all lovingly recorded and produced, all documented in notebooks by Lion and photographs by Wolff.

Members of the Blue Note All-Stars

Mira Film

Members of the Blue Note All-Stars from left: tenor saxophonist Marcus Strickland, jazz legend Wayne Shorter (who guested on one track) and trumpeter Ambrose Akinmusire.

Huber smartly starts and ends her film with a supergroup of today’s young Blue Note artists: trumpeter Ambrose Akinmusire, keyboardist Robert Glasper, bassist Derrick Hodge, guitarist Lionel Loueke, drummer Kendrick Scott and tenor saxophonist Marcus Strickland. Glasper signed with Blue Note in 2004, the others during the 2010s. As the Blue Note All-Stars, they met to record what would be their Sept. 2017 release, “Our Point of View.”

Also in the studio, contributing one track, were jazz legends Wayne Shorter and Herbie Hancock. Shorter first recorded with Blue Note in 1959; Hancock signed on in 1961. Huber shows us the label’s past, present and future, living and breathing and making music together.

With access to all things Blue Note, Huber has made a satisfying, illuminating film that squeezes 80 years of history and music into just under 90 minutes. New and archival interviews, performance footage, photographs, studio banter, and those instantly recognizable album covers come together in a cohesive whole with a stellar soundtrack.

The long, incredibly fruitful, warm and respectful collaboration between two white German Jewish jazz afficionados and the musicians they signed and recorded, who were almost all African-Americans, stands in sharp contrast to the xenophobia and racism that have always plagued us and are on the rise today. From the start, Blue Note made sure black artists were heard. That continues today, with commitment and without question.

What’s clear from the film is that jazz is very much alive, and it stays alive by changing while staying rooted in its own deep, rich history. Jazz is innovator, borrower and lender. It makes new music. It takes Disney tunes, Broadway hits and songs by Radiohead and welcomes them into the jazz fold. It shares licks, sensibilities and beats with hip-hop. Kendrick Lamar’s platinum-selling, Grammy-winning “To Pimp a Butterfly” is filled with jazz influences and features jazz musicians (Glasper, Akinmusire). Terrace Martin describes Lamar as “a jazz musician by default. It’s in his DNA.”

In one of our favorite stories from “Beyond the Notes,” Bruce Lundvall (Blue Note’s CEO from 1984-2010) tells of hearing about a London-based jazz/hip-hop fusion group that wanted to sample Herbie Hancock’s 1995 Blue Note release “Cantaloupe Island.” When they asked Lundvall, “Are you going to stop us?” Lundvall replied, “No, you can sample the entire Blue Note catalog. Let’s make an album.”

Miles Davis performing in the Blue Note studios.

Copyright Mosaic Records/Michael Cuscuna

Miles Davis performing in the Blue Note studios.

Us3’s “Hand on the Torch,” with its hit song “Cantaloop,” sold millions of copies. Lundvall also signed a very young and unknown Norah Jones to her first recording contract. Her first Blue Note album, “Come Away with Me,” swept the 2003 Grammys. So, yes, jazz can also be about money and making hit records.

But at Blue Note, it’s still about freedom. Norah Jones is with the label today because she can record what she pleases. So can José James. Born and raised in Minneapolis, now based in New York, James signed with Blue Note in 2012, soon after Don Was became president. (Was is every bit as visionary as Lion, Wolff and Lundvall were.) James has since released four dizzyingly diverse albums on the label; his latest, “Lean on Me,” is a heartfelt homage to soul man Bill Withers. James isn’t featured in the documentary, but he’s another example of how Blue Note stays in the black.

“Blue Note Records: Beyond the Notes” screens just once during Sound Unseen: on Sunday, Nov. 18, at 3 p.m. at the Trylon. FMI and tickets ($12/14). This will be its Minnesota premiere. Here’s hoping it returns later for longer.

When it rains, it pours. Another documentary about Blue Note is following closely behind Huber’s. Wim Wenders was executive producer of Eric Friedler’s “It Must Schwing! The Blue Note Story,” which is currently making the festival rounds. We’d like to see that, too. Landmark? MSP Film Society?

RankTribe™ Black Business Directory News – Arts & Entertainment

Africana Studies department commemorates Amiri Baraka

Newark, New Jersey Mayor Ras Baraka discussed the legacy of his father Amir in the Wang Center Theater this week. Amiri Baraka was a Stony Brook University professor, and is remembered as part of the 50th anniversary of the Africana Studies department. GARY GHAYRAT/THE STATESMAN

The Africana studies department at Stony Brook University held a two-day symposium this week in honor of Amiri Baraka, a controversial poet, writer, activist and previous Stony Brook University professor, for its 50th anniversary celebration.

A poetry slam, film screening, panel of scholars and Baraka’s son, Newark, New Jersey Mayor Ras Baraka, remembered and discussed the legacy of a political artist who drew both criticism and praise with his poignant personality and work.

“I know there are people in the world who compartmentalize his development and his growth, and they relate to the part of it that either makes them feel comfortable or justifies their narrative of him,” Baraka said. “My father was an evolving person, always.”

Known for his poems about music, commentaries on society and activism during the black arts movements in the 60s and 70s, Baraka was also criticized and accused of being anti-Semitic over the poem “Somebody Blew Up America” that he wrote after the Sept. 11 attacks.

The Africana studies department released a statement on its website saying, “We reject all forms of rhetoric and speech that would seek to target particular identity groups or individuals, or which might decrease the sense of safety, security, or belonging for any in our shared community.”

Africana Studies Chair Tracey Walters said she received several emails from fellow professors voicing their concerns, which she replied to with statements in addition to reaching out to the Jewish community on campus to let them know of the event’s intent.

“We don’t privilege one person’s suffering over another,” Walters said. “We’re not discounting the hurt and the pain that various communities are going through right now by having Baraka’s son here or by having a panel on Baraka’s works.”

She invited the attendees to start an open dialogue about the complexity of Baraka’s artwork and political beliefs.

“The best way to address our differences, the best way to address our pasts, our history, however complex in nature, is to have a public discourse about it,” she said.

During a panel discussion titled “An Urgent Voice for Liberation in Times of Trouble: Celebrating the Legacy of Amiri Baraka,” Dr. Komozi Woodard, a history professor at Sarah Lawrence College, said some of Baraka’s political work might be instructive even today.

“Baraka predicted Trump,” Woodard said. “Everybody thought what he was saying, move to the right that would produce white supremacy, could never happen here. Well, here we are.”

In 1972, Baraka helped organize and chair the National Black Political Convention in Gary, Indiana. With the theme “unity without uniformity,” the convention worked to unite blacks politically and to create a third political party.

“A lot of times, one of the issues that come up in the literature is this bashing of the Black Power movement as having killed the Civil Rights movement,” Assistant Professor of Africana Studies, Dr. Zebulon Miletsky, said. “Those people haven’t looked at the archives.”

“We owe the legacy of the founding of Africana studies, in so many ways, to this kind of work,” Miletsky said.

Amadi Agbomah, a junior Africana studies major and a poet, said she had studied Baraka’s work before but the event taught her new things about Baraka and gave her the chance to take a look at the original copies of his work in the university archives.

“What we have is a man fighting for causes that we all share as human being: human rights, freedom, independence, dignity and justice,” Assistant Professor of Africana Studies, Dr. Shimelis Gulema, said. “That’s something we should do in this world, at this time, in this particular moment, when ideas of freedom, ideas of social justice are under serious threat here and all over the world.”

“A luta continua,” Gulema said. “It means, ‘the struggle continues.’”

RankTribe™ Black Business Directory News – Arts & Entertainment

Last-Minute Plans: 133 Free, Cheap & Easy Things To Do In Seattle This Weekend: Nov 16-18, 2018

If you’ve never tasted æbleskiver (spherically shaped Nordic pancakes often eaten with lemon curd and lingonberries), this weekend’s Yuletide-themed Julefest at the Nordic Museum is the perfect opportunity to do so. Nordic Museum via Facebook

Panicking because you haven’t yet made plans for the weekend and you’re short on cash? Don’t worry—below, find all of your options for last-minute entertainment that won’t cost more than $10, ranging from early holiday events like the Julefest to the free Thanksgiving bazaar Gobble Up, and from Pacific Northwest Afro X to a launch party for Amber Nelson’s poetry book The Sexiest Man Alive. For even more options, check out our complete Things To Do calendar.

Stay in the know! Get all this and more on the free Stranger Things To Do mobile app (available for iOS and Android), or delivered to your inbox.

Jump to: Friday | Saturday | Sunday



1. Beholder Launch Party
A roster of writers and artists, half from Seattle (like Elaine Lin and Valerie Niemeyer) and half from elsewhere in the States, have contributed to the first issue of this digital mag. Celebrate with drinks, a DJed soundtrack by Hanssen, a playable video game by Molly Brady, and readings by contributors Chan Plett and Vinnie Sarrocco. 
(Ballard, free)

2. Teen Night Out
Teens will rule the Seattle Art Museum for a night of live DJs, art tours, live music and performances, workshops, and artist-led activities inspired by Peacock in the Desert: The Royal Arts of Jodhpur, India.
(Downtown, free)


3. Advance Directive Disco
The daunting task of writing an advance directive (a statement of a person’s wishes regarding medical treatment, often including a living will) will be made more fun thanks to trained helpers, a notary, snacks, a disco ball, and a live DJ.
(Crown Hill, $10 suggested donation)

4. The Appetite Podcast Launch Party
Celebrate the launch of Opal: Food + Body Wisdom’s Appetite Podcast, which will address topics relating to food, body, and mental health.
(Belltown, free)

5. Holiday Open House
Get the first look at the Volunteer Park Conservatory’s annual holiday display and meet hard-working elves. Plus, enter a raffle to win a model train, enjoy 20 percent off gift shop items, and eat cookies.
(Capitol Hill, free)


6. Author Talk: Season by Nik Sharma
In his stunning new cookbook, Season: Big Flavors, Beautiful Food—recently selected as one of this fall’s best cookbooks by the New York Times—Mumbai-born food writer, photographer, and A Brown Table blogger Nik Sharma notes, “Seasoning is more than just a way to achieve flavor in the food we eat. It represents our desire to connect with our past, present, and future. It tells our story.” Sharma’s cooking tells his own story as a gay immigrant from India who moved to the Midwest to study biochemistry in college, then spent time in Washington, D.C., Virginia, and San Francisco. Weaving together disparate influences from different cultures, he combines different flavors, techniques, and ingredients in his recipes, like a Margherita naan pizza, caprese salad with sweet tamarind, curry leaf popcorn chicken, and butternut squash soup flavored with smoky Lapsang souchong tea. At this event, Sharma will chat with Seattle Times food writer Tan Vinh, field questions from the audience, and sign copies of Season that are purchased at Book Larder. JULIANNE BELL
(Fremont, free)

7. MOD Pizza Rainier Avenue Grand Opening Celebration
MOD Pizza will celebrate their new Rainier Avenue location with a ribbon-cutting ceremony and free pizza or salad for the first 100 customers. DJ Ashley McDonald and the Rainier Beach High School Cheer Team will provide extra enthusiasm, and all proceeds will be donated to 
(Mount Baker, free)


8. The Adarna, Static & Surrender, Death By Overkill
The Adarna is the first band to ever coin their genre as “Jet City Rock,” and they’re also probably the first to take their name from a mythical phoenix-like songbird in Filipino folklore. They’ll be joined by alt rockers Static & Surrender and Death By Overkill.
(West Seattle, $8)

9. Atelier: C.A.B.O Release Party – Seattle
Portland MC Maarquii will celebrate the release of their debut album, C.A.B.O., with a multi-disciplinary performance (they rap, sing, and dance). Seattle’s Gag Reflex and Portland’s FatherFannie will provide DJ support.
(Downtown, $8)

10. Avian Invasion, Guests
House/trance DJ Avian Invasion will spin his debut release for all the furries out there and anyone else who likes techno. DJs Dobermann and Ezo will provide additional support.
(Pioneer Square, $10)

11. Birch Pereira & the Gin Joints
Early swing, Americana, and rock-inspired musicians Birch Pereira & the Gin Joints will play a show in the hopes of transporting you to an era of honky-tonks and roadhouses.
(Downtown, free)

12. Bootie Seattle: ’90s Mashup Night
DJs Tripp and Skiddle will resurrect hits across genres by your favorite ’90s bands, from Nirvana to Spice Girls to Alanis Morrisette to Snoop Dogg. 
(Capitol Hill, $10)

13. Butch Bastard
Local solo indie rocker Butch Bastard will play instrumental “stoner spaz” and “slap happy rock and roll” jams with support from indie pop artist Jean Chalant. 
(Capitol Hill, $10)

14. Cloud Person, The Black Planes, Local Liars
Local quintet Cloud Person manage to work the subgenres of psychedelia, garage, folk, and indie into their style of rock. They’ll be joined by fellow psychedelic rockers Black Planes and pop-punks Local Liars.
(Eastlake, $10)

15. Cornish Creative Ensemble
The Cornish Creative Ensemble presents a two-part concert, starting with a program inspired by Paul Motian, Andrew Hill, and Dmitri Shostakovich, followed by “open and structured improvisations” and round-robin duos and trios. 
(Capitol Hill, free)

16. Die Nasty, Downtown, Projections on a Wall
Join Seattle’s Die Nasty, Downtown, and Projections on a Wall for a night of riotous punk. 
(Georgetown, $7)

17. Fat Cat Presents: A Night of Hiphop
Enjoy a free show of live sets by local hiphop artists like the Artist ft. DAYM, Jay Fiddy, and Kyrelle.
(Wallingford, free)

18. FCON, The Snubs, Hellcat, The Subjunctives
Southside hardcore punks FCON will bring their heat to Tukwila, with opening sets by the Snubs, Hellcat, and the Subjunctives.
(Tukwila, $7)

19. The Hot McGandhis
Get down to “funky jazz and boogaloo tunes” from a quintet of seasoned Seattle musicians as they play standards from the 1960s to the present.
(Downtown, free)

20. Jupe Jupe, Society of the Silver Cross, Myrrum
Minor-key New Wave rockers Jupe Jupe will be backed up by Society of the Silver Cross and Myrrum for a night out in Fremont.
(Fremont, $8/$10)

21. Knights of Trash, The Night Times, Thee Perfect Gentlemen
Local good-timers the Knights of Trash play a rollicking set of original rock and roll, with support from the Night Times and Thee Perfect Gentlemen.
(Shoreline, $5)

22. Prom Date Mixtape – Stripped
Hark back to the ’80s and ’90s with a “semi-acoustic, tweaked, and twisted” edition of Prom Date Mixtape.
(Fremont, free)

23. Proofs, The Littlest Viking, Plum, Model Snake
Local math rock and “fudgecore” group Proofs will play a live set out in the U-District with support from the Littlest Viking, Plum, and Model Snake.
(University District, $8)


24. Lumbersexual UNION Suit/longjohn PARTY wDJ MIKE Sniffen
Lumbersexuals should wear their finest long johns and flannels for a night of dancing to party tracks from DJ Mike Sniffen in the good company of hot go-go boys.
(Capitol Hill, $6/$8)


25. Cote Smith, Zack Akers, and Skip Bronkie: Limetown-The Prequel to the #1 Podcast
Of all the supernatural and suspense podcasts out there, Limetown may be the tautest and most elegantly executed. Nowhere to be found is the cheesiness of, say, NoSleep or the wide-ranging whimsy of Welcome to Night Vale. This live event will be a prequel to the story about the vanishing of 300 people at a top-secret research facility.
(South Lake Union, $5)

26. Good Co’s Kickstarter Countdown Dragtacular!
Local drag performers Timmy Roghaar, Abbey Roads, and Vincent Miley will celebrate their newest album, So Pretty, with a dance party.
(Downtown, $10)

27. Reboot Theatre’s Test Kitchen
Beloved local drag queen Butch Alice will mesh “Pink Floyd aesthetics” with The Wizard of Oz in this new performance.
(Sodo, $10)


28. Adrianne Harun: Catch, Release
An underappreciated short story writer who lives in Port Townsend, Adrienne Harun is the real deal. She’s fantastic. Her work has appeared in Best American Short Stories and Best American Mystery Stories, and her new collection is called Catch, Release. JOULE ZELMAN
(Capitol Hill, free)

29. Benjamin Schmitt: Soundtrack to a Fleeting Masculinity
Pushcart-nominated poet Benjamin Schmitt will host a night of readings and music alongside poet Jason Kirk and singer-songwriter Nate Manuel.
(Ravenna, free)

30. Brandon Mull: Dragonwatch
Brandon Mull, the author of the Fablehaven, Beyonders, and Five Kingdoms fantasy series, will read from his latest book, Dragonwatch, about a world that’s threatened by draconic dominion.
(University District, free)

31. evo Women’s Speaker Series
Meet professional women in the snowboarding industry—Anon Optics’s Hillary Van Hauer and Burton Snowboards’ Ali Kenney and Lesley Betts—for a discussion as part of Burton’s Women’s Speaker Series.
(Wallingford, free)

32. Jessica Rae Bergamino: Unmanned
Poet Jessica Rae Bergamino will celebrate the release of her debut collection, Unmanned, by giving a reading with special guest poet Rae Gouirand.
(Wallingford, free)

33. Martin Limon: The Line
Two 8th Army CID agents spark international conflict when they remove a battered corpse they found a few feet north of the line dividing North and South Korea in the 1970s. Hear more from Martin Limon’s historical fiction novel The Line at this reading.
(Lake Forest Park, free)

34. Michelle Hodkin: The Reckoning of Noah Shaw
Michelle Hodkin, author of the Mara Dyer trilogy, will be joined in conversation by Kendare Balke (author of Anna Dressed in Blood) about Hodkins’s new book The Reckoning of Noah Shaw, the sequel to The Becoming of Noah Shaw.
(Mill Creek, free)



35. Beyond the Frame—To Be Native
For National American Indian Heritage Month, join authors and historians in examining the work of Edward S. Curtis, who’s famous for his photographs depicting Native American life.
(Downtown, free)

36. (Where) Do We Belong?
These artworks respond to Trump’s “zero-tolerance” immigration policies through the eyes of immigrant artists, including Humaira Abid, Hawo Ali, Tatiana Garmendia, Hiba Jameel, Rohena Alam Khan, Jake Prendez, Marcia Santos, and Judy Shintani.
(Pioneer Square, free)
Closing Saturday

37. Gravity Jokes
When a joke “goes over well,” we say that it “lands.” Sometimes a joke doesn’t land because it “misses the mark” or “sails over the heads” of its intended audience. What is it about comedy that invites so many comparisons to the trajectories of flying, falling objects? In Gravity Jokes, dubbed an “experimental exhibition-as-conversation” by curator Molly Mac, six artists who create work on a “continuum between traditional sculpture and stand-up comedy” have come together to tell jokes of all forms that collaborate with the forces of gravity: Dewa Dorje, Andy Fallat, Philippe Hyojung Kim, Mario Lemafa, E.T. Russian, and Khadija Ann Tarver. EMILY POTHAST
(Capitol Hill, free)
Closing Saturday

38. Jenny Heishman: rectangle, rectangle
Jenny Heishman’s prolific exploration of materials has included everything from foam core, paper, tape, ink jet print, nylon strap (Wall Belt, 2012) to igneous rock, stainless steel, and urethane paint (skystones, 2016 at Skyway Library). The material is the starting point, and its form is teased into being with throwaways like cardboard becoming monumental in the process (Medium, 2015). For her first solo show since 2015, Heishman has added another dimension by interpreting material into another material—specifically paper fiber into wool fiber. In one piece, paint-splattered handmade paper serves as the reference for a labor-intensive hand-hooked rug, resulting in a meditative portrait of something seemingly accidental. KATIE KURTZ
(Pioneer Square, free)
Closing Saturday

39. Lydia Bassis: Unspoken
Bassis typically creates layered abstracts; in the past year, she’s been using collage, acrylic, and graphite to make spacious, repetitious, soothing compositions.
(Pioneer Square, free)
Closing Saturday

40. Sonny Assu: Études for the Settler
This new series of “found paintings” by Sonny Assu is presented alongside his previous series that “problematize[s] colonial conceptions of the landscape”: 2017’s The Paradise Syndrome, 2016’s 1UP, and 2014’s Interventions On The Imaginary.
(University District, free)
Closing Saturday


41. Akwaaba: Healing a Queer Black Soul
In this one-person show, local queer theater performer Naa Akua shares stories of their “Queer Black Healing Process” through poetry, sound, ritual, and monologue.
(Capitol Hill, $10)


42. Pilchuck Holiday Sale
Shop ceramics, glass art, and other crafts for the holidays.
(Pioneer Square, free)



43. Holiday Express Train and Poinsettia Display
The holiday train will return to the Volunteer Park Conservatory to weave its way through festive poinsettias.
(Capitol Hill, $4)

44. Swansons Reindeer Festival
Shop a variety of seasonal plants, bulbs, arrangements, and Christmas trees, as well as other gifts like books, jewelry, and home decor, at the decked-out nursery. Plus, visit with Santa and his real-life reindeer, check out model trains, and enjoy live music throughout the season.
(Crown Hill, free)



45. Charlie Parriott, Cappy Thompson, Dick Weiss: Old Friends, New Work
Cappy Thompson is responsible for the 90-foot-long window mural—a woodland/celestial scene of painted glass titled I Was Dreaming of Spirit Animals (2003)—at Sea-Tac International Airport. Thompson will show work with Dick Weiss, an Everett-born glass artist whose large-scale piece can also be seen at Sea-Tac, and Charlie Parriott, who spent 12 years as a colorist at Chihuly Studio before helping to run the hot glass studio at the Museum of Glass in Tacoma.
(Downtown, free)
Opening reception Saturday

46. Deep Space Fine
The latest installment of Prairie Underground’s artist series features Stranger music calendar editor and Gramma editor Kim Selling, who has created two open-size garments (from 0 up to around 32) out of sheer silk organza, which will be live modeled by Briq House, Adria Garcia, McKenzie Porritt, and Guayaba. There will also be projected visual art made by Kim Selling, Briq House, McKenzie Porritt, and Mel Carter, plus music from Guayaba and DJ RO. Selling says: “We are capable of being more than one thing, more than simply a physical body. The pieces showcased here are meant to both expose and empower; regardless of your size or shape, these garments will collaborate with you to create evanescent architectural movements, as if you were a celestial body moving through space, swathed only in dark matter.”
(Georgetown, free)

47. Family Grief Workshop
People of all ages are invited to express and process grief through visual art, meditation, movement, and more as part of the Good Mourning festival.
(Crown Hill, pay what you can)

48. Jeanne Medina: A Solo Exhibition
Fiber and textile artist Medina creates three-dimensional sculptures incorporating weaving and sometimes performance, all reflecting on “identity, ancestral trauma, and the fixed and fluid spaces of the body” as well as colonialism and de-colonization.
(Georgetown, free)
Closing Saturday

49. Sara Jimenez: Sudden Lull, Terrific Gale, Dead Calm
These photographs are glimpses of the artist, garbed in a dress made of snapshots of colonial writings, as she adopts poses evoking the legendary Filipina warrior princess Urduja. 
(Georgetown, free)
Closing Saturday

50. Statix One-Year Anniversary Party
Revel in the existence of this young, offbeat gallery with free food and drink, discounted art to buy, live music, and giveaways.
(Pioneer Square, free)

51. Vision 20/20
Forty-six artists have each created nine eight-by-eight artworks for sale. Claim your favorites for some early holiday shopping.
(Burien, donation)


52. Miscast
Funny and spontaneous performers are paired with actors following a script to reshape scenes from real movies that the improvisers aren’t familiar with in this series directed by John Carroll. In November, see the “It’s Not TV” showcase. 
(Belltown, $10)


52. Calendar Launch Party with Seattle Humane
Seattle Humane will celebrate the launch of their adorable 2019 calendars by sending some of their adoptable cats and dogs to Issaquah via the MaxMobile. Ask questions about taking home a pet forever and snap some photos in a fall-themed photo booth.
(Issaquah, free)

53. Pre-Loved Judaica Sale, Havdalah and Live Jewish Music
Immerse yourself in Jewish culture by flipping through books, listening to live traditional music, tasting homemade baked goods, and more.
(Woodinville, free)


54. Anniversary Party/Can Release!
Dexter Brewhouse and Magnuson Cafe & Brewery will celebrate their anniversary with the release of their “Just Juice” NE Style IPA can at both locations, along with more “fun new takes” on their classic brews, all day happy hour, raffles, and the debut of the Mollusk Barrel Aged Whiskey (only available at Dexter Brewhouse). 
(South Lake Union and Sand Point, free)

55. Gobble Up 2018
This free bazaar from the folks behind Urban Craft Uprising aims to apply the successful indie market format to specialty artisanal foods. This is a unique opportunity to peruse (and taste!) edible wares from more than 100 craft food vendors, and to meet the makers themselves. On the lineup this year: heritage preserves from Orcas Island’s Girl Meets Dirt, sourdough croissants from Temple Pastries, distinctive confections (like absinthe and black salt caramels) from Jonboy Caramels, drinking vinegars from the Shrubbery, and more. In addition to food and drink, there will also be handmade linens, ceramics, and other home goods available for purchase. JULIANNE BELL
(Downtown, free)

56. Magnolia Fall Harvest Market
The Magnolia Farmers Market will stay open for an extra day to help you check things off your holiday gift list and your Thanksgiving shopping list. Find local meats, cheeses, vegetables, preserves, and more. 
(Magnolia, free)


57. The Christy McWilson Experience, Gus Clark & the Least of His Problems
Christy McWilson and her Experience will be joined by Gus Clark & the Least of His Problems for a night of rootsy rock and rocky roots.
(Georgetown, $10)

58. Dysko Mystik: DYR, The Ohmu
Indulge in some late-autumn spookiness by entering “a twilight zone of electronica” with DYR (who will spin his newest single, “Dysko Mystik”) and the Ahmu.
(Fremont, free)

59. The Fabulous Downey Brothers, Bad Luck, Modal Zork, Forrest Friends
Join Seattle’s Fabulous Downey Brothers for an energetic amalgamation of Devo, the B-52s, and They Might Be Giants, as well as local duo Bad Luck, Portland synth-folk band Modal Zork, and Forrest Friends.
(Capitol Hill, $10)

60. Haute Sauce X Cuffing Season X Citrus Room
DJs Blesst, 1Oak, Catch24, Izm, Han B2B G-Lo, and special guests will supply the goods for a hiphop dance party.
(Capitol Hill, $10)

61. JK Pop!
Temporarily cast away your sadness with bouncy K Pop DJ sets by HOSTBOI and Mooncakes, and also with K Pop drag performances by Atasha Manila, Christian Brown, and Kylie Mooncakes.
(Downtown, $5/$8)

62. Mastering the Hustle Workshop 12: Songwriting
Local songwriters Parisalexa and Hollis Wong-Wear will talk about how they managed to find success in Seattle’s ever-changing music industry. 
(Seattle Center, free)

63. No Chill: ’90s-’00s Hiphop and R&B Throwback Party
It seems the ’90s and early aughts indeed have no chill. Give in to the decades’ sartorial and musical prevalence with a night of hiphop and R&B throwbacks from DJs Paco and Chetbong.
(Beacon Hill, $10)

64. POP HOP! A Sweet POP and HipHop Party!
DJ Indica Jones will take the reins at this dance party dedicated to “pop and hiphop music from over the decades,” from Snoop Dogg to Spice Girls. 
(Ballard, free)

65. POPDEFECT, Girl Trouble, Clean Lines
Tacoma’s Girl Trouble and Seattle/LA’s Popdefect (although they seem to have been born out on the road, probably crossing North Dakota in pitch blackness), go back decades, boast cult followings, and have had movies dedicated to them—and both remain criminally underhyped. All I can do to un-underhype them is to affirm that Girl Trouble strike exactly the right balance between manifesting rock’s big-dick/big-ego strut and satirizing the same, while Popdefect perfect primal, minor-key wails from the id. Now how much would you pay? ANDREW HAMLIN
(Columbia City, $10)

66. Quiet, Levi Fuller & the Library, Chad
Moody psych-punks Quiet will headline in U-District with support performances by Levi Fuller & the Library and Chad.
(University District, $8)

67. The Ready Ron Beats Takeover II
Billing himself as “Chinatown’s Greatest Mystery,” Ready Ron is now helming his own solo career as a hiphop beat maker and producer after years as a member of the Impossiblez. Ron will be joined by a full marquee’s worth of local hiphop talent for a beat showcase, hosted by Nikkita Oliver.
(Seattle Center, $5/$10)

68. Vivian, Johnny Raincloud, Lo Fives, Aurora Motels, The Drive Through
Local cat-enthusiast band Vivian will play with more rock support from Johnny Raincloud, Lo Fives, Aurora Motels, and the Drive Through.
(Greenwood, $7)

69. The Whopperjohns
Multi-instrumentalist Jacques Willis will oscillate between the vibraphone, keyboards, and drums while Ryan Burns pounds on the organ. They’ll play everything from jazz standards to video game music to songs from “1980s beer commercials” to Swedish folk songs.  
(Downtown, free)

70. YOY, Mud On My Bra, Bobcat, New Bloom
This punk rock release party celebrates YOY’s new tape, Mud On My Bra’s new bundle of holiday singles, and a new album from Bobcat.
(University District, $5-$10)


71. Layer Cake
Hear a reading of the brand-new theater piece The Secret and Impossible League of the Noösphere, a retro sci-fi taking place at the Chicago World’s Fair. This is part of the Live Girls! theater development program.
(Georgetown, free)


72. Ali Fitzgerald
In Drawn to Berlin: Comic Workshops in Refugee Shelters and Other Stories from a New Europe, Ali Fitzgerald provides glimpses into Berlin’s emergency shelters, where she ran comics workshops for refugees from Syria and Afghanistan. Her book intertwines their stories and her own experience living in the great European capital.
(Georgetown, free)

73. Amber Nelson: ‘The Sexiest Man Alive’ Book Launch
I’ve been waiting for this one. Hometown hero Amber Nelson, former editor of the dearly missed Alice Blue Books, is out with a new book of poetry about the men who’ve earned People Magazine’s highest distinction: The Sexiest Man Alive (Spooky Girlfriend Press). The poems are funny and tragic, composed of chopped up lines from each sexy man’s interview with the rag. Here’s a few lines from “Sexiest Man Alive 2008: Hugh Jackman”: I’m not sure I’m proud of it. That’s not sexy. / An old friend of mine e-mailed me and said / he had cowboy boots sexier than me. Nelson’s celebrating her book’s birthday with a reading, a drag king performance, and a DJ dance party. RICH SMITH
(Capitol Hill, $5 suggested donation)

74. Artist Talk with Henry Lien and Fong-Chi Lien
Nebula-nominated author Henry Lien and his father, photographer Fong-Chi Lien, will share their personal stories about immigration and how these experiences have influenced their respective works.
(Chinatown-International District, free)

75. Asia Talks: Power and Pleasure in Indian Painting
A trio of eminent scholars—Dipti Khera (NYU), Debra Diamond (Freer/Sackler Gallery, Smithsonian Institute), and Yael Rice (Amherst College)—will delve deep into various aspects of 16th- to 19th-century royal arts of Rajasthan, including “power and pleasure, piety and play, real and imagined spaces,” during this symposium. Make sure you see the exhibition that this lecture accompanies: Peacock in the Desert: The Royal Arts of Jodhpur, India
(University District, free)

76. Elliott Neff: A Pawn’s Journey
Elliott Neff, author and founder of the youth chess program Chess4Life, will read from his new book about a young girl who gains self-confidence through the game of chess.
(Lake Forest Park, free)

77. Jeanne Marie Laskas and Friends
In To Obama: With Love, Joy, Anger, and Hope, Jeanne Marie Laskas gives a voice to all those who wrote letters to President Obama—who “engaged with such mail more than any president to date”—while he was in office. Join her in reminiscing/crying about the good old days at this reading.
(Capitol Hill, free)

78. Seattle7Writers’ Holiday Bookfest
Meet your favorite PNW authors and buy their books. Not only will they read and sell; they’ll also bring tasty baked goods! Readers will include Anca Szilàgyi, J. Anderson Coats, Lynn Brunelle, Anna Quinn, Neal Bascomb, and Michael Schmeltzer, and there will be dozens of other writers selling books. Seattle7Writers (your hosts) will also be collecting “gently used” books, so you can clear out some space before bringing home new tomes. The sad news: This will be the last Bookfest, so seize your chance.
(Phinney, free)

79. Storyteller Sondra Segundo
Haida writer, artist, and performer Sondra Segundo will present an evening of songs and stories in celebration of Native American Heritage month.
(Renton, $5)

80. Susan Rich, Valerie Wallace, and Lisa Wells
This poetry reading features poets Valerie Wallace (winner of the PEN USA Award for Poetry), Susan Rich (winner of Margaret Atwood’s Atty Award), and Lisa Wells (winner of the 2017 Iowa Poetry Prize).
(Wallingford, free)

81. Writing for Procrastinators
Learn how to stop procrastinating and become a real live writer with Hugo House instructor Beth Slattery.
(Ballard, free)

82. Writers Under the Influence: Ursula K. Le Guin
Iconic fantasy, sci-fi, and speculative fiction author and poet Le Guin passed away in January, but her legacy (which includes a breadth of work spanning more than four decades) and part in influencing the genres in which she worked will continue for innumerable ages. At this event, local writers Eileen Gunn, David Naimon, and Nisi Shawl will share stories, thoughts, and more related to Le Guin. LEILANI POLK
(Capitol Hill, free)

83. Year of the Chimera: Unusual Story Concepts and Forms
Hear a discussion by eminent, award-winning sci-fi writers Curtis Chen (Waypoint Kangaroo), Ted Chiang (Stories of Your Life and Other Stories), Henry Lien (Peasprout Chen), and Caroline M. Yoachim (Seven Wonders of a Once and Future World & Other Stories) on story forms that diverge from the template. Yang-Yang Wang will moderate.
(University District, free)


84. 10th Annual Snohomish Holiday Market
Get a head start on your holiday gift shopping at “the longest running all-artisan market in Snohomish County,” where over 80 vendors will sell their wares and local distillers will pour warming spirits. Santa will also be there.
(Snohomish, free)

85. Ayame Kai Arts & Crafts Fair
Find handcrafted Asian-inspired gifts, vintage collectibles, and artisan goods from local and regional vendors. There will also be homemade Asian treats to try.
(Beacon Hill, free)

86. A Capitol Affair One-Day Shopping Event!
Support local womxn-owned businesses in Chophouse Row like Moo-Young – Concept Shop, Ghost Gallery, Good Weather Bicycle & Cafe, Knack, Zorro Vintage, and others by entering raffles and shopping one-day-only deals.
(Capitol Hill, free)

87. Filson’s Mercantile Festival
Shop and enjoy samplings and product demos from local vendors like Ayako & Family (who will be selling homemade jam), Bow Hill Blueberries, Deckhand’s Daughter (who will be selling smoked herring), Fulcrum Coffee, Rill Specialty Foods (who will be giving samples of their chili and other soups), Seattle Canning Co. (who will be giving samples of their pickles and relishes), and others. 
(Sodo, free)

88. Hassle Free Holiday Bazaar
Shop from over 100 vendors at this holiday market. 
(Renton, free)

89. Holiday Craft Market
Sixty-five juried artisans will sling their crafts and other handmade goods for all your holiday gift-shopping needs.
(Shoreline, free)

90. Holiday Shop Local Event to Support Women Owned Businesses
Support women-owned businesses by shopping from over 30 local vendors (some of whom will be selling products and some of whom will be selling services) at this holiday market hosted by NW Ladies in Business. 
(Phinney, free)

91. Junction True Value Christmas Open House
Bust out your holiday sweater (you could win a Junction True Value gift card), listen to Christmas carolers, enjoy cookies, apple cider, and popcorn, and pick up some Christmas decorations at this early holiday party. 
(West Seattle, free)

92. Saturday Pop Up Market
Eat a tamale while you shop for jewelry, art, and more from local vendors Amano Seattle and MariGlvn. 
(South Park, free)

93. Seattle Pop-Up Shop! Etsy & Insta Edition 2
Meet and shop from Seattle-based Etsy and Instagram sellers and makers to scoop up everything from jewelry and pins to leather goods and plants at the second edition of this market.
(Capitol Hill, free)

94. Shop-O-Rama’s Book-O-Rama
Shop books for the holidays and get some tomes signed.
(Chinatown-International District, free)

95. St. Matthew Craft Fair
Here you’ll find locally made crafts for the holidays along with a bake sale and raffle. 
(North Seattle, free)

96. TPM Fall Artisan Market
Shop from local vendors at the Trailer Park Mall while a live DJ spins.
(Georgetown, free)


97. The Landing in Renton Tree Lighting Ceremony
Can’t wait for the holidays? Start celebrating early by joining Warm 106.9 for a tree lighting ceremony, carolers, face painters, balloon artists, and “Christmas prizes.”
(Renton, free)



98. Edgar Arceneaux: Library of Black Lies
Enter Edgar Arceneaux’s unassuming wooden structure—a low, irregular-sided wooden shack—and find yourself in a parallel-world library of sugar-crystal clouded books. Their titles may be or merely recall the Western canon, like a sequence including the clearly referential Birth of a Nation and the murkier Birth of a Night, Nation Goodnight, and finally, Goodnight Moon. According to museum materials, this installation—first exhibited in Paris in 2016—concerns Arceneaux’s preoccupations with history, memory, and our subjective human reconstructions of both. The result looks like a cramped, mazelike hideaway, a metaphor for the limits imposed on our views of the past by our own need for containment. By amassing references to many different narratives, Arceneaux constructs an anti-narrative of history.JOULE ZELMAN
(University District, $10)
Opening Saturday

99. Ellen Ito: Cook
The experimental project and home gallery space of artists Joey Veltkamp and Ben Gannon, cogean? features exhibitions that highlight domestic arts and crafts. Launched in March, their fifth show at the 100-year-old house they share on Cogean Avenue—which is within easy walking distance of the Bremerton ferry terminal—is from Ellen Ito, and it is centered on sharing food as community building. Ito also organized a publication in conjunction with the show; it features illustrations and recipes by more than 40 artists, including Matthew Offenbacher, Nicholas Nyland, and Lulu Yee. Proceeds from recipe-book sales benefit local organizations, and attendees are encouraged to bring donations for a food drive to stock a local food bank. KATIE KURTZ
(Bremerton, free)
Opening Saturday


100. Julefest
The Nordic Museum has long hosted this winter celebration of the Yuletide (this will be the 41st year, in fact), but this will be the first Julefest in their new and improved space. Adults over 21 can enjoy a fully stocked Scandinavian bar, while the kids can enjoy arts, crafts, and a visit from Santa. Scoop up some Nordic prizes in the raffle or the silent auction.
(Ballard, $7)

101. Seattle Festival of Trees
Every year, the historic hotel celebrates the winter season with a fancy dinner, caroling, an impressive display of decorated trees in their lobby, and a teddy bear suite.
(Downtown, free)


102. Crystallography Gem + Mineral Market
If you’re in need of some mystical healing, shop from over 50 crystal, gem, and mineral vendors, visit tarot readers, psychics, and “crystal intuitives,” and enjoy live painters and DJs.
(Shoreline, free)

103. Russian Bazaar
Shop for gifts from local Russian artists and fill up on treats from pelmeni to borscht.
(Capitol Hill, free)

104. Seattle Anarchist Book Fair
For its 10th year, the Seattle Anarchist Book Fair will gather radical authors, publishers, and workshop leaders for the intellectual anti-capitalist struggle. Pick up some books and make new friends to criticize the state with.
(Seattle Center, free)



105. Pacific Northwest Afro X
This special exhibit celebrates blackness and African diasporic culture in the Northwest’s past and present with work by Pacific Northwest-based black artists who “[cultivate] and [remix] black brilliance in Seattle and beyond.” Stop by for free conversations, drop-in art activities, a reading station, special talks, and more.
(Central District, free)

106. Pop + Hiphop: Hip-hop Is All Around Us
Get an education on hiphop’s evolution, its diverse voices, the arts and fashion movements it’s sparked, and more of its influence beyond music by checking out Tupac’s handwritten essay penned in 1992, “Give Me Liberty or Give Me Death,” seeing dance performances curated by Tracey Wong, hearing music by DJ crew NW Portablists, seeing a fashion show, and making your own graffiti art.
(Seattle Center, free)


107. Improvised Chekhov
Once again evincing impressive ambition, this improv company will act out scenes based on your suggestions and classic Russian plays like Uncle Vanya, The Cherry Orchard, or The Three Sisters. Since the drama of Anton Chekhov relies on deep character development, complex social mores, and lingering melancholy, these performances—if successful—will truly be coups de thèâtre.
(Downtown, $10)


108. Laying the Foundations for Talking About Race
This free workshop aims to provide people of all ages with tools to have open conversations about race and identity.
(Mount Baker, free)

109. Piper’s Creek Salmon Celebration at Carkeek Park
Welcome the salmon back to the Puget Sound by celebrating with hot drinks, music, a scavenger hunt through the park, and more family-friendly activities.
(North Seattle, free)


110. SHRIEK!: Thirst
The class focusing on women and minorities in horror is back with a screening and discussion of Park Chan-wook’s Thirst, about a saintly Catholic priest transformed into an insatiable blood-drinker and sex fiend by a risky medical experiment. Here’s an excerpt from the review Lindy West wrote at its release: “Thirst is a horror movie, albeit a silly one. Actual scares are few to none—instead, Sang-hyun’s painfully earnest consternation at trying to live as an ethical monster (losing his priestly virginity, daintily sipping a comatose man’s blood straight from the IV) make it a funny, cartoonish, and strangely sweet fable about ethics versus instincts: ‘Is it a sin for a fox to eat a chicken?’ Unfortunately, Thirst drags on for a punishing gazillion hours—ethical monster shacks up with manipulative harpy and the complications pile up like bodies (because, you know, they literally are bodies)—and you feel like you’ll never see your home or your mom or the precious golden sun again.” It might not be the most positive of reviews, but you’re guaranteed to get a good discussion out of it with organizers Evan J. Peterson and Heather Marie Bartels.
(Greenwood, $10)

111. VOYEUR presents The Prowler
The November edition of VOYEUR brings “one of the bleakest noirs ever made,” Joseph Losey’s The Prowler, about a man who’s determined to get what he feels society owes him—an unhappily married woman played by Evelyn Keyes.
(University District, free)


112. Dearheart, The Requisite, Tiger Rider
Local post-emo four-piece Dearheart will play material from their debut album, with support sets from local pop-punks the Requisite and power poppers Tiger Rider.
(Ballard, $10)

113. Evan Flory-Barnes: On Loving the Muse and Family — Kickstarter Donor Appreciation Concert
It’s no secret that Seattle is spilling over with gifted musicians, but even given that relatively high bar, Evan Flory-Barnes is a standout. The veteran multi-instrumentalist is probably most visible in his role as bassist for the formidable Stranger Genius Award-winning ensemble Industrial Revelation, but his many appearances on his own and with others have made it clear that he is a major talent no matter whom he’s playing with. Now he gets the chance to take center stage for On Loving the Muse and Family, a show that means to frame his monster skills with a narrative framework incorporating the style of vintage late-night TV variety shows, and featuring such collaborators as the Traumatics, the True Loves, the Seattle Girls Choir, and a full orchestra. On the Boards promises “a series of self-reflexive monologue songs about his relationships, both intimate and familial” and “a celebration of life, philosophy, and psychology through music.” That’s a tall order, but if anyone can deliver on that promise, it’s Flory-Barnes. SEAN NELSON
(Columbia City, free)

114. An Evening of Nepalese Music 2018
Enjoy an evening of traditional Nepalese music and food. Bring your favorite dish to add to a potluck.
(Shoreline, free)

115. Fall Fantasy
In this inaugural concert of their new season, pieces of an autumnal persuasion will be performed by the Youth Symphony and Jazz Ensemble, led by Music Director Tigran Arakelyan and Jazz Director Derrick Polk.
(Bremerton, $10)

116. Gerald Kechley Tribute Concert
Pay tribute to University of Washington School of Music Emeritus Professor Gerald Kechley with this special show featuring UW vocal performance students and School of Music faculty.
(University District, free)

117. Lake City Record Show
Go nuts at this free annual sale featuring over 50 tables of records, CDs, sheet music, memorabilia, and “other music-related goodies.”
(North Seattle, free)

118. Shook x Customs: DJ Lag
Join DJs Lag, Zai, Fleskor, and Tru Gryt for an electronic dance party.
(Downtown, $7)

119. Troll, The Generators
Portland’s Troll will play progressive doom after a set from Los Angeles punks the Generators. 
(Eastlake, $8/$10)

120. Vintersong Nordic Holiday Concert
Celebrate Seattle’s sisterly bond with Nordic countries and get excited for the holiday season with a concert by soprano Reidun Horvei and pianist Inger-Kristine Riber, traveling all the way from Norway. They’ll be joined by Seattle-Bergen String Quartet for a program of “yuletide favorites” and original arrangements.
(Ballard, free)


121. Gender Fierce
Witness the diverse talents of local youth across the LGBTQ+ spectrum.
(Capitol Hill, free)

122. Gothic Barbie Drag Haus Presents: Dream Haus
Gothic Barbie Drag Haus, a competing group in ArtHaus 5.0, present their first variety show, Dream House. Expect homages to old-timey horror movies, pastel accents, and gaggles of witches.
(Downtown, $8/$10)

123. A Necessary Sadness
Great local poets, storytellers, musicians, comedians, and others—Howie Echo-Hawk, Emmett Montgomery, Ravella Riffenburg, Jade Gee, et al—in Danielle KL Gregoire’s second production of A Necessary Sadness, which debuted at the Seattle Fringe Festival. The shows, part of Good Mourning: An Interactive Arts Festival About Grief, are inspired by John Koenig’s Dictionary of Obscure Sorrows, a compendium of invented words about complex emotions.
(Crown Hill, $10 suggested donation)

124. Sing It! Seattle
Are you a layperson who also enjoys singing? Here’s your chance to be part of a choir and perform in front of an audience. You’ll even get to vote on which song to learn.
(Downtown, $5)

125. Trivia Puppet Company Presents: Fuoco in Grotta
Trivia Puppet Company present Forethought, based on the legend of the mighty titan Prometheus, as well as “Peppercorn” at their show Fuoco in Grotta.
(Capitol Hill, $5/$10)


126. Alan J. Davidson
Capitol Hill’s St. Mark’s Episcopal Cathedral celebrated their 130th anniversary with a building restoration project and a new book on the cathedral’s early history by Alan J. Davidson. Meet the author and learn about Seattle’s second Episcopal parish. 
(Capitol Hill, free)

127. Fonda Lee and Emily Suvada
In this joint reading, science fiction writers Fonda Lee and Emily Suvada will share their most recent works (Cross Fire and This Cruel Design, respectively).
(University District, free)

128. Human Rights From the Bottom Up with Professor William Talbott
University of Washington professor William Talbott will lead a discussion on “the basis of human rights.” Specifically, he’ll explain why human rights are “the result of a centuries-long process of moral discovery.”
(Capitol Hill, free)

129. Lorraine McConaghy
Learn about Washington State’s role in World War I by reading a script from Washington at War: The Evergreen State in World War I out loud with public historian Lorraine McConaghy.
(West Seattle, free)

130. The McLellan/O’Donnell Living History Series with Clay Jenkinson
Even if you think you don’t know Edward S. Curtis, you’ve no doubt seen his famous photographs depicting Native American life. In this talk, author Clay Jenkinson will present on the artist’s life and work and will use a working model of the camera that Curtis used.
(Tacoma, free)

131. Memoir: The Stories We Know by Heart
Reagan Jackson, a journalist at the South Seattle Emerald and the Globalist as well as a poet and children’s book writer, will conduct a workshop on memoir.
(Downtown, free)


132. Handmade Brigade Pop-Up
Stroll past 50 booths of local craft vendors at this pop-up.
(Fremont, free)


133. Gratitude Yoga
Resident yoga instructor Morgan Zion O’Friel will lead an hour-long, all-levels yoga class with proceeds benefitting Children’s Miracle Network. Tickets include a cocktail from the bar.
(Downtown, $10)

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