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.

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.

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.

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.

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.

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.

At 10 p.m., Seattle music project monocot.zip, composed of longtime friends Ryan Tucker and Luke Pendergrass, took to the stage and began their set. When their first notes hit the speakers, the crowd drew closer, because what was happening on stage was something you wanted to watch just as much as dance to.