The rain fell hard as the moon hung in the obsidian sky like a chandelier. Bramble Manor stood resolute over the dark village of Black Brier. The village, founded on partial truths and gossip, sat at the edge of the cloaked woods surrounding it like a crescent. The only way to leave was down an unkept dirt road through an opening in the black woods. 

It was just plain rotten luck, or perhaps some cruel twist of fate, that Melinoë, the goddess of nightmares, had plenty of nightmares of her own.

Nightmares of smooth scales and winding bodies pulled flush against her own. Serpents, snakes. They curled around her shoulders, tangled in her hair, corkscrewed around her wrists and ankles. They pulled taut, slithered, and writhed, covered her mouth, her eyes, her ears. And she woke up gasping. 

Walking up to the Palace is like walking on the main street of most beach towns. There are restaurants, unique shops such as the fabulous Griffin Bay Bookstore, and real estate offices that try and entice you to take the plunge and move to the islands full time. Yet, the Palace is not just any building. It sits in the middle of a T with Spring St. crossing in front and Second St. S directing you right to it. It feels like the town draws you toward the Palace like a beacon.

What Is War, devised by Eiko Otake and Wen Hui, told a gut-wrenching story of the sufferings of women within war-torn nations, one which has been endured by generation after generation since before antiquity: that of brutality, sexualization, and objectification.

Released in 1985, Re-Animator was loosely adapted from H.P. Lovecraft’s 1922 novelette, “Herbert West—Reanimator,” and while I would gladly change my legal name to “Official Lovecraft Hate Account,” I try not to hold the association against the movie. Director Stuart Gordon, whose background was in theater, originally planned Re-Animator as a stage production. Then it evolved into a television pilot, which was expanded into a feature film.

Local Sightings Film Festival returned to Seattle for its 28th year from Sept. 19-28 at Northwest Film Forum. I was able to catch the second weekend of the festival and view three feature-length documentaries from Pacific Northwest filmmakers as well as the All in My Head horror shorts. A tendency in the weekend’s selections was examining large-scale social issues from a personal place, following people enmeshed in the heart of these issues. I noticed a clear thread in several of the films I saw: They contained powerful interrogations of masculinity.

On September 15, I sat down with Seattleite singer and musician Tavia Rhodes. During that fleeting time, I got to experience Rhode’s creative processes, her muses, relationship with music, as well as her extensive journey to release her first album, Her Say, in October this year.

Dunya closed her eyes and banished the Old-Man-turned-god from her sight. Still, the gods remained before her. In the abyssal blackness behind her eyes, there burned a glowing light. Shadowed figures cavorted around it, symbols flitting overhead. Vishnu and Rávan circled each other in a violent dance of war, and Dunya lay in the pyre at their stamping feet. 

Walking into Pepper Pepper a.k.a. Kaj-Anne Pepper’s show Pink Moment: Collections at Seattle Central’s M. Rosetta Hunter Gallery feels transcendent. Predominantly a new media show with video, sound, and some photography, Pink Moment is an exploration of “pink as queer energy, movement, and magic.” Viewing the work, the color pink takes on an ethereal effect as the motion of Pepper Pepper—acting as both subject and performer—reveals a dynamic, prismatic quality that is dreamlike and hypnotizing. 

Upon arrival, we mingled, got in line for the bar, and sat in the lobby chatting about the excellent playlist, the overall vibe, and any preconceived notions (of which there were few). Once the doors to the theater opened, we meandered in, a perk of arriving early and secured seats that would allow for the optimal middle-of-the-theater view. We tried to answer the trivia questions as they popped up on the screen, the preshow displaying information about the sponsors as well as information for submitting a film to HUMP! for next year.

On The Boards hosted the “pervs” of Seattle for part two of its 20^th anniversary year. Submissions from all over the world to our backyards were carefully curated down to a selection of erotic short films that have a little bit of everything for everybody. And at least one thing that expands your mind to possibilities previously unthought of.

HUMP! Film Festival will return to the Puget Sound this fall with the second half of its 20th anniversary programming. The indie adult short film festival created by Dan Savage has been a staple in Seattle since its debut. This new collection of 22 shorts, selected from hundreds of submissions, will run 17 screenings in Seattle from September 18-27 and October 10-11 at three venues across the city: On the Boards in Queen Anne, Quality Flea Center in Capitol Hill, and The LumberYard Bar in White Center.

The 28th Annual Local Sightings Film Festival is coming September 19-28—an over a week-long and in-person view into the creative psyche of the Pacific Northwest region—with over 60 films and a dozen world premiers held at the Northwest Film Forum in Seattle’s central district.

I began following a case titled Doe v. State of South Carolina, in which an anonymous transgender teenager (referred to only as John Doe) is challenging South Carolina’s state law which prohibits students of the opposite sex to enter changing rooms, restrooms, and other private facilities of one sex. This law, South Carolina’s Proviso 1.120, affects all students in public Pre-K through high schools, denying Trans* students the right to use the bathroom that corresponds to their identity. John Doe, who is entering 9th grade this year, has rallied the support of his family and the Alliance for Full Acceptance (AFFA), a local LGBTQ+ advocacy group.

Just a quick walk from the Westlake Lightrail Station, and a few blocks inland from the bustling Pike Place Market, Fossil & Stone Fine Art Gallery stands still and quiet amongst the normal chaos of downtown Seattle. It is a gallery that one might walk past day in and day out, never quite noticing the inspiring and beautiful art within. 

On September 5, I attended the West Coast premiere of For Colored Boyz (On the Verge of a Nervous Breakdown/When Freedom Ain’t Enuff), written by Bryan-Keyth Wilson with direction by Lynette Winters and Ry Armstrong and choreography by Jimmy Shields. Brought to us by The Underground Theater, the play was described as a choreopoem, utilizing poetry, movement, and music to detail the unique intersectionality of being a queer Black man in America.

Over the past decade, Morgue Anne has forged a creative home at The Rendezvous, a historic venue in the heart of Belltown, where, until a few weeks ago, you could see everything from live music, to comedy shows, public figure drawing sessions, burlesque performances, and beyond. “I’ve been working at the Rendezvous in one way or another for the last ten years or so. I’ve been the events and booking director for the past three years,” she said. But her experience goes beyond just booking the shows:

The Oak Harbor Cinemas is unlike many of the other exhibition spaces covered here in Sound Cinema. For one it is located on Whidbey Island which is in Puget Sound just west of Anacortes. It is certainly a unique space and a bit off the beaten path. What Oak Harbor Cinemas really has going for it is its price, especially as the theater focuses on new releases with at least one new film every week.

While Frédéric Gros is not native to the Puget Sound, and his book, A Philosophy of Walking, is not rooted in the Pacific Northwest, it has completely revolutionized how I navigate and experience the city of Seattle and the University District where I live. In a part of the world so close to nature with comfortable temperatures most of the year, and a large hiking, biking, and travel culture, A Philosophy of Walking feels like a necessary read.

So what makes Screwdriver Bar unique?

The spot was particularly popular during the late 80s/early 90s “grunge” era. As a former recording studio and rehearsal space, it housed a plethora of different bands and singers. One of the most notable groups to rehearse here was Nirvana, during the period between their albums Bleach and Nevermind. The basement became a second home for the band and for other rising grunge acts, cementing its place as an early landmark of Seattle’s grunge movement.