WEDNESDAY 11/8 

Women Make Movies Present: Early Works by African American Women

(FILM) Northwest Film Forum is screening a collection of six early films directed by African American women. Released from the mid-1970s until the early '80s, this collection of narrative and experimental films is a great introduction to directors such as Julie Dash, best known for Daughters of the Dust (1991), the first film directed by an African American woman theatrically distributed in the US. Much earlier in her career, she directed Four Women (1975), one of the first experimental films directed by a Black woman, in which dancer Linda Martina Young interprets the Nina Simone ballad of the same name, and 1977's short Diary of a Ugandan Nun, about a young nun struggling with her decision to embrace a strict religious life. The collection also includes 1981's Fannie's Film, a short about a 65-year-old woman cleaning a professional dancer's studio, while telling the audience about her life and dreams in voiceover. (Northwest Film Forum, 1515 12th Ave, November 8-12, various showtimes, $7-$14) VIVIAN MCCALL


THURSDAY 11/9 

Jenn Champion

(MUSIC) Jenn Champion has been making music for more than 20 years, both solo and as a member of Seattle’s saddest misspelled indie band Carissa’s Wierd, and she’s released music through some of the Northwest’s coolest record labels including Suicide Squeeze and Hardly Art. This year, she did something she’s never done before: Put out her music her damn self. Thanks to a successful Kickstarter campaign, with which she raised more than $40,000, Champion released The Last Night of Sadness on October 13. It’s no surprise nearly 500 people contributed to hear the results—few songwriters do sadness as well as Champion can. Case in point, the first single, “Famous.” It’s a moody, mid-tempo dance track that sounds like a disillusioned Taylor Swift on downers. The synth tries to sparkle through Champion’s foggy memories of a difficult childhood and mistakes made along the way. Gloomy, contemplative—it’s the perfect music for fall. But also summer, winter, and spring, too, because for folks like Champion (and myself, if we’re being honest) sadness isn’t seasonal, it’s forever. We interviewed Champion for our fall Art + Performance magazine—read it here! (Fremont Abbey Arts Center, 4272 Fremont Ave N, 7 pm, $20-$30, all ages) MEGAN SELING


FRIDAY 11/10 

Mary Josephson: Plenty

And He Was Gone, 2023, glass, gemstones, embroidery on tapestry by Mary Josephson. COURTESY OF TRAVER GALLERY

(VISUAL ART) Just look at Mary Josephson's beaded tapestries. They are incredible. Don't you want to see them in person?! Seriously, this blurb almost writes itself. The lush foliage and color-drenched compositions of Josephson's visual world as supplemented by her generous material usage, and each piece seems to scream and shout in celebration of life, animals, and texture. Although her multicolored works are forces to be reckoned with, I'm equally intrigued by Josephson's quieter etched glass pieces, which fill the frame with confident gestures. (Traver Gallery, 110 Union St #200, Tues-Sat through Dec 2, 5-8 pm, free) LINDSAY COSTELLO


SATURDAY 11/11 

Station Space Grand Opening

COURTESY OF CULTURAL SPACE AGENCY

(COMMUNITY) King Street Station is getting a new youth-centric arts space! Celebrate the grand opening of Station Space—which was announced last year—with words from Sir Mix-A-Lot and community leaders as well as light refreshments and an open house so you can explore the 10,000 square feet of amenities. The new construction features a 2,000-square-foot recording studio, a black box theater, and even a luthier workshop (a place where people build stringed instruments). The Cultural Space Agency and the City of Seattle negotiated a 60-year lease for this intersectional project to give our 120-year-old train station a new future. I, for one, can't wait to see performances here; it’ll make commuting a breeze. (King Street Station, 303 S Jackson St, 11 am-1 pm, free, all ages) SHANNON LUBETICH


SUNDAY 11/12 

Author Talk and Book Signing: Fuchsia Dunlop

Author Photo by Anna Bergkvist Courtesy of W. W. Norton

(FOOD/BOOKS) The legendary James Beard Award-winning food writer and chef Fuchsia Dunlop was the first Westerner to train as a chef at the Sichuan Institute of Higher Cuisine in Chengdu and has dedicated the last three decades of her life to traveling across China and researching and cooking Chinese cuisine. Her latest release, Invitation to a Banquet, delves into the history and techniques of Chinese cooking, with conversations with experts and deep dives into classic dishes like mapo tofu and knife-scraped noodles. She'll talk about the book with J. Kenji López-Alt, followed by a Q&A and a signing. The author talk is sold out, but the book signing line starts at 7:45 pm and is open to everyone. (Book Larder, 4252 Fremont Ave N, 6:30 pm, free to attend and copies of the book are available for $36.75) JULIANNE BELL


MONDAY 11/13 

Navajo Star Wars

(FILM) The Navajo language version of Star Wars (as I can only call it; others call it Star Wars: Episode IV – A New Hope) has two important consequences. One, it appropriates an iconic film for the preservation and continuation of a rich Native American language. This is indeed what the project's organizers (Navajo Nation Museum) had in view when they came up with the bold idea several years ago. Two, it presents the non-Navajo fans of the film a chance to see the old movie anew. Because 70 actors participated in the dub, it will certainly sound and feel convincing and professional. What a treat! How can you miss this opportunity? You will hear how Darth Vader, Luke Skywalker, Princess Leia, Han Solo sound in Navajo. (However, expect Chewbacca's growls to remain the same.) (Grand Illusion, 1403 NE 50th St, 7:30 pm, free) CHARLES MUDEDE


TUESDAY 11/14 

Liz Phair: Guyville Tour

(MUSIC) Liz Phair's presence in my life is like a cool aunt who has been there through my purest joys and roughest patches. I was seven years old when her self-titled pop album was released. Fueled by a cocktail of Fruit Roll-Ups and Sprite, I danced around my room to "Why Can't I?" on repeat until I collapsed into bed. As a teen, I found my dad's copy of Exile in Guyville and cried in my car to "Fuck and Run" and "Divorce Song." In college, I dug deeper into the archives. I downloaded her Girly-Sound demo tapes from a questionable online forum and became obsessed with deep cuts like "Ant in Alaska" and "Batmobile." I've had phases with every single one of her albums, but Guyville is her magnum opus—it captures the nuances of womanhood in a way that no other album can (or will). She will celebrate its 30th anniversary by playing the album front to back, along with some additional hits. (Moore Theatre, 1932 Second Ave, 8 pm, tickets start at $36, all ages) AUDREY VANN


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