Seattle Weekly, July 25, 2012

JULY 25–31, 2012 I VOLUME 37 I NUMBER 30

SEATTLEWEEKLY.COM I FREE

THE DAILY WEEKLY GETS GRAPHIC PAGE 7 | THE SONICS RETURN TO TACOMA PAGE 37

Are Dan Duffus’ crowded houses a boon to urban density or neighborhood-sullying monstrosities?

film» July 27–Aug 2 | 206.324.9996 | siff.net the answer is astonishingly obvious. The corporation, psychologically considered, is a nutcase, a dangerous, irresponsible, antisocial maniac—a psychotic, in fact.

(NR) ROGER DOWNEY Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., July 27, 7 p.m.

JOE DANTE Warren Etheredge hosts the visiting film director, whose Gremlins 2 screens first. Following at 1 p.m. is an onstage interview. (PG-13) SIFF Film Center, Free, Sat., July 28, 10 a.m.

DREAMWEAVE: FILM AND THE AUSTRALIAN LAND

Linked to SAM’s ongoing Aboriginal art show, this threefilm series begins with Nicolas Roeg’s 1971 Walkabout, in which two white kids are stranded in the outback and encounter a teenage native (David Gulpilil) on his solitary journey to manhood. The clash between “civilization” and a more natural state is handled none too subtlety

by Roeg. Gulpilil went on to become a major acting force in the Australian New Wave.

(NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $8 individual, $23 series, Fri., July 27, 7:30 p.m.

SCAN

FREMONT OUTDOOR MOVIES Take my breath

away. Tom Cruise stars as the cocksure fighter pilot in Top Gun, a very big hit from 1986.

TO DOWNLOAD THE FREE The volleyball scene with Val SEATTLE WEEKLY Kilmer adds camp appeal IPHONE/ANDROID APP to its Reaganite muscle.

FOR MORE FILM OR VISIT Outdoor movie screens seattleweekly.com at dusk. (PG-13) Fremont Outdoor Cinema, 3501 Phinney Ave. N., 781-4230, fremontoutdoormovies.com, $5, Saturdays, 7 p.m.; Fri., Aug. 17, 7 p.m. Through Aug. 25.

THE GRADUATE I first saw The Graduate when I was about 17. I remember that I liked it, thought it was artistic and visually stunning, and I understood the general idea behind some of the symbolism. I saw it again a few years later, when I was the age of the main character, Benjamin Braddock, a 21-year-old just out of college, flawlessly portrayed by the 30-year-old Dustin Hoffman.

I “got it” more then, being closer to the lost Benjamin than I had been at 17. I saw The Graduate several more times over the years. I gotta tell you, though, it wasn’t until I saw it recently, at age 40, that I really saw into the soul of director Mike Nichols’ 1967 masterpiece. Now that I understood that only retrospection leads to true introspection, and that Benjamin Braddock is more a fool than an Everyman. Benjamin’s search for self leads not to realization, but to abandonment of self. The film ends with loose ends and mistakes cleverly disguised as a riding-into-the-sunset ending. It is only now that I really get it. (R) KATEY MARGOLIS Northwest Film Forum, $6-$10, July 27-Aug. 2, 7 & 9:15 p.m.

GREASE SING-ALONG 1978’s most popular film cemented John Travolta’s movie superstardom, and gave Olivia Newton-John her only taste of it. And, make no mistake, Grease—despite the fact that everyone in the cast is obviously old enough to be running the P.T.A.— still looks like the stuff of which legends are made. When the T-Bird gang first calls out “Hey, Zuko!” and the camera zooms in to capture Travolta’s magnificent mug, you know you’re in the presence of a god. Zac Efron? As if.

(PG-13) STEVE WIECKING SIFF Cinema Uptown, $4, Sat., July 28, 1 p.m.; Sun., July 29, 1 p.m.

T H I S CO D E

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OF CONGRESS A KNIGHT’S TALE In Brian Helgeland’s entertainingly

anachronistic 2001 medieval comedy, as low-born William (Heath Ledger) first rides in the stead of his deceased master at a jousting match, the spectators clap in rhythm to Queen’s “We Will Rock You.” It’s a send-up of pro sports and WWF-style hysteria, funny at first, but then settling into an awfully conventional trajectory of follow-your-dream. Rufus Sewell plays William’s aristocratic rival. Call for showtimes. (PG) Central Cinema, $6-$8, July 27-Aug. 1.

MAGNUSON OUTDOOR MOVIES A fast-talking, eyerolling snarler, Emma Stone wears a truly terrible perm to play the allegedly dowdy Skeeter, a recent college graduate who returns to her family’s Mississippi plantation in the summer of 1962 in The Help. In her absence, not only have her school friends become the casually, cruelly racist white establishment, but also her own beloved childhood maid (Cicely Tyson) has disappeared.

Skeeter decides to write about her hometown from the perspective of the black women who work in every white household. Her ins to that world are dutiful maid Aibileen (Viola Davis) and Minny (Octavia Spencer), whose inability to become wallpaper/doormat while at work

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INTO THE VAULTS Celebrating Library of Congress

ARTHUR

affections in the 1942 The Talk of the Town. Colman is cast as a stuffy Harvard law professor, while Grant is the unlikeliest escaped fugitive/arsonist/radical in screen history. (NR) Seattle Art Museum, $35-$39 series, $8 individual, Thursdays, 7:30 p.m. Through Aug. 9.

SILENT MOVIE MONDAYS Organist Jim Riggs provides live musical accompaniment for Buster Keaton’s comedy Go West (at noon) and the Bible epic King of Kings (at 7 o’clock). (NR) The Paramount, 911 Pine St., Seattle, 877-784-4849, stgpresents.org, $5 (noon) and $10 (evening), Mondays, 12 & 7 p.m. Through July 30.

SOUL NITE! The music will be spinning along with film clips and samples representing James Brown and other R&B icons. (NR). Northwest Film Forum, $6-$10, Thu., July 26, 7:30 p.m.

SPACEBALLS QUOTE-ALONG Mel Brooks’ 1987 sendup of the Star Wars phenomenon--plus any number of other sci-fi flicks--is screened for your enjoyment. (PG).

SIFF Cinema Uptown, $12-$17, Fri., July 27, 10 p.m.; Sat., July 28, 10 p.m.

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GASPARE HAZLEWOOD

July 27-29 | Uptown & Film Center

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• QUEEN OF SCREWBALL: THE FILMS OF JEAN • Ronald Colman and Cary Grant vie for Arthur’s

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Seatt le w eekly • July 25−31, 2012

CELEBRATING THE LIBRARY • INTO THE VAULTS: SEE THE WIRE, PAGE 19.

has cost her a few jobs, most recently and spectacularly in the home of the town’s coolly despicable queen bee, Hilly (Bryce Dallas Howard). The Help (2011) is plainly a film about how talking becomes writing, which becomes activism, which turns into history. Outdoor movie screens at dusk. (PG-13) KARINA LONGWORTH Magnuson Park, 7400 Sand Point Way N.E., moviesatmagnuson.com, $5, Thursdays, 7 p.m. Through Aug. 30.

MAJOR LEAGUE Tom Berenger, Charlie Sheen and Corbin Bernsen star in this serviceable baseball comedy from 1989. Call for showtimes. (R). Central Cinema, $6-$8, Fri., July 27.

MARYMOOR PARK OUTDOOR MOVIES After Emily (Julianne Moore) tells Cal (Steve Carell), her husband of 20-plus years, that she wants a divorce, she confesses she may be having a mid-life crisis. “Can women even have mid-life crises? In the movies, it’s always men.”

In this movie, too. Yet another Hollywood romantic comedy to play up its awareness of genre cliche in a narrative which validates far more of those cliches than it deflates, Crazy, Stupid, Love (2011) makes the mistake of suggesting a path untrod, only to deliver a scramble of the familiar. Directed by Glenn Ficarra and John Requa, Crazy, Stupid, Love is notably big-hearted, and enlivened by the work of a few good actors. Moore pops up mostly as a foil to Cal’s effort to Regain His Manhood via new clothes and anonymous sex. He’s tutored by Jacob (Ryan Gosling), a player who Changes His Ways when he falls for stunning law student Hannah (Emma Stone). Carell and Gosling have a nicely barbed chemistry together, particularly in the scene in which they establish their pupil-mentor relationship. Outdoor movie screens at dusk. (PG-13) KARINA LONGWORTH Marymoor Park, 6046 W. Lake Sammamish Parkway N.E., moviesatmarymoor.com, $5, Wednesdays, 7 p.m. Through Aug. 29.

MEAN GIRLS For the first half of this 2004 teen comedy written by Tina Fey, I was slightly impressed. But backstabbing gets old fast—almost as fast as tired high-school freaks and geeks jokes. Is it Fey’s fault—or director Mark Waters’—that Girls is a watered-down, predictable take on a genre that was done way better 15 years ago when Waters’ brother, Daniel, wrote Heathers? It’s their fault only for choosing to add to the already clogged cache of high-school movies—there’s nothing fresh or funny left to do in the genre. Clueless straight-arrow student Lindsay Lohan gets plucked from the African bush where she was home-schooled by scientist parents and is dropped into the wilderness of public high school. The popular crowd that initially shelters her turns out to be the most brutal group of beasts she’s encountered. Naturally her innate niceness eventually prevails over the bitchy law of the jungle. (PG-13) KATIE MILLBAUER Egyptian, $8.25, Fri., July 27, 11:59 p.m.; Sat., July 28, 11:59 p.m.

MOONLIGHT CINEMA In the surprise 2003 Christmas hit Elf, Will Ferrell embraces the cutesy confection of its plot. Santa Claus doles out presents at an orphanage; a wee human crawls into his sack of toys, winds up at the North Pole, and is subsequently raised as an elf.

Eight zillion sight gags constitute the first act, in which a giant-sized Ferrell bangs his head into low ceilings, squats on miniature crappers, and botches even the most remedial toy-making duties. Ferrell finally discovers he’s the bastard son of James Caan, now a distant, terse Manhattan publishing-house exec. Innocent, syrupswilling Ferrell then goes to big, bad NYC, meets Zooey Deschanel, and hilarity often ensues. So frantic, offthe-cuff, and self-aware in his ad-libs, Ferrell owns the movie the way Santa owns Christmas. Directed by Jon Favreau. Outdoor movie screens at dusk. (R) ANDREW BONAZELLI Redhook Ale Brewery, 14300 N.E. 145th St., Woodinville, 425-483-3232, redhook.com, $5, Thursdays.

Through Aug. 30.

MOVIES AT THE MURAL SEE THE WIRE, PAGE 19.

Seattle Weekly

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film» SPORTS, LEISURE, AND VIDEOTAPE This 80-

minute compendium of VHS oddities from the vaults at Scarecrow promises all manner of athletic insanity.

Screening is for those 21 and over, as it includes beer and hot dogs. (NR) Grand Illusion, $5-$8, Sat., July 28, 9 p.m.

SUMMER MOVIE WEDNESDAYS Based on Charles Mudede’s police blotter column in The Stranger, the 2005 Police Beat is notable for its dreamy fidelity of tone, its eccentric parade of misdemeanor-doers, and its insistence that love—or one guy’s doubts about it—matters as much as civic law and order. A series of first-person vignettes, Robinson Devor’s second feature follows African immigrant bicycle cop “Z” (Pape Sidy Niang) through a series of radio dispatches—some comical, some absurd, some poignant, some just plain dull. Z begins embellishing his police reports, just as his jealousy embellishes his worst imaginings about his vacationing girlfriend. He becomes something of a writer, increasingly detached from his surroundings, which leads to Police Beat’s somewhat tedious ratio of incident to writerly musing. (NR) BRIAN MILLER West of Lenin, 203 N. 36th St., 352-1777, westoflenin.com, $5, Wednesdays, 7:30 p.m. Through Aug. 8.

• THREE DOLLAR BILL OUTDOOR CINEMA

Underrated by other critics because they haven’t had as many bicycles stolen as I have, Tim Burton’s 1985 road-trip movie Pee-Wee’s Big Adventure brought Paul Reubens’ cable-TV man-boy character to the big screen in all his adenoidal glory. Resolutely pre-sexual, PeeWee lusts only after his tasseled one-speed cruiser, pursuing his bike across the Southwest. The whole thing is a kind of goof on De Sica’s The Bicycle Thief, but it’s more surrealist than neorealist—Burton makes America just as weird and plastic as his hero’s overgrown imagination. Pee-Wee’s cartoonish quest takes place in an oddly pliable world where his single-minded hunt begins to look like high principle. Outdoor movie screens at dusk. (PG) BRIAN MILLER. Cal Anderson Park, 1635 11th Ave., Free, Opens July 27, Fridays. Through Aug. 17.

Ongoing

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Seattle weekly • Ju ly 25−31, 2012

TickeTs available aT www.cinerama.com

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ably good Spidey reboot celebrates the heartwarming arachno-genetic bar mitzvah in which a boy becomes a spider, and a spider becomes a man. Boy genius Peter Parker, played charmingly by Chia-haired Andrew Garfield, tours the Oscorp lab of Dr. Curt Connors (Rhys Ifans), where he receives a fateful spider bite. Webb (of the great (500) Days of Summer) was not the obvious debut for the director of a high-profile, big-budget action film. It’s all sharp-of-wit and sweetly sentimental for lots of reasons, including Martin Sheen and Sally Field as Peter’s Uncle Ben and Aunt May and a peroxide-haired, superbad Emma Stone as a gently ironic Gwen Stacy, a damsel in only moderate distress. Denis Leary, as Captain Stacy, father of Gwen, evinces his signature growly sarcasm and hits unexpectedly sweet notes of paternal affection. (PG-13) CHRIS PACKHAM Cinebarre, Lincoln Square, Meridian, Thornton Place BEASTS OF THE SOUTHERN WILD A zealous gumbo of regionalism, magical realism, post-Katrina allegory, myth, and ecological parable, this Louisiana-set debut feature by 29-year-old Benh Zeitlin rests, often cloyingly, on the tiny shoulders of Quvenzhané Wallis. Beasts strains to remind us of Hushpuppy’s wisdom and courage beyond her years. She is a motherless child: “She swam away,”explains her drunken father of Mom’s absence. He and Hushpuppy live in a grassy, overgrown expanse in a fictional bayou area called the Bathtub.

Stomping around her ramshackle, squalid domain in white plastic rain boots, dirty T-shirt, and orange Underoos, this peewee heroine confidently wields a blowtorch. But in trying through incessant narration to make a six-year-old a prolix sage, Zeitlin can’t avoid falling into sticky sentimentality. (PG-13) MELISSA ANDERSON Egyptian, Lincoln Square BERNIE In a 1997 murder trial in Carthage, Texas, Bernhardt “Bernie” Tiede, a closeted ex-mortician, confessed to the shooting of his benefactress, 81-yearold millionaire widow Marjorie Nugent. In Richard Linklater’s movie, Shirley MacLaine is Nugent, by almost all accounts a sour and unpleasant woman, clutching her purse like a floatation device. Matthew McConaughey is district attorney Danny Buck Davidson, and Jack Black plays Tiede, tackling his duties as church-choir soloist and community-theater impresario, in a performance remarkable for its ability to be at once flamboyant and remote. Bernie is all about irreconcilable facts and foggy motives, not least the contrary demands of forgiveness written in the Bible and the stern punishment written in the law books. It is the rarest of rarities: a truly unexpected film. (PG-13) NICK PINKERTON Harvard Exit

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• A CAT IN PARIS A gem. The animation style of

Jean-Loup Felicioli and Alain Gagnol is crisp, flat, and bright, their characters rendered with line-work recalling the Matisse and Picasso of ‘30s Paris. There are even traces of Tintin, and a simple comic-book plot to suit. Her father recently murdered, her policewoman mother obsessed with the case, lonely little Zoe has an affectionate pet cat named Dino. When she goes to bed at night, Dino bounds across the moonlit rooftops and leaps from building to building, leading the honorable, rubbery-armed burglar Nico to the loot. (PG) BRIAN MILLER SIFF Cinema Uptown MAGIC MIKE In Steven Soderbergh’s Magic Mike, Channing Tatum’s appeal is based on working-class humility paired with otherworldly charisma, an impossible body, and the intelligence to make his use of it seem effortless. The highly calculated Magic Mike is pure Hollywood self-mythology: a neo-Depression musical, a wish-fulfillment fantasy for shitty times, another origin-of-the-star story. Tatum’s Mike is the main attraction at a Tampa strip club whose dancers cater to an allfemale clientele. It’s also a self-reflexive portrait of three distinct points in the Hollywood himbo life cycle: Tatum’s 30-year-old Mike mentors scrappy newbie Adam (Alex Pettyfer), a 19-year-old rebel; Mike himself was discovered by Dallas (Matthew McConaughey), the club’s manager/main hustler. An extremely conventional backstage story is occasionally enlivened by Soderbergh’s aesthetic curveballs. But the film ultimately damns the margins and endorses the mainstream. (R) KARINA LONGWORTH Cinebarre, Factoria Cinemas, iPic Theaters, Lincoln Square, Meridian, Thornton Place MOONRISE KINGDOM It’s 1965, the rainy end of summer on the rocky coast of a fictional New England isle. Twelve-year-old Sam (Jared Gilman) disappears from the Scout camp run by Randy Ward (Edward Norton). Also 12, bad-seed Suzy (Kara Hayward) flees her distracted lawyer parents (Frances McDormand and Bill Murray). Aided by what remains of Ward’s troop (“It’s a chance to do some first-class scouting!”), the grown-ups, including Bruce Willis’ Captain Sharp, mobilize to find the fugitive young lovers. Moonrise takes the form of old-fashioned pre-teen literature, but, as everything made by Wes Anderson, does so knowingly.

The escape Sam engineers for the pair is dangerous and crazy, but it’s also a way for him to exercise control, and to show off to a receptive audience. Suzy doesn’t have it so bad at home, but Sam’s flattering gaze gives her something she isn’t getting, and now won’t easily be able to live without. This utopian romance is thrown into relief by the quiet despair of the adults in Moonrise.

Lonely, even—or particularly—when not alone, the grown-ups have long ago given up on the possibility of transformative love. (PG-13) KARINA LONGWORTH Big Picture Redmond, Guild 45th, Kirkland Parkplace, Lincoln Square, Pacific Place, Thornton Place SAFETY NOT GUARANTEED This road-trip rom-com (with a light sci-fi spin) is both the first big starring role for Aubrey Plaza and also the first movie to acknowledge her hotness. Reporter Jeff (Jake Johnson), on assignment to write an exposé on a guy searching for a timetravel partner, suggests that his intern Darius (Plaza) use the fact that she’s a “beautiful woman” to get the story.

A typical Plaza tough cookie (though patly softened), Darius calls Jeff out for “dangling my vagina out there like bait.” And then she does what she’s told to gain entry into the weird world of Kenneth (Mark Duplass), a hermit loner who claims to have built a time machine. Plaza and Duplass have an easy, charming chemistry, and plot contrivances aside, as indie-film nerd-mances go, this one is genuinely sweet. (R) KARINA LONGWORTH Sundance Cinemas, iPic Theaters

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THEATERS: Admiral, 2343 California Ave. SW, 938-3456;

Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-6365601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 2675380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 781-5755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison Primary St. (Seattle Center), 324-9996; Sundance Cinemas, 4500 Ninth Ave NE, 633-0059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

Palette

food&drink»

Hunger Pains

A Fremont expansion suggests that tapas places should think small.

F

BY HANNA RASKIN

JOSHUA HUSTON

or girls growing up in the Midwest, a pilgrimage to Colleen Moore’s dollhouse at Chicago’s Museum of Science and Industry is a rite of passage. Moore, a Hollywood star, commissioned 700 craftspeople to meticulously create the dollhouse she’d envisioned ever since she was 5 years old, when her father gave her a dictionary smaller than a gumdrop. The manse is furnished with ittybitty piano scores handwritten by George Gershwin, a sliver of the True Cross that Pope Pius XII gave Moore’s friend Clare Boothe Luce, and chairs backed with emerald and diamond earrings.

Yet what’s really striking about the dollhouse is its size. Rebranded as the “Fairy Castle” sometime after its 1949 retirement from cross-country touring, the house is immense. Not one of the millions of visitors who’ve gaped and goggled at the structure wife) Brian Brooks and Jaime Mullinshas ever outgrown it: The tip of the house’s Brooks have stretched the menu, adding an tallest tower stands 12 feet from the floor, and array of seafood dishes. Each individual plate its imaginary occupants are privy to an ample was enlarged, too, until the Brookses thought 64 square feet of living space. better of it and revised sizes and prices, so Those dimensions may be conducive to the $17 half-pound burger and fries recently dreams, but, frankly, they’re downright lousy became a $10 third-pounder with no fries. for a dollhouse. When a dollhouse is so big Customers schooled in the perks of tapas that an actual human can squeeze into its don’t want to fuss with $21 steaks and $24 foyer, as Moore famously did, the romance is sea scallops. wrecked. Now you have to worry about dusting the mantelpieces, making sure nobody steals your china, and figuring out how you’ll ven without the entrées, though, pull off a “Brother Johnny Goes to War” story it feels as though Hunger has overline when you can barely reach the room inflated its concept. Thoughtfulthat’s supposed to be Johnny’s bedroom. ness is diluted by the sheer number Some things are meant to stay small. of dishes, and the spacious setting is the If Hunger’s latest iteration is any indication, enemy of the chatty, continental closeness that eating tapas is supposed to foster. that rule applies fiercely to tapas bars as well.

I’m using the word “tapas” because it’s The Fremont restaurant this spring moved more practical than repeating the phrase down the block to the expansive venue “complementary dishes showcasing Medivacated by Dad Watson’s, a migration which terranean flavors, each of which constitutes presumably allowed for the preening of about 20 percent of a full meal,” but I don’t artistic feathers that had gotten ruffled want to give the impression in Hunger’s first, partially that the Brookses are Spanish hidden location. loyalists. The menu includes a The new restaurant is more » PRICE GUIDE TUNA CEVICHE.............$14 fried pork belly finished with a than twice the size of the old.

OCTOPUS ........................$15 piri-piri glaze that’s a possible Even if there were seated BOAR SLIDERS ............. $10 PAELLA ...........................$20 shout-out to Portugal, and the customers—and there weren’t PASTA .........................$13.50 ketchup’s spiked with harissa. on the nights I visited—the TOMATADA...................... $7 What’s not included are a room would look enormous. number of dishes that would Square dancers who cleared be classified as compulsory in the tapas away the tasteful slat-backed wooden chairs Olympics, such as boquerones (or any other and votive-topped tables could easily manoily fish) and tortilla espanola. age a healthy Virginia reel here. To give some The wine selection is similarly unorthosense of the restaurant’s proportions: When dox. More than half of the wines sold by the I dined there soon after the Fourth of July, glass come from Spain, but no sherries are the large outdoor grill slid under the drinking side of the bar was completely inconspicuous. listed. If there were sherries, though, I might worry for their welfare, since Hunger’s bar is It’s not just the room that’s gotten unfortunately sloppy in its wine handling: On bigger: Chef/owners (and husband and

E

Way too big for dolls.

zucchini, roasted tomatoes, and chorizo was a perfectly lovely summer plate. If I knew the wine issues had been sorted out, I’d probably return to Hunger to sit on the streetside patio and order a rotating dip platter that, the night I tried it, featured a tangy aioli, paunchy marinated olives, halibut ceviche in cilantro oil, and grilled squash. But Hunger has its sights on bigger things.

Small plates have been a dominant force in American dining since the mid-1980s, when “grazing” or “modular” plates were

One of the problems with tapas is how many chances it gives a kitchen to screw up. introduced in response to the decade’s twin foibles of vanity and greed. Eaters who wanted everything but calories made meals from appetizers until chefs got wise and adopted the Spanish style of plating.

It’s understandable that, 30 years on, tapas producers would be tempted to toy with growth, but Hunger’s fizzle suggests they risk wiping out quality and intimacy in the process. E hraskin@seattleweekly.com HUNGER 3601 Fremont Ave. N., 402-4854, hungerseattle.com. 5 p.m.–close Mon.–Fri.; 10:30 a.m.–2:30 p.m. & 5 p.m.–close Sat.–Sun.

Seatt le w eekly • July 25−31, 2012

both my visits, I was poured wine so overly oxidized that I had to send it back. Red wines were also served far too cold.

One of the problems with tapas is how many chances it gives a kitchen to screw up.

A diner might forgive a clunker entrée, taking responsibility for an ordering mistake, but it’s hard to be so magnanimous when a table is mined with duds. There are many at Hunger, including an unsuspecting arugula salad with a ringlet of shockingly tough octopus plopped down from above like a chunk of drywall.

Gummy calamari, scribbled with saffron aioli, are bathed in a tomato sauce so cold that the ostensible flavor contributions of chili flakes and cilantro are iced over. A scoop of tuna ceviche in the shade of a wheatgrass smoothie is a creamy debacle.

Away from the seafood section, the flaws are less damning. (If you must order something that swims, the best bet’s a quartet of bruschetta painted with a peppery tapenade and crowned with prawns marinated in chermoula, a North African mix of garlic, lemon, and parsley.)

The braised boar served slider-style is slightly dry, but a smear of chèvre helps. And if the top of a paella had the distinct crunch of undercooking, it didn’t mean the clams and mussels were any less meaty. While I didn’t get the appeal of chorizo-stuffed dates swaddled in bacon and dripping with a sweet balsamic glaze, my tablemates fought for them. They’d surely make a better dessert than the chocolate cake, which tasted like a microwaveable molten cake that had failed to disgorge.

The best dishes at Hunger are the simplest.

I liked the zesty saffron tomato sauce that was baked with egg and manchego for a classic tomatada, and a housemade pasta with

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food&drink»Featured Eats $ = $25 or less per person; $$ = $25–$40; $$$ = $40 and up.

These capsule reviews are written by editorial staff and have nothing to do with advertising. For hundreds more reviews, searchable by neighborhood and type of cuisine, go to seattleweekly.com/food.

COLUMBIA CITY

COLUMBIA CITY ALE HOUSE 4914 Rainier Ave. S.,

723-5123. The south end outpost of Jeff Eagan’s chain of good-food-with-good-beer establishments. Expect fine domestic and imported microbrews on draft and simple, hearty food made from fresh seasonal local ingredients. Menu changes weekly. $ LA MEDUSA 4857 Rainier Ave. S., 723-2192. La Medusa smartly manages to respectfully serve food from a far-off place—here, the working idiom is Sicilian—and clearly reflect its neighborhood. The sardines, anchovies, fennel and mint are surrounded T H I S CO D E by a friendly, earnest vibe TO DOWNLOAD THE FREE that might reach its apex on SEATTLE WEEKLY summer Wednesdays, when IPHONE/ANDROID APP the kitchen crafts a prix-fixe FOR MORE RESTAURANTS OR VISIT menu around whatever seattleweekly.com looked best at the nearby Columbia City Farmers Market earlier in the day. But freshness and excellence aren’t confined to mid-week suppers: La Medusa turns out wonderful housemade pastas, lovingly cooked meats and seafoods, and delicate greens every night of the year. $$

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Nelson: hipper than the bros.

The Drink: Despite his tattoos, Nelson makes a pretty girly cocktail, whipping up a Key Lime Pie Martini with Pinnacle Whipped Vodka, pineapple juice, and crushed limes. He tops it off with a sugar-coated rim, then adds three lime slices, instructing me to bite a lime after I take a sip. When I ask if he really drinks this, he admits he usually drinks beer, but says this is his go-to cocktail, insisting “It’s girly, but it’s good.”

The Verdict: Despite the tart aftertaste, this martini is still overwhelmingly sweet. Drink more than one and you’ll have a raging, sugar-induced hangover in the morning. But most 20-something college girls would love this sweet treat, and Royal Booze is, after all, a college bar. E selson@seattleweekly.com

• I will provide my drivers license, registration, and proof of insurance.

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Seatt le w eekly • July 25−31, 2012

The Watering Hole: Royal Booze and Burritos, 5211 University Way N.E., 659-0244, UNIVERSITY DISTRICT The Atmosphere: For the first nine hours of its day, Royal Booze and Burritos is a mellow watering hole where industry people around the Ave come to catch a game. The sizable back deck is the perfect place to relax with a margarita and a massive burrito when the sun is out. But come back around 11 p.m., and the place will be so crammed with hammered college kids you won’t even be able to get to the bar unless you’re willing to push your way through a pack of sorority girls doing vodka shots.

The Barkeep: Tattooed, bearded Garrett Nelson is a little hipper than the bros who typically hang out at Royal Booze, but with his chatty, easygoing nature, he probably gets along just fine with them. He is a UW junior, but must be at least 23, as he has been bartending for two years. He also pulls shifts at A Pizza Mart down the street, which is owned by the same guys.

Nelson says the joint ownership is how Royal Booze got its nickname, B-Mart. “People realized that all the bartenders are the same. So they’re like, ‘Oh, there’s the A place or the B place—we get the same people at both.’ ” Prior to joining the Royal Booze crew, he worked at Earl’s on the Ave.

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Vietnamese bistro serves a loose brand of Southeast Asian cuisine, offering shrimp rolls and catfish alongside satay and vegetarian pho. The appetizers and sides are much better than the entrées; to get the most out of your eating experience, stick to starters like crispy spring rolls (cold rice-paper wraps of shrimp and pork, served with peanut sauce) and prawns with candied walnuts. $ CAFÉ CAMPAGNE 1600 Post Alley, 728-2233. Several Market restaurants have more spectacular views, but this double-blessing remains uniquely enchanting. It comprises two distinct dining opportunities. Upstairs is the charming Marché bar, with another view (of the lone market tree). Downstairs is Café Campagne, a more fully fleshed-out French bistro noted for brunch. There’s even a third dining aspect: Through a window in the courtyard you can watch the cooks meticulously plate your dinner. $-$$$ CHOCOLATE BOX 108 Pine St., 443-3900. Tourists usually aren’t too thick at downtown Seattle’s premier emporium of imported candies, teas, and cocoa mixes. So when you’re done ringing up your $12 ultra-bittersweet bar and tin of cherry-vanilla tea, sit down with a scoop of gelato, a petit four, a lemon bar, or something else yummy from their dessert case. $ DAILY GRILL 629 Pike St., 624-8400. You can tell the Daily Grill is a chain from the shiny edges of the insta-retro decor and the massive menu, which means to please all of the people all of the time. It falls on the class end of the spectrum one step down from McCormick & Schmick’s and five steps up from the Cheesecake Factory. The grill’s classic Americana bent comes through in its dark wood booths and checkered floor, as well as its steaks, salads, and seafood. The polished service provides the executive ego with everything it needs to stay aloft. $$

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food&drink»Featured Eats refreshing sometimes to pretend you’re in town on a business meeting, and too spent at day’s end to venture outside of the hotel. That said, you don’t want to let the fact that you’re away from the wife and kids for two days go to waste entirely; and besides, you’ve got an expense account to burn through. If this is your predicament, you can do far worse than to ingest some shepherd’s pie and microbrews at the downtown Red Lion’s sprawling, British-themed pub. $$ FALAFEL KING 1509 First Ave., 381-0857. This tiny spot’s namesake sandwich contains several extremely well-seasoned patties; if you like them well dressed, you’ll want to ask for extra sauce. The chicken shawarma is full of excellent marinated chicken, lemony and peppery, while the spanakopita is covered in creamy garlic sauce. On a platter of vegetarian stuffed grape leaves, hummus, turmeric rice, and salad, the tahini-rich hummus is buttery, not greasy; the bright yellow rice is flavorful and expertly cooked; and the leaves are nice and lemony.

Whatever you order, don’t be surprised if it’s spicy— the flirty guys at the counter go as heavy on the paprika as they do on the compliments. $ GEORGE’S SAUSAGE AND DELICATESSEN 907 Madison St., 622-1491. For more than 25 years, Janet Lidzbarski and her crew, Polish women in starched whites and fantastic lipstick, have been smoking several types of meats in-house, among them kielbasa, Canadian bacon, three kinds of ham, and kabanosy, a handheld snacking sausage. Aside from the housemade salads and five-mushroom soup, almost everything else that’s on offer inside the immaculate deli case is imported from Germany or Poland. $ HARRIED AND HUNGRY 1415 Third Ave., 264-7900. At H&H, each box lunch comes with a beverage, a bag of Tim’s Cascade chips, and a cookie. The falafel sandwich puts excellent, disc-shaped patties in a French

ALittLeRAskin » by hanna raskin

Bad Mood Food

best studies linking mental health and dietary choices are applicable to the general population. Research shows, for example, that people who don’t get the vitamin C they need are prone to suffer from depression and fatigue. “Seven percent of Americans are deficient in vitamin C,” she says. “That’s a lot of people.”

According to Leyse-Wallace, many eaters fail to think about the emotional cost of cutting carbohydrates or other essential nutrients from their diets when they’re trying to lose weight. She warns that tiredness or an inability to focus could stem from rigid diets which starve the brain of the fuel it needs to perform cognitive tasks.

Linking Nutrition to Mental Health, her 2008 book, compiled all the relevant studies of the subject she could find. But she suspects researchers who aren’t explicitly concerned with the relationship between the mind and menus may be getting tripped up by not controlling for nutritional variables. “You try to get populations equal, and I just don’t believe you can if you don’t know the nutrition is equal,” she says.

At the Seattle event, Leyse-Wallace was approached by many attendees who wanted to know whether they were eating correctly in light of their mental conditions. “I don’t tell people what to eat, because it should be individualized,” she says. Still, she adds, “I don’t personally see the advantage of taking $150 vitamins, and if a person is drinking 15 to 20 cups of coffee a day, that’s not good.” E hraskin@seattleweekly.com

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Seatt le w eekly • July 25−31, 2012

A dietician with extensive work experience in psychiatric facilities says many clinicians still don’t appreciate the importance of nutrition in mental-health treatment.

“The literature and science behind the link is very scattered, and I would say it hasn’t been in the news enough, so a lot of people who treat mental illness aren’t up to date,” says Ruth Leyse-Wallace, who recently gave a talk on the topic at the National Alliance on Mental Illness’ annual meeting in Seattle. “We need more nutritional assessments integrated into institutions.”

When Leyse-Wallace performed assessments on admitted patients, she was often startled by the degree of malnutrition she encountered. “I can remember one lady that was in the general psychiatric unit,” Leyse-Wallace says. “When I looked at her tongue, you could not believe the nutritional deficiencies in her mouth.”

Leyse-Wallace—who notes that psychological symptoms of malnutrition always surface before physical symptoms, such as the lesions she discovered on her patient’s tongue—firmly believes it’s impossible to properly treat a patient without addressing his or her nutritional needs. “It affects how their brain functions,” she says. “It affects their overall mental and physical health.”

While inadequate nutrition can create setbacks in institutional settings, Leyse-Wallace says people coping with mental illness aren’t the only ones whose moods can suffer based on what they eat. Leyse-Wallace says many of the

roll rather than a pita, then covers them with enough hummus, feta cheese, and cucumber and tomato slices to distract you from the strange choice of bread. While the hot salami and provolone is popular, the caprese’s fresh mozzarella and flavorful tomatoes (not enough basil, though) justify making a perfectly reasonable salad into a sandwich. $ IL FORNAIO 600 Pine St. (Pacific Place), 264-0994. In chain restaurants, “authentic” is usually a synonym for “crap.” But Il Fornaio gets the food right, and does it all in local style. Fettuccini Bolognese will remind a paisan of grandma. The ristorante upstairs offers more formal dining with rotating special menus focused on Italian regions. In addition, Il Fornaio’s bakery is out in the mall atrium and its Caffe is more secluded, but both cater to the casual diner with morning pastries, coffee, salads, sandwiches, cookies, hearth-baked breads, and food to go. $ LE PICHET 1933 First Ave., 256-1499. If you’re taking it up a notch for lunch, miss the coziness of the pre-renovation Virginia Inn next door, or really can pronounce French dishes, Le Pichet is up your alley. Intimate and sophisticated, in a casual way, it’s right out of Paris, though located at the nexus of the Market and the good end of Post Alley (Pink Door, White Horse).

Devotees of this echt-French cafe insist that it is, dollar for dollar, the biggest restaurant bargain in Seattle. It’s hard to argue with them. The wine list is a dream, and the whole meal costs about half what a similarly splendid one at most venues elsewhere would run. $ POST ALLEY PIZZA 1123 Post Ave., 382-8475. Regular 9-to-5ers from every demographic can be found hunkering down over a slice or two of Post Alley’s New York-style street pizza, thin-crusted and bedecked with vegetables and meats. The staff have an understated air of friendliness; niceties may not be forthcoming, but they’ll remember what you like to order on Wednesdays when it’s raining. $

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food&drink»Featured Eats SPECIALTY’S CAFE & BAKERY 1023 Third Ave.,

264-0887. The smell of sinfully rich chocolate-chip cookies may lure you in, but Specialty’s is at heart a utilitarian lunch place. Sandwiches and salads come out quick, even if you don’t order ahead online. It’s quite a few notches above Subway, though; sandwiches come on homemade bread and are enlivened with ingredients like pesto, avocado and cranberries. $ TULIO RISTORANTE 1100 Fifth Ave. (in the Hotel Vintage Park), 624-5500. A fedora, or maybe even spats, wouldn’t look out of place in Tulio’s handsome 1920s-era dining room. The food is far more contemporary. An Italian eyebrow might tilt at smoked salmon ravioli with lemon cream or grilled calamari with spicy Tuscan Rice beans and a parsley aioli, but chef Walter Pisano treats his ingredients harmoniously. Meats may come out overcooked; pastas and risottos, never. This is food even society matrons would unclench their jaws for, served in a room that makes all its guests feel like they’re richer than their bank accounts would attest. $$$

EASTLAKE & SOUTH LAKE UNION LAADLA CUISINE OF INDIA 234 Fairview Ave. N.,

223-1980. Laadla is located in Cascade, which is another way of saying you’ve probably never heard of it. Be that as it may, this modestly furnished Indian restaurant is a wonderful place to eat. Among its many virtues: neatly folded cloth napkins; quiet, simple service; and perfectly portioned food that demonstrates just why the subcontinental spice palette is one of the loveliest in the world. Order the eggplant bartha or the saag paneer to get a taste of what Laadla can do with (and to) mere vegetables to make them rival any meatbased dish, which the menu offers plenty of as well. $ PAZZO’S 2307 Eastlake Ave. E., 329-6558. Almost everything about Pazzo’s is no frills. The menu, with pizzas, salads, and calzones, is as straightforward as the joint’s decor. We recommended the filling veggie calzone with fresh spinach, mushrooms, cheese, and roma tomatoes, and the caesar salad is respectable too. Loyal regulars (frat types and professionals alike) choose Pazzo’s for its sports-bar feel, and the portions will keep you fueled throughout the game you came to watch. (Heads up: It can get crowded during playoffs.) $ 13 COINS RESTAURANT 125 Boren Ave. N., 682-2513.

It’s hard to imagine an eatery more enduring than this 24-hour joint a block off Denny Way. 13 Coins now has a remodeled lounge that is sure to please the Fridayafter-work crowd of Seattle Times staffers and others from South Lake Union offices, but the rest of the place is intact: the decades-old menu of steak, pasta, and seafood; the dining-room counter with high-back swivel stools in front of the grill; the ceiling-high booths where ordinary folks out past bedtime and the occasional pro jock can find a discreet place to eat at any hour. After midnight, it’s the nicest place in town. $$

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GREENWOOD & PHINNEY RIDGE BETH’S CAFE 7311 Aurora Ave. N., 782-5588. Beth’s is

the archetypal greasy spoon—a Peter Pan restaurant that opened in 1954 and never grew up. Fifty years in business means that, if you’ve got some generational history in the area, your grandmother probably behaved badly at Beth’s back in her day—tooled up on corn mash, running with a rough crowd, climbing on the tables and showing bikers her lady business. It survived a fire 10 years ago. Every night is like a riot on the floor. Nothing will ever kill Beth’s, despite the fact that the menu (full of 12-egg omelets, huge plates of hash browns and pancakes the size of placemats) seems, in certain places, custom-made to kill you. $ FRESH FLOURS 6015 Phinney Ave. N., 297-3300. Given that Seattle, Bellevue, and Everett have the secondlargest concentration of coffee shops in the country, cafes are smart to surprise customers with something new and different. Fresh Flours does it by fusing a variety of standard pastry recipes with Japanese culinary traditions. Soft, fluffy kabocha muffins accent the flavor

PIONEER SQUARE

CAFE BENGODI 700 First Ave., 381-0705. Is this res-

taurant Mediterranean, Italian, or North African?

However you choose to label its cuisine, Bengodi’s menu is mouth-watering. Try the vongole, clams in a white wine-basil sauce over long pasta; the pescatore risotto with shellfish and tuna; or the pasta puttanesca.

Bengodi translates as “to enjoy good,” and between its intimate red walls and high ceilings, you shouldn’t have a problem with that. $ CHUCK’S HOLE IN THE WALL BARBECUE 215 James St., 622-8717. Chuck Forsyth, founder of this tiny lunch spot, was a championship smoker who earned a long row of prize ribbons. Though Chuck passed away a few years back, his son John still recreates those recipes, smoking the brisket nice and slow over hickory, making the chili easy on the black beans and heavy on the ground beef, and blending up Chuck’s trademark Bullwhacker sauce—not too sweet, just deep and rich—with some secret Seattle magic: coffee. $

QUEEN ANNE

BLUE WATER TACO GRILL 515 Queen Anne Ave. N,

352-2407. Blue Water’s more Mexican than surfer dude, and the quality is always good (if a little salty).

Ingredients are fresh and it’s easy to customize. When you need a quick bite on your way to Seattle Center and aren’t in the mood for Dick’s, Blue Water fits the bill. $ CAFFÈ ZINGARO 127 Mercer St., 352-2861. Spelling its name Gypsy-style, this cute and convenient Lower Queen Anne coffee joint has quite the following from nearby artists. PNB, Seattle Rep, Intiman, McCaw Hall, and Teatro ZinZanni are all steps away, which means you may end up sharing your table or couch with a clown, ballerina, or thespian. (Don’t worry, they don’t bite.) If you’re pressed for time before a show, Caffè Zingaro is a great quick stop for a pastry with tea or coffee (the latter are also sold in bulk). It’s one of the few little spots in LQA that we wouldn’t mind increasing in size and menu. $ 5 SPOT 1502 Queen Anne Ave. N., 285-7768. The culinary focus of this Americana tribute restaurant changes every three months, so don’t get too hooked on the chicken-fried steak. But while the menu and decor sway with the season’s theme, the quality of the upscale diner fare at 5 Spot is remarkably consistent. While the burgers and ice cream sundaes make the most sense at lunchtime, Queen Anne residents’ adoration for the cheery restaurant is so intense that they queue for brunch, dinner and a seat at the circular bar. $$ OLYMPIA PIZZA AND SPAGHETTI HOUSE 1500 Queen Anne Ave. N., 285-5550. This cozy, if not divey, eatery comes complete with takeout counter, comfortable seating and a small outdoor dining area. Their pizzas are thick, cheesy, Greek-style, and made to order, though there are 39 recommended combos. If you are superhuman, try the desserts, made with Oreos, ice cream, and lots of sinful sauces. $ SPORT RESTAURANT AND BAR 140 Fourth Ave. N., 404-7767. If you couldn’t guess from the name, Sport has more flat-screen TVs than strictly necessary and a menu limited to steaks, burgers, fries, and crackercrust pizza. The juicy burgers feature Kobe-style beef from Idaho, and there’s almost as much meat in the bold, Texas-style chili. The bar is set up for serious drinking and game-viewing, but the restaurant proper is family-friendly. $ UPTOWN CHINA 200 Queen Anne Ave. N., 285-7710.

Drop by this busy neighborhood joint for perennial palate-stimulating favorites such as General Tsao’s chicken, Mongolian beef, and mu shoo pork. Service is always efficient and deft, and the fare here is ideal for beer-drinking, so beware the Key Arena pre- and post-

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of Japanese pumpkin with pumpkin seeds and white chocolate. Azuki brioches marry butter-soft rolls with a filling of subtly sweet Japanese red beans. And don’t forget your coffee. $ RAZZIS PIZZERIA 8523 Greenwood Ave. N., 782-9005.

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music»

Sonics Wait

Tacoma’s most influential garage band finally returns to play its hometown.

acoma’s 1960s garage-rock heroes, the Sonics, kept mysteriously mum for 40 years. But for the past four and a half, they’ve made quite a racket, melting faces at packed overseas venues with pyroclastic blasts of “Psycho,” “Boss Hoss,” and “Strychnine.”

“In the European rock community, they’re really big,” says Howlin’ Pelle Almqvist, whose chart-topping Swedish garage-punk band, the Hives, owes quite a bit to the Sonics. “They’ll play the biggest festivals, and they’re considered sort of the inventors of the garage-rock genre.”

Local fans have waited patiently as their comeback trail has wound through Europe, Australia, and Japan. Finally that patience will pay off, as the enigmatic Sonics headline their first hometown gig since the Johnson administration Friday night at Tacoma’s Pantages Theater.

“It’s just something we probably should have done a long time ago,” Sonics guitarist Larry Parypa admits. “That’s where it all started.”

The Sonics have played a few U.S. dates since they stormed back into action at Brooklyn’s Cavestomp festival in November 2007. They headlined at Seattle’s Paramount Theatre on Halloween 2008 and Olympia’s Capitol Theater two years later on New Year’s Eve. But Parypa guesses the last Tacoma gig took place sometime in 1966, much to the chagrin of the hometown faithful.

As a result, Parypa and company are no longer household names back where it all began.

Mention “the Sonics,” and the average Tacoman is more likely to curse Howard Schultz than recall the howling fury of “Cinderella.” But the

Mention “the Sonics,” and the average Tacoman is more likely to curse Howard Schultz than recall the howling fury of “Cinderella.”

T

he Sonics spent the next four decades working day jobs, largely oblivious to the fact that they’d made a lasting impression. Fans were left with a few watershed recordings— Here Are the Sonics, Boom, and Introducing the Sonics (ironically released third, by Jerden, in 1966)—and the compilations that followed. Jini Dellaccio’s striking black-and-white cover portraits kept the Sonics forever young and savage.

“It’s like they weren’t real,” said Owen Atkins, singer/guitarist for Tacoma’s Fucking Eagles (whose band shares DNA with the Sonics: Beyond the influence of ’60s garage-rock on its aesthetic, backup singer Kathlyn Lind Neal is Rob Lind’s niece). Atkins learned to play guitar listening to reissues of Sonics albums in the ’80s, but didn’t realize

they were hometown heroes until he read it in The Rocket. “This is around the same time I’m learning about punk rock,” he says, “and discovering things like the Melvins and Soundgarden and realizing there is this whole continuum of honest, loud music.”

The Hives’ Almqvist caught the Sonics bug when he was 16, after a friend handed him a copy of the retrospective Psycho-Sonic. “It sounded like the perfect music to me, like I’d found home,” the swaggering Swede singer recalled. “I was into ’50s rock ’n’ roll and ’70s punk. This seemed to bridge the gap.”

His was among many bands that feel the Sonics were ahead of their time. Kurt Cobain dropped their name in interviews; Pearl Jam and Bruce Springsteen mentioned them during local tour stops. Lind actually got to thank the Boss in person: A retired commercial pilot, he once flew Springsteen cross-country after the Grammys.

The Sonics’ revamp of Richard Berry’s doowop cut “Have Love, Will Travel” has drawn special attention. The band recorded it as an afterthought back in the ’60s. “We didn’t know it was really good,” says Lind. But Land Rover did, and used it to push Jeeps in a 2005 TV spot.

The Black Keys paid tribute, too, recording their own version for their 2003 album, Thickfreakness. During the duo’s May tour stop at KeyArena, singer/guitarist Dan Auerbach also cited the Sonics’ “Shot Down” as inspiration for “Girl Is on My Mind.” (“I heard the [Black Keys’] name before, but I didn’t know who they were,” says Roslie, who, with Larry Parypa and Ormsby, the band’s manager, were invited backstage.)

The Sonics remained largely oblivious to the fuss for years. By the early ’80s, Parypa had noticed a few mentions in magazines. But he was skeptical when Ormsby returned from a trip to Europe insisting there was enough interest to tour there. “We didn’t quite believe it,” Parypa says. “So everything was dormant until we started getting calls from Cavestomp,

Jerry Roslie at the Paramount Theatre on Halloween 2008.

trying to encourage us to play over in New York City.”

All five original band members were involved in jam sessions which commenced a year before the band agreed to play the festival.

But Bennett has only appeared at the Seattle show; he lives in Honolulu where he works as a car sales manager, making it difficult for him to him to tour and rehearse. And while Andy Parypa lives in Seattle, he hates to fly. So the new rhythm section consists of drummer Ricky Lynn Johnson and bassist Freddie Dennis (a veteran of regional rock acts Freddie & the Screamers, the Liverpool Five, and the Kingsmen, who splits lead vocal duties with Roslie).

In 2010, the new lineup went into the studio with renowned punk producer Jack Endino (Nirvana, Mudhoney) to record a new EP called 8. It includes four new cuts: “Cheap Shades,” “Vampire’s Kiss,” “Bad Attitude,” and “Don’t Back Down.”

Larry Parypa says there are sketches for eight to 10 more songs for the next fulllength album. Roslie adds, “We’re passing on some jobs in Europe because we want to get something out there that we really like.”

“We didn’t really accomplish what we wanted with the EP,” Lind says. “It sounded a little bit too polished. So I think if we go back into the studio, we’ll try to capture that energy and rawness like we did on that first album.”

Laughing, he adds, “One take, that’s good enough.” E music@seattleweekly.com THE SONICS With the Stars of Bombay. Pantages Theater, 901 Broadway, Tacoma, 253-591-5890, broadwaycenter.org. $35–$75. 7 p.m. Fri., July 27.

(The show is the kickoff concert for Louiefest; see louiefest.com.)

Seatt le w eekly • July 25−31, 2012

band is a great source of civic pride among veteran South Sound scenesters.

The Fabulous Wailers ushered in the Original Northwest Sound with “Tall Cool One” in 1959, and the Ventures sold millions more records. But it was the Sonics who emerged as the most emulated Tacoma garage gods. The classic lineup jelled in 1963, with Jerry Roslie on keys and lead vocals, Rob Lind on saxophone, Bob Bennett on drums, and brothers Larry and Andy Parypa on guitar and bass, respectively. In the early days, they honed their skills twice monthly at Tacoma’s Red Carpet, a teen dance club located on South Tacoma Way until it went dark in 1971. The live album Busy Body!!! Live in Tacoma 1964 documents one rowdy night there.

“Friday nights, the line was around the block,” Lind recalls. “It was about 108 degrees

in there, and people were sweatin’, unable to move on the dance floor.” He adds, “It’s actually where we wrote ‘Psycho.’ We actually wrote it there after a show.”

By 1964, the Sonics’ infectious, raw sound had drawn the attention of Etiquette Records, the local imprint owned by the Wailers’ Kent Morrill and Buck Ormsby. They went into the studio with limited cash and archaic recording gear. Many cuts were rushed in one or two takes—a process that, ironically, may have made them sound better. “ ‘The Witch’ was written to be slower,” Lind says. “Maybe we were nervous kids or something, but it came out much faster. We went to Larry’s dad’s house out in Bremerton and laid out and listened to the dub that we had, and we thought we had totally blown it. We paid for that session with our own money, and we thought, ‘Oh, god! This is horrible.’ ” He laughs.

“Next thing you know, it’s being requested at all the high-school dances, and we bludgeoned Pat O’Day into putting it on KJR’s playlist.”

The Sonics cracked conservative local airwaves despite concerns about “devil music.”

But the band fell apart before it could gain much traction outside the Northwest. Roslie left first, then Bennett defected to Merrilee and the Turnabouts. Lind got drafted into the Armed Forces, while Andy Parypa wound up selling the moniker to Randy Hiatt, who had taken over for Roslie on keys, and local singer Jim Brady. They kept Jim Brady & the Sonics going until 1980.

But little other than the name connected that band to the previous incarnation.

“The days of hard rock and roll and 4/4 music were totally gone,” says Lind. “They were doing stuff like Los Lobos.”

ERNEST A. JASMIN

T

BY ERNEST A. JASMIN

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»TELL ME ABOUT THAT SONG

“Don’t Tell Our Friends About Me” Blake Mills talks about his newest number.

BY JOE WILLIAMS It’s not often that the term “guitar virtuoso” gets thrown around, or that an up-and-coming musician gets to play guitar for Lucinda Williams. L.A. singer/ songwriter Blake Mills recently spoke to me about one of his newer songs, delving into wacky guitar tunings, awkward performances, and cheesy buildups. You can catch Mills this Wednesday at the Paramount when he opens for Fiona Apple.

Song: “Don’t Tell Our Friends About Me.” Album: It’s not from an album. It’s a newer song that isn’t even yet recorded.

Release date: I have no idea. It’s a song that I play live, and it’s nice, because it sort of breaks up the set a little bit.

What is the meaning behind the song? It’s a situation that I think more people than myself have found themselves in. It’s a sort of “unspoken bond” that gets violated, and sometimes it doesn’t. It’s

BIG HASSLE

California guitarist Blake Mills.

music@seattleweekly.com BLAKE MILLS With Fiona Apple. The Paramount, 911 Pine St., 877-STG-4TIX, stgpresents.org. $41.25–$56.25. 8 p.m. Wed., July 25.

»THROUGH @ 2

Vantastic

Deep Time hits the CD in a big gray pig.

BY ERIN K. THOMPSON

THE SITUATION I’m spending an evening at Med Mix in the Central District with the Austin, Texas, pop duo Deep Time—guitarist/organist/ vocalist Jennifer Moore, 28, and keyboardist/ drummer Adam Jones, 32—who are in Seattle for the weekend in the middle of a two-month tour.

They’re both feeding on falafel and dolmas. Moore wears huge, thick-framed glasses and, when she’s not talking, sings along under her breath to the restaurant’s overhead music (Ace of Base’s “Don’t Turn Around,” Snap!’s “The Power”). When “Gettin’ Jiggy Wit’ It” comes on, she cracks a joke: “How do you find Will Smith in a snowstorm? Just follow the fresh prints.”

“It’s like if we were both best friends in second grade and we both rode horses and we both had a Topsy Tail in our hair.”

HOW THEY GOT HERE Deep Time tours in a Dodge van that Moore likens to “a big gray pig.”

“When I see it coming or going, I want to slap it on its side, like ‘Good job,’ ” she says. “It’s been around the country so many times.” They stuff the van with their equipment, a little stove, crockery, and groceries (they like to cook their own meals as often as possible), but no entourage. Moore speculates on how they’d ask friends to come along for the ride: “You wanna sit in this thing that has no air conditioning and one functioning door and kind of ruins your hearing?”

SHOP TALK The band has been together six years, but their most recent record, a buoyant self-titled full-length released earlier this month, is their first with Hardly Art and their first since

changing their name from Yellow Fever. Moore says they’ve had an influx of new fans at their shows since Deep Time came out: “I see new young’uns, and they’re cute, because they pump their fists or dance or, you know, purposely run into their friends while they listen to the music. They’re like puppies.”

Likely part of what gets them amped is seeing Jones simultaneously play drums and keyboard, something he says he started doing out of necessity a couple years ago when they lost a band member. “We just had all these songs written for three people, and we didn’t want to lose all that,” he says.

“I feel like I’m a better musician from playing with him,” says Moore. “How can you not improve when he’s doing that?”

BTW: Moore and Jones’ friendship is going on eight years; they live across the street from each other, and their closeness shows: Moore, the best man at Jones’ wedding, has a curly flop of hair that looks a lot like Jones’. “It’s like if we were both best friends in second grade and we both rode horses and we both had a Topsy Tail in our hair,” she explains. “We just enjoy the same things. And maybe part of that is our hair being like this.”

“We both have a very high tolerance for discomfort,” adds Jones. “Which is good in a bandmate.”

Moore finishes: “Because if he liked five-star hotels and I liked eating dumpster tacos in the gutter and then falling asleep next to them, we’d have a problem!”

They both laugh riotously. “It’d be hard!” says Jones. E ethompson@seattleweekly.com DEEP TIME With the Mynabirds. Barboza, 925 E. Pike St., 709-9467. $10. 7 p.m. Fri., Aug. 3.

Seatt le w eekly • July 25−31, 2012

interesting with a lot of exes—sometimes you see what they end up divulging after the fact, and their version of the events, and it’s very telling. It’s a song I wrote for someone that I’m still in a relationship with, not an ex. It’s sort of like a prenup—in a worst-case scenario, let’s just be clear about this . . . it might be overly cold and modern, but the girl that I’m seeing, she gets it. She’s on the same level.

Where was it written? I remember I was living alone, and I remember writing it in the living room of my old place in Venice, Calif. I think it came slowly— they all kind of come slowly, but this was a song that had a couple of verses and a chorus, and I started performing it to see if it went over well, or if it had legs or whatever. I wrote another verse, I think, when I was on the road with Lucinda [Williams]. I wrote a little bit more to it when I talked to her about songwriting . . . it’s not nearly as candid as stuff on the record I made. It’s a little more veiled, and I think I like it like that.

What’s your favorite line in the song? “I know I fucked up,” because it’s the point in which it stops

making excuses, you know? The song kind of . . . covers my ass, trying to convince this person to not kiss and tell or whatever. Ultimately, it sort of puts it into perspective . . . It’s like the ginger in between sushi. The palate-cleanser.

Which part was the hardest to come up with?

I don’t know if I remember the process well enough to say. Nothing was necessarily hard to come up with; it just sort of one day was like, “Ah! Yes!” You just sort of think about the subject, and things sort of pop up in your head. It wasn’t really difficult, it was just sort of slow.

The song hasn’t been recorded, so you obviously still can change whatever you want— is there anything in particular you might end up changing? You know what—there’s one part, and if I can come up with something better, I will. There’s this one part where, just sort of melodically and dynamically, it builds into the chorus, and that build sometimes strikes me as . . . I can’t even think of any references. I don’t want to name any names or shoot any bands down, but the build, it just feels a little bit “familiar.” It’s a little cheesy. All in all, I think it’s a good device—especially being the opener so often, people are there to drink beer and chat and be idiots and latch onto that: “Oh, I understand what’s happening here. Here comes the chorus!” Maybe it’s a buffer.

Odd fact about song: The standard tuning for a guitar is E-A-D-G-B-E, and I just tune a little screwy for that song: E-A-D-G-B flat-F. I can’t do anything else in this tuning—it’s not exactly a tuning I’ve spent a lot of time with, but I was trying to get this one chord, and I think that’s kind of how the song started.

The rest of it unfolded from there. But toward the end of the song, it’s great because I kind of have to resist the urge of overplaying and taking off, because if I lose the plot, I’m done for . . . The song is in B flat, so what it does is it gives you a lot of open strings to ring out. So that was the idea.

What was your favorite time performing this song live? I know that it’s only been played live: I can’t pinpoint it. When the crowd understands the humor in it and laughs, I know that they get it. Those are my favorite times . . . The song isn’t really a joke, but if they’re silent you get the feeling of the room not getting the joke.

Has there been a time where they didn’t get the joke and you were just like, “Oh God, this is awkward”? There have been plenty of those, yeah.

At some shows, for example, there’s a portion of the audience that comes to see Lucinda do what she’s going to do that night, watch her perform and all those things, and there’s another portion that thinks you’re a criminal. So for the rest of the night they’re just cackling away. Needless to say for the opening set it’s a uphill battle, and I don’t always necessarily want to do it. Some nights I’d much prefer just going out and playing guitar behind her, but if an audience is willing to extend their attention span a little bit, I think they’ll get a lot out of it. Some of this shit, it’s pretty funny. Even if they don’t like the music or my voice, all I ask for is a little patience and manners.

What was your inspiration for writing the song? The point of the song is there are secrets and let’s keep them. No matter what happens in the future, there’s stuff that we both want kept secret. E

ANGEL CEBALLOS

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music»TheShortList Fiona Apple WEDNESDAY, JULY 25

Fiona Apple’s been around for 18 years, and yet you can count the items in her discography on one hand. That’s partly because she’s infamously private, and partly because every single record she makes is incredibly meticulous, from the frenetic piano melodies to the torrid vocals and the spilling, cutting lyrics. Apple’s latest, The Idler Wheel . . . , contains a startling amount of hot-blooded sentiment; it may be her starkest and most daring yet. In the video for the first single, “Every Single Night,” Apple shows her darkly humorous side: She wriggles around in a grass skirt and coconut bra as snails and octopuses crawl over her body. But the song’s lyrics—“I just made a meal for us both to choke on/Every single night’s a fight with my brain”—radiate with the same seriously heated energy that originally made Apple the patron saint of all fucked-up girls. With

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Machinedrum vs. Salva

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FRIDAY, JULY 27

Machinedrum’s biggest coup as a producer recently might be the appearance of blog-bait rapper/R&B singer Azealia Banks on a couple of his tracks—the upbeat, Aaliyah-sampling R&B rework “SXLND,” redubbed “NEEDSUMLUV,” and the hyperactive “Fantastix,” which Banks raps over to create “Aquababe.”

Even without Banks, these are Blake Mills. The Paramount, 911 Pine St., solid tracks, 877-784-4849. 8 p.m. $41.25–$56.25. All displaying ages. ERIN K. THOMPSON just a bit of MachineThe xx WEDNESDAY, JULY 25 drum’s breadth as Last week, UK trio the xx released “Angels,” an electronic the lead track from their upcoming second producer, which album, Coexist, and their first new song in three years. It is, in typical xx fashion, a song also includes his being half of the of almost infuriating restraint. A guitar line tasteful but still bassfloats; Romy Madley Croft barely breathes punching dubstep duo some lyrics about “silent devotion” and fasSepalcure. Tonight, tidious love; a snare rolls in the far distance, Machinedrum’s Travis and a few carefully placed bass notes drop.

Stewart teams with like-minded L.A.-based Like their best songs, “Angels” is as much artist Salva to headline a night of low-end about what’s not there: the space between delights, with local supsounds, but also the port from Bellingham’s absence of co-vocalist Cedaa. With Jamison Tune in to 97.3 KIRO FM Oliver Sims’ louche every Sunday at 3 p.m. counterpoints or Jamie Just. Chop Suey, 1325 E. to hear music editor Chris Kornelis Smith’s animating beat.

Madison St., 324-8005. on Seattle Sounds.

So it’s the perfect intro 9 p.m. $12. ERIC GRANDY to the new album, which is rumored to capitalize on Smith’s rapid Everest SATURDAY, JULY 28 growth as a producer by incorporating more electronic elements. This song’s absence Breathing new life into vintage-tinged and longing only makes it that much sweeter folk music is a tough sell these days, but when the next one finally drops, with a beat, Everest’s familiar chordage somehow with a duet, with a whole album behind it. manages to burst vibrantly from speakers

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Fiona Apple headlines at the Paramount on Wed., July 25.

rather than drip out like a slowly exhaled bong rip. The L.A. band’s newest record (Ownerless, recorded with Richard Swift in central Oregon) shows some classic, jammy influences rubbing off from tourmates Neil Young and My Morning Jacket, with the band pushing driving rhythms against spaced-out guitar and organ textures, all the while making a point to stay distinctly modern and pop-song concise on their uplifting anthems.

With Alberta Cross, Aaron Lee Tasjan.

The Crocodile, 2200 Second Ave., 441-4618.

8 p.m. $13. All ages. GREGORY FRANKLIN

Journey, Pat Benatar, Loverboy

SUNDAY, JULY 29

KRISTIAN SAEDERUP

709-9467. 8 p.m. $8. ERIN K. THOMPSON

SATURDAY, JULY 28

If you were to tell the Journey of the early ’80s that their 21st-century relevance would hinge on the success of a network television show about a high-school glee club, they’d have called you a “queer,” done a rail, and boned a Pointer Sister.

But that’s exactly the way it’s played out— and by played, we mean “overplayed.” As for Journey’s contemporaries, some won’t stop believin’ they’re still the biggest band in the world, even when they owe their present-day viability to casino deregulation (see: Loverboy). Pat Benatar, however, is, was, and always will be a goddess. Gorge Amphitheatre, 754 Silica Rd. N.W., Quincy, 509-785-6262. 7 p.m. $55– $150. All ages.

MIKE SEELY

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Seatt le w eekly • July 25−31, 2012

EDITOR’S PICK

This new musical project out of Copenhagen is maddeningly near-impossible to Google. So that you don’t have to spend half an hour searching for a Facebook page, as I did, here is some compressed information: Indians is a Danish man named Søren Juul. He played his first show as Indians in February. He has only 27 followers on Twitter. But attention will surely come his way: In April he released his first single on his own record label, a 7-inch with two heart-stoppingly beautiful songs, “Magic Kids” and “New,” that are slowly but surely making their way around the blogosphere. Juul combines melting synthesizers and swooning melodies, sung in his silvery voice, into elegant, magical sounds.

Hearing his first two songs, you’ll instantly yearn for more. Barboza, 925 E. Pike St.,

FRI AUG 24 • MARKET

8PM DOORS • 21+

e

Indians

with NATALIE WOULDN’T

41

seven»nights

CLAYTON HAUCK

powered by

Wednesday, July 25

The Hood Internet hits Chop Suey on July 26.

Seattle weekly • Ju ly 25−31, 2012

BIG K.R.I.T. On the heels of last year’s much-hyped

42

The Return of 4Eva mixtape, this Mississippi rapper saw his first full-length, June’s Live From the Underground, debut in the Billboard top five. With Casey Veggies, Big Sant, Tito Lopez. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $20. All ages.

HUNDRED WATERS This Gainesville, Fla., sextet plays ’60s-inspired folk mixed with modern electronic flourishes. Vera Project, 305 Harrison St., 956-8372, theveraproject.org. 7:30 p.m. $11. All ages.

ROXBURY POUND This White Center six-piece headlines a free showcase of local funk music. With Fortune Dwellers, Scrumptious & The Backbeat.

Nectar, 412 N. 36th St., 632-2020, nectarlounge.com.

8 p.m. Free.

Thursday, July 26

THIS FRIDAY!

BALLANTYNES On their recent “Misery”/”Stay” 7”,

this Vancouver rock ’n’ soul collective blends garage and gospel music. With Sick Secrets, Sweet Pups, Shiva Trash, Electric Healing Sounds. Funhouse, 206 Fifth Ave. N., 374-8400, thefunhouseseattle.com.

9 p.m. $6.

PIERCED ARROWS Led by veteran rock frontman Fred Cole (Dead Moon), this trio plays straight-ahead garage rock. With Don’t, Primate 5. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 9 p.m. $10.

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Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

THE HOOD INTERNET They do mashups of rap

and indie rock—it’s like the realness of the hood meets the dorkiness of the Internet—get it? With Psalm One, Tanya Morgan. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 8 p.m. $12.

All ages.

POST ADOLESCENCE Despite being influenced by ’80s post-punk, this local group demonstrates pop sensibilities on songs like “Gets Better.” With In Cahoots, Death’s Three Daughters. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com.

9:30 p.m. $6.

WATSKY If YouTube sensations are your thing, George Watsky is your man. Achieving 20 million credits in the Internet fame bank with his “Pale Kid Raps Fast” video, Watsky is a foul-mouthed, baby-faced rap phenom. With Dumbfoundead & The Breezy Lovejoy Band, Unibroz. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com.

8 p.m. $12. All ages.

Friday, July 27 FORT UNION This local experimental folk group

is set to release its self-titled debut at this show.

With Cataldo, Widower. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com.

9:30 p.m. $8.

MAGIC TRICK San Francisco’s Tim Cohen is touring in support of his psych-pop band’s latest album, Ruler of the Night; they’re supported by their Hardly Art labelmates, the lovely La Sera. With Foxygen.

Barboza, 925 E. Pike St., 709-9467, thebarboza.com.

7 p.m. $10.

SARX This local MC also co-manages Fated Empire, a fledgling independent hip-hop label. With Swingset Showdown, Bone Cave Ballet, Heretic Skeptic. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com.

9 p.m. $6 adv./$8 DOS. STAG This Fin Records band recently played at its label’s “Once in a Future” event, a panel discussion on the future T H I S CO D E TO DOWNLOAD THE FREE of rock music. With SEATTLE WEEKLY Dirty Sidewalks, the Moonspinners. Sunset IPHONE/ANDROID APP FOR MORE CONCERTS OR VISIT Tavern. 10 p.m. $8. seattleweekly.com ST. PAUL DE VENCE This folk group’s eponymous debut is a concept album dealing with the WWII experiences of band member Benjamin Doerr’s grandfather. With Tenderfoot, Gina Alibrio. Skylark, 3803 Delridge Way S.W., 935-2111, skylarkcafe.com. 8 p.m. $5.

group Three 6 Mafia, Juicy J headlines the latest edition of The Smoker’s Club Tour, which has previously featured artists like Wiz Khalifa and Curren$y. With Smoke DZA, Joey Bada$$, Pro Era, Fat Trel, Paypa, Cashius Green, Pmed, Short Stop, Corner Boy P. Neumos. 8 p.m. $18. All ages.

OTTMAR LIEBERT Expanding beyond traditional flamenco stylings, this innovative guitarist has dubbed his style “nouveau flamenco.” With Luna Negra. Triple Door, 216 Union St., 838-4333, thetriple door.net. 7:30 & 10 p.m. $35 adv./$40 DOS. (Also 5:30 & 9:30 p.m. Sun., $20 adv./$25 DOS.)

Saturday, July 28

IRON MAIDEN Another year, another multinational

SCAN

DUM DUM GIRLS Sub Pop’s sexiest band headlines

the third Little Big Show, the concert series that benefits local arts organizations—100 percent of tonight’s ticket sales will go to Seattle’s National

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IGOR & RED ELVISES Hard-touring and unabashedly

kitschy, this Russian rock group is known for its high-energy live shows. Tractor Tavern. 9 p.m. $15.

TRASHCAN WIZARD A self-described “trash metal” band, this local three-piece’s only releases are a series of lo-fi Bandcamp demos. With Regional Faction, Weld, Haunting the Disconnect. Funhouse.

9:30 p.m. $5.

9PM - $5 COVER

SUNDAY JULY 29TH

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Monday, July 30

TUESDAY JULY 31ST

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trek for these British heavy-metal pioneers, embarking on their 21st world tour since the early ’80s. With Coheed and Cambria. White River Amphitheater, 40601 Auburn Enumclaw Rd., 360-825-6200, livenation.com. 7:30 p.m. $45–$100.

All ages.

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Film Festival for Talented Youth. With Craft Spells.

The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. 9 p.m. $15. All ages.

GOLD WOLF GALAXY This production duo makes four-on-the-floor electronic music with a subtle metal influence and a slight dark streak. With Passion Party, Three Ninjas. Skylark. 8 p.m. $5.

BRETT HITE This Spokane singer/songwriter headlines a benefit concert for the Susan G. Komen foundation. With Natalie Closner, Ghosts I’ve Met, Paul Storms, In Cahoots. Vera Project.

7:30 p.m. $10. All ages.

JUICY J Best known as a member of Memphis hip-hop

SARAH JAROSZ This versatile singer/songwriter

pens folk and blues tunes on a variety of acoustic stringed instruments. Triple Door. 7:30 p.m. $20.

All ages.

REALLY BIG BEARD Unlike the garage- or blues-rock of most guitar-and-drums duos, RBB plays straightforwardly hooky pop. With Mugatu. Comet Tavern.

9 p.m. $6.

Tuesday, July 31 PICTURE ATLANTIC After coming onto the scene as a

hardcore band in the mid-’00s, this San Jose quartet has transitioned to simple pop punk. With Golden Sun, Lybecker. Nectar. 8 p.m. $5.

7HORSE On Let the 7Horse Run, its debut album, this duo plays bluesy country with a psychedelic edge.

With Crown Row, Crosby Tyler. High Dive. 8 p.m. $6.

• 7/25 vunt foom • 7/26 the drunken masters • 7/28 terry evans’ big city rollers • 7/29 jargon • 7/30 free funk union w/ d’vonne lewis and adam kessler • 7/31 singer-songwriter showcase • 8/1 katy bourne / los pinguos • 8/2 grant schroff trio TO ENSURE THE BEST EXPERIENCE

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thetripledoor.net 216 UNION STREET, SEATTLE 206.838.4333

Seatt le w eekly • July 25−31, 2012

PATRICE JACKSON

Dum Dum Girls play a benefit show at the Neptune on July 28.

43

WWW.SEATTLEWEEKLY.COM/READERS/REGIS TER

MUSIC NEW SLETTER The inside scoop on upcoming shows and the latest reviews.

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Seattle weekly • Ju ly 25−31, 2012

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Karaoke Listings

KATE’S PUB 309 N.E. 45th St., 547-6832. Free.

ATLANTIC CROSSING 6508 Roosevelt Way N.E.,

762-3964, marcopolopub.com. Free. Fridays–Saturdays, 9 p.m.

R PLACE 619 E. Pine St., 322-8828, rplaceseattle.com. Free.

Mondays, Tuesdays, Sundays, 9 p.m.

ROOSEVELT ALE HOUSE 8824 Roosevelt Way, 527-5480, rooseveltalehouse.com. Free. Thursdays, 9 p.m.

SPECTATOR 529 Queen Anne Ave. N., 599-4263, the spectatorsports.com. Free. Thurs.–Sat., 9:30 p.m.

TALARICO’S 4718 California Ave. S.W., 937-3463, talaricoswest.com. Free. Mondays, Tuesdays, Thursdays, Sundays, 9:30 p.m.

THE CUFF 1533 13th Ave., 323-1525, cuffcomplex.com.

Free. Thursdays, 8 p.m.

WHITE RABBIT 513 N. 36th St., 588-0155, fremontwhite rabbit.com. Free. Wednesdays, 9 p.m.

YEN WOR VILLAGE RESTAURANT 2300 California Ave. S.W., 932-1455, yenworseattle.com. Free. Daily, 9 p.m.

729-6266, theatlanticcrossing.com. Free. Mondays, 9 p.m.

BOXCAR ALEHOUSE 3407 Gilman Ave. W., 286-6000. Free. Thursdays, Saturdays, 9 p.m.

BUSH GARDEN 614 Maynard Ave. S., 682-6830, bush garden.net. Free. Sundays, 5 p.m.; Mondays–Thursdays, Saturdays, 9:30 p.m.

CHANGES BAR & GRILL 2103 N. 45th St., 545-8363, changesinwallingford.com. Free. Wednesdays, Thursdays, Sundays, 9 p.m.

FOURNO’S GREEK RESTAURANT 4733 University Way N.E., 729-5195. Free. Tuesdays, 10 p.m.

INDUSTRY LOUNGE 6601 E. Marginal Way S., 762-3453, Send events to karaoke@seattleweekly.com

Wednesdays, 10 p.m.

MARCO POLO BAR & GRILL 5613 Fourth Ave. S.,

» by jeff roman

malls. There is a lobby where you check in. The big rooms rent at $35 per hour. It’s a family-owned establishment, and the staff is very nice. They set us up in a suite in a corner of the building. The room was very spacious and luxurious. Its couches were the most comfortable of any private room I had ever been in. It had two big 52-inch LCDs for lyrics, and a very fancy karaoke receiver built into the back wall. Two leather-bound song catalogs were provided, as well as a high-tech remote control to plug in our song requests. The screen displayed the upcoming selections, and a meter showed how many remaining minutes of singing time we had.

It took us a bit of time to find songs as the book was a mix of English and Korean numbers, but as soon as we caught our stride, it was nonstop.

I remember looking at the timer showing “115” as servers brought in a half-rack of Hite beer and plates of peanuts and shrimp chips, then blinking my eyes and realizing we were down to 40 minutes.

Two hours does not cut it here. There was a time when I didn’t see the value in this type of karaoke, but now I really believe this is the only way to go if you’re in a group of six or more. It was insanely fun.

Everyone sang at least five times. Their selection was actually very good. The biggest advantage to private rooms is the chance to try numbers you would never do in a public bar. My buddies Bret and Juan serenaded each other with a beautiful duet of “End of the Road” by Boyz II Men. Huot is a karaoke maniac, and his picks were all over the place. He sang everything from the Backstreet Boys to Glenn Frey. The gals went off on the pop and country cuts. Joy sang an awesome “1, 2 Step” by Ciara; Cassie and Erica delivered with “Goodbye Earl” by the Dixie Chicks; and Bret’s wife dazzled us all with Jason Derülo’s “Ridin’ Solo.”

When our friend Grady showed up with less than 20 minutes to go, we all cheered—partly because we were excited to see he’d made it, but mostly because it meant we got to re-up another hour. E

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Seatt le w eekly • July 25−31, 2012

Once a year, someone from my work will coordinate a karaoke night somewhere. Obviously, they can always count me in. This time it was my buddy Huot. He’s Asian like me, which means he’s inclined to know about obscure karaoke venues.

He’d been telling me for months about this Koreanowned private-room place in Federal Way called First Avenue Karaoke. It always sounded great to me, but I wondered how he was going to be able to convince our co-workers to rally all the way down there. After weeks of lobbying them individually, he was able to get a dozen of us to meet last Saturday.

After stuffing ourselves at Mika Japanese Buffet down the street, we arrived at the venue 45 minutes before our 9 p.m. reservations.

Oddly enough, the place isn’t on First Avenue at all.

It’s actually on Highway 99 and shares a parking lot with Star Bar & Grill, my favorite venue to sing in Federal Way. I was stoked because for the first time ever, I would get to compare the experience of public vs. private karaoke on the same night.

We took over a table at the back end of Star Bar. At that point I had just started drinking, but pretty much everyone in my party had a good twohour head start on me. I had to play catch-up by shooting this disgusting blue-tinted tequila liqueur called Tarantula. It turned my stomach at first, but five minutes after the second shot, it jacked me up enough to deliver a very solid rendition of “Slide” by the Goo Goo Dolls to open the night.

Then our buddy Fred and my girlfriend Kristin followed with “Our House” by Crosby, Stills, Nash & Young, and we were primed to take the place over. Aside from us, only two other performers were on the list, but the audience was very attentive. The last time I was here was a busy Friday; I arrived as the show was in full swing and had to wait through a full 15-singer rotation. I was so tempted to stick around, but we went through with the original plan and moved to the private room. It ended up being totally the right call.

First Avenue Karaoke is next door on the second floor. Outside the venue are wall-sized studio shots of young, attractive Asians singing. The deck offers a great view of the highway and surrounding strip

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column»Toke Signals

The $10 Solution

I

t’s a very welcome development— dare I call it a trend?—that more and more Seattle-area medical-marijuana access points, no doubt feeling the heat of competition in an increasingly crowded market, have capped their cannabis at the donation point of $10 a gram. The Solution, located in the Greenwood/Bitter Lake area, does even more than this—quality control is also in place. “I’m very picky about what I let in my shop,” budtender/ proprietor Mike told me.

So how does Mike know when a strain is the Right Stuff? He doesn’t go only by looks, he told me, although every variety you find in The Solution is going to have shelf appeal. First of all, Mike told me, he has everything on his shelves tested for cannabinoid levels; second, he personally tries all the flowers before they go on display.

That’s the kind of dedication and realworld knowledge I want in a budtender— Mike doesn’t just know the numbers behind each strain, he also personally knows the effects of each.

From the roughly 15 strains available, I selected the sativa-dominant White Dawg, which lab-tested at more than 20 percent THC; the hybrid 707 Headband (707’s the area code of Humboldt County, Calif.); and the indica Pure Kush. The $10 cap freed me to pick the strains that appealed the most, without the stress of worrying if they were $12 or $15.

White Dawg has a fresh, ever-so-slight citrus bouquet. It’s reputedly the offspring

ON » POT TOKEOFTHETOWN.COM xBLOG

BY STEVE ELLIOTT

of either White Widow x Chem Dawg or The White x Chem Dawg (such genetic matters apparently aren’t as clear-cut as they might seem, given the somewhat, shall we say, mercurial nature of this business).

Upon toking, the Dawg has an enjoyable kick, with the sativa rush manifesting about three or four tokes in.

The 707 Headband is a potent hybrid of Master Kush x Sour Diesel x OG Kush, meaning it has the sativa energy of Sour Diesel plus the heavy body stone of its Kush forebears. A couple tokes of Headband results in an uplifting and happy buzz, dissipating stress almost immediately; it makes a real difference in pain levels as well. A few puffs can also lead to energetic motivation to house-clean or -organize or indulge in creative pursuits— definitely a sign of its Sour Diesel heritage. When smoked in larger amounts—anything over four or five tokes—it can lead to sleepiness.

The solid indica Pure Kush was the most medicinal of the three strains I tried; its indica oomph quickly formed a blockade around my abdominal pain, and what little pain got through was rendered almost irrelevant by the pleasantly warm inner glow that took hold about a third of the way into the joint. If you suffer from insomnia and/or pain, you should probably give Pure Kush a try; it lends an enjoyable heaviness to the eyelids. E

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THE SOLUTION 1116 N. Northgate Way (corner of Aurora Avenue North & North 105th Street, next to the AM/ PM), 306-6968. Open 10 a.m.–9 p.m. daily.

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Seatt le w eekly • July 25−31, 2012

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Dear Dategirl, So I made out with a friend on vacation. It was weird, because he is your textbook socially awkward dork: sci-fi fan, comics collector, Star Wars tattoo, etc. He drove down from Connecticut to NYC to hang out with me when I was visiting, and I took that to mean that he wanted to hook up, since the last time I saw him, he kissed me as I was leaving. So there’s a precedent, even though he also claims that he doesn’t remember it, he didn’t think it was a “real” kiss, etc. (But I have the texts to prove it!)

He also flirts with me a lot online.

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When I got back home, I e-mailed to say that I was feeling insecure and wanted him to tell me that he thought I was sexy and it was consensual and I’m still his friend. He was like, see, this is why I don’t like making out with friends, and that I’m “great.”

Why do I feel icky and CREEPY and vaguely predatorial? I feel secure in my intelligence, my warmth, my creativity, my ability to be an awesome friend, but I don’t feel sexy. I feel gross.

And that in turn makes me feel CREEPY. I’ve told our mutual friends, and they all insist this is his bullshit, not mine. Is it?

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You shouldn’t need to keep texts to “prove” he really kissed you. Nor should you even want to kiss someone who’s conflicted about making out, for whatever reason. There are plenty of men who’ll want to make out. I know that can be hard to believe, but you don’t need someone who’s half-assed about it. I’ve been there, throwing myself at uninterested dudes and feeling like shit afterwards. Yes, it’s humiliating, but extreme embarrassment is not lethal, or most of us would’ve died a thousand deaths by now. (Julia Allison, 5,000.) The trick is to move on and not do it again. If you feel “gross,” take some steps to feel less gross before you get involved with anyone else, because when you feel bad about yourself, you’re basically advertising that you’re available for doormat duty, and it doesn’t sound like you want that.

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