Michael Moore

Also: Lloyd Banks, Ballet Hispanico, Rhinoceros, and Ted Rall.



Michael Moore

You can love him, you can hate him, you can admire his intentions while decrying his methods, and you can decry his intentions while admiring his methods. Whatever. What you cannot do, as he has proved time and again in a persistent manner that has lately even outstripped Madonna, is ignore him. Michael Moore—filmmaker, political provocateur, and undeniably prickly thorn in America's Right side—is on the road to get out the vote, and you can bet he will have something memorable to say about the promise that November brings. Give him this: The man (seen here in his Oscar-winning Bowling for Columbine guise) is tireless as both a self-promoter and, more importantly, as a headstrong citizen who will be damned before he allows anyone to squelch what he has every intention of making the rest of us hear. 7:30 p.m. Tues., Oct. 19. $15. KeyArena, 305 Harrison St., 206-628-0888 or www.foolproof.org. STEVE WIECKING



Lloyd Banks

No hip-hop star has gotten as big as fast as 50 Cent—until his protégés in G Unit, that is. Which is where Banks comes in: The Hunger for More (G-Unit/Interscope) reprises the basic sound of both 50's Get Rich or Die Tryin' and G Unit's Beg for Mercy, only slightly lighter with a touch more R&B. Banks is a pretty good boaster—"If that's your man, warn him/'Cause there's enough bullets in here to hit every NBA patch on him," he says on "Warrior"—and the lead single, "On Fire," is insinuating, slow-rolling, cinematic, and pretty tough to resist, not unlike "In Da Club" itself. 7:30 p.m. Wed., Oct. 13. $30 adv./$35. Showbox, 1426 First Ave., 206-628-3151. MICHAELANGELO MATOS



Ballet Hispanico

The "ballet" in Ballet Hispanico's performance of NightClub isn't about classicism, but about control, with passion held on a tight leash. A dance-theater work in three acts, NightClub features the company's signature combination of ballet, modern, and Latin forms, moving from the brothels of 1920s Argentina to contemporary dance halls, passing through 1950s Spanish Harlem and its social clubs. Intended for mature audiences, it rides the edge between exhilaration and something darker and more profound. 8 p.m. Thurs., Oct. 14–Sat., Oct. 16. $43. Meany Theater, University of Washington, 206-543-4880. SANDRA KURTZ




Capitol Hill Arts Center did itself proud with a canny, cold-blooded production of Brecht's The Resistible Rise of Arturo Ui several months back; here's hoping the company can get lightning to strike twice by staging another bleakly comic parable for the final show of its debut season. John Farrage directs Ionesco's absurd classic, which finds Wayne Rawley (pictured, left) forced into a state of agitation when everyone around him begins to turn into a rhino. A cautionary tale about conformity in times of chaos seems well-timed for us. Opens Fri., Oct. 15. Various dates and times. $15–$18. Capitol Hill Arts Center, 1621 12th Ave., 206-325-6500 or www.capitolhillarts.com for full schedule. STEVE WIECKING



Ted Rall

No Bush-trashing political cartoonist stays on message quite like Rall, whose syndicated strip is viewable online (www.rall.com) and in dozens of alternative newspapers. A recent cartoon titled "What's the Best Way to Die for Bush?" offers four morbid scenarios; in the first, a skeletal soldier reading the Daily News says, "Here I am on page A33, below the fold: '3 U.S. Troops Die in Afghanistan.'" If Generalissimo El Busho (Rall's pet name for Dubya) should get the boot on Nov. 2, it's safe to say Rall did more than his share of the kicking. He's signing copies today of two new collections of comics and essays, including Wake Up, You're Liberal!: How We Can Take America Back From the Right (Soft Skull Press, $15.95). Noon Sat., Oct. 16. Free. Elliott Bay Book Co., 101 S. Main St., 206-624-6600. NEAL SCHINDLER

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