Seattle Weekly, April 04, 2012 by Sound Publishing

APRIL 4–10, 2012 I VOLUME 37 I NUMBER 14

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REVERB MONTHLY: JOHN RODERICK GOES AROUND THE HORN WITH THE MARINERS’ NEW JAPANESE IMPORT

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NEWS

BEST OF THE DAILY WEEKLY | The

drug that may have sparked the Afghan massacre, a new twist in the struggle to bring back the NBA, and more.

FEATURE

BY GUSTAVO ARELLANO | ¡Viva la

Reconquista!—the culinary one, at least. Read an excerpt from our Ask a Mexican! columnist’s new book, which explains how his native cuisine took over America, from school cafeterias to outer space. Plus, the true tale of Seattle’s tamale feud.

in back Another Barefoot Bandit book, a ceramics frenzy at Soil, and a now-sober rocker confesses all.

16 ARTS

16 | OPENING NIGHTS | A tuneful blind

date and an amusing rewrite of English stage history. 18 | EAR SUPPLY | A young composer’s gauntlet toss. COPYRIGHT © 2012 BY SEATTLE WEEKLY, LLC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SEATTLE WEEKLY, LLC. SEATTLE WEEKLY® IS A REGISTERED TRADEMARK. • PERIODICALS POSTAGE PAID AT SEATTLE, WA • POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 10 08 WESTERN AVE., STE. 30 0, SEATTLE, WA 98104 • FOUNDED 1976. MAIN SWITCHBOARD: 206-623-050 0 CLASSIFIED ADVERTISING: 206-623-6231 RETAIL AND ONLINE ADVERTISING: 206-467-4341

THIS WEEK’S ATTRACTIONS

An American Pie reunion, an open marriage gone bad, and secret footage from the former Burma.

25 FOOD

25 | VORACIOUS TASTING AWARDS

Celebrating grocers in “food deserts” and a sustainable-sushi pioneer. 27 | FIRST CALL | Who the heck is Brett? 29 | A LITTLE RASKIN | Ethical meat.

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John Roderick explains Seattle to a new Mariner; the story of the Safeco Field sound guy who first let the dogs out; and more in our baseball-themed music pullout. Plus reviews of every local album, and a packed list of April’s most anticipated shows. Find it all following page 18.

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War on Drugs

Did Robert Bales take a hallucinogen before his alleged massacre?

hy is the military continuing to use the dangerous anti-malarial drug Lariam? That’s the question former top military psychiatrist Elspeth Ritchie is asking in the wake of the Afghan massacre allegedly carried out by Staff Sgt. Robert Bales. Ritchie, who now works as the chief clinical officer for the District of Columbia’s mental-health department, has no proof that Bales was given Lariam (known generically as mefloquine). But, es, as she told Seattle Weekly in late March, n o h p icro she suspects that Bales had a psychotic e es to m v p li o c h s it o icr W w U episode, given how out-of-character the E From m t H r T s, a IENCE es tour massacre seemed to be. And Lariam, ies and n it e c iv s t c EXPER e a kids’ ind-th e , h c s e she noted, has been associated with o la b p m , e take music and d iv it ie s psychotic symptoms, including halluctures t le c t le t a , a s t e it s exhib the S skyFe u t u H cinations, which might have led Bales to o . h e oug mor nd thr much a believe he was shooting enemy combate t r s a fe Squ ants rather than women and children. /husky in R e d u d e . s. uw Since then, Ritchie’s suspicions have campu grown. As she outlined in a piece MonFORMER PRIME MINISTER OF NORWAY day for Time’s “Battleland” blog, she’s The UW thanks our HuskyFest sponsors: FORMER DIRECTORlearned GENERAL, WORLD HEALTH ORGANIZATION that the military still distributes Lariam to some extent in Afghanistan, where Bales was posted, despite the Army’s BECU • Seattle MINI • WSECU • ABC Special Event Rentals by CORT repeated recommendations to prescribe Carlson Audio Systems • Hollywood Lights Inc. • University Book Store the drug with caution. Bales, moreover, was Shortly after college student Tessie Goheen operating in a rural area that was likely to was diagnosed with breast cancer at age 20, have irrigation canals that would have made she received a letter from her mother’s health malaria a threat. What’s more, the staff serinsurer, which also covered Goheen. If she geant from Joint Base Lewis-McChord was dropped out of school while pursuing treatworking with Special Forces on a “village stament, as she wanted to, the insurer would no bilization” mission, and Special Forces medlonger cover her. ics are not subject to broader Army policies. Four years later, the Bremerton woman’s Ritchie says that Bales would have been story served as the inspiration for Monday’s especially vulnerable to the side effects of march to state Attorney General Rob Lariam because he had a traumatic brain McKenna’s office, according to organizers injury. The Army has issued several memos from Washington CAN!. The activist group advising that soldiers be screened for TBI is protesting McKenna’s role in the U.S. before being given the drug. Supreme Court case challenging President “The DOD [Department ofGro Defense] has Obama’s Affordable Join acclaimed global health advocate Harlem Brundtland asCare sheAct. not yet said yes or no” as to whether Bales Under the Act, insurance companies are speaks about encouraging sustainable development and increasing was in fact given Lariam, Ritchie notes. required to allow young adults up to age 26 to “But I would think if the answer was no, be carried on their parents’ plans. Before that, environmental awareness. Dr. Brundtland is UN Special Envoy on they would have told us by now.” Army Medi- in many states, the only young adults who April 11, 2012 April 17, 2012 cal Department Tolleson insurers would allow on their parents’ plans Climate Change and is also aspokesperson member Maria of The Elders, an independent says that the information is confidential due were college students. broughtlaws. together by Nelson Mandela to helpentire family has Chairman, CEO Biotechonomy, LLC Physics Researcher,group of global leaders to medical-privacy Practically Goheen’s University of Oxford Regardless, Ritchie is making the wider been hit by cancer: Her father died of it GR ADUATE SC As the Future Catches You tackle the world’s toughest problems. THE point that the military should no longer be when she was 8, and both her younger sisThe Impact of Genetic, Digital What to do With UW ALUMNI ASSOC using the drug, given all the negative medical ters battled it as adolescents. Then Goheen and Knowledge Innovations 500,000 Scientists COLLEGE information unearthed about it over the past discovered a lump in her breast, leading to a OF ARTS & decade. In addition to hallucinations, Lariam bilateral mastectomy, chemotherapy, and a 6:30pm / Kane Hall, Room 130 6:30pm / Kane Hall, Room 130 is thought to cause bad dreams, confusion, hysterectomy. suicidal urges, and a dysfunction of the brain She says that because of her mother’s 6:30 P.M.,are KANE HALL 130, SEATTLE mechanism that regulates rage. insurance company, she had to go through All lectures free and open toUW the public. There are, Ritchie adds, alternative antiall that while struggling with a full-time load FREE | SEATING IS LIMITED | REGISTRATION IS REQUIRED Online Registration now available: malarial drugs. They’re somewhat more of college classes. “It was difficult,” she says. www.grad.washington.edu/lectures inconvenient, given that they are taken “There were days I would go and get chemodaily—instead of weekly like Lariam—and therapy and then have to go immediately to OR BY CALLING 206-543-0540 206-543-0540 can be more expensive. But in the face of class.” Even while in the hospital recovering As a courtesy, standby seating will be offered on the day of the events. another potential massacre, she suggests, from reconstructive surgery, she felt comthey’re worth it. NINA SHAPIRO pelled to do schoolwork. Goheen delivered

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Seattle weekly • APRI L 4 - 10, 2012

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employees eventually were able to get Ratliff a letter to McKenna’s office on Monday that in handcuffs. Seattle police arrived on the outlines everything she’s been through. scene and arrested Ratliff, who reportedly Locally, however, the situation is differrefused to explain his side of the incident, ent. In 2007, presaging what the feds would except to say “He jumped me. Watch the later do, the legislature enacted a law which video, you’ll see: He jumped me.” requires insurers to allow young adults up to Court documents say that as Ratliff was age 25 to stay on their parents’ plans. (The being hauled off to the federal detention law didn’t take effect until more than a year center, he said, “If I later, accounting for had gotten his gun, that the letter that Goheen mother****** would be originally received.) So There is always more news online... dead right now.” while the federal law To find out why Washington state Ratliff is now charged slightly expands coverLieutenant Governor candidate Bill with assault on a federal age for young adults in Finkbeiner thinks legislators in officer or employee, a this state, raising the age Olympia should sit in alphabetical felony. Federal prosecuby a year, this is actually order, check out The Daily Weekly. tors asked a judge to one respect in which SEATTLEWEEKLY.COM/DAILYWEEKLY keep Ratliff locked up the possible demise of pending trial because he Obamacare would mean has “a lengthy criminal history of arrests and relatively little to locals. Goheen would still convictions going back to 1988. His history be covered for another year. indicates he has substance-abuse problems Of course, then she would have to get her and mental-health problems. He has failed to own insurance. And Goheen says that if the appear for court appearances on numerous Affordable Care Act goes away, she could be occasions, and there are currently active turned down by insurance companies because warrants for his arrest that are outstanding.” of her preexisting conditions. NINA SHAPIRO Ratliff’s public defender did not return a call seeking comment. A spokesman for the Western Washington U.S. Attorney’s Office was unsure what, if anything, Ratliff was Though it went out of style decades ago, carrying in his fanny pack at the time of his the main advantage of the fanny pack is that arrest. KEEGAN HAMILTON the wearer can use it to carry any number of compact personal items, leaving his or her hands free for other things—like fighting federal security guards. On March 22, Keith A. Ratliff strolled into While many would prefer to be rooting the SSA office on Aurora Avenue North wearfor the Sonics rather than for NBA investing both a backpack and a fanny pack. Bryan ment deals to fall through, some excitement Tallmadge, the security guard on duty at the seemed to be back in Seattle last week as time, asked Ratliff for permission to search news broke that the tentative deal reached in the bags, but Ratliff ignored the request and late February between the city of Sacramento lingered in the lobby for a few moments, and the Kings’ owners might be less of a sure according to court documents. thing than originally reported. The security guard, an ex-Marine Fans may be enthused at the possibility and private contractor from the of Sacramento’s arena deal potentially fallcompany Paragon Systems, evening apart, but Brian Robinson, president tually pulled out his pepper spray, of the Green and Gold Community Coaliat which point Ratliff allegedly tion, says Seattle shouldn’t be distracted “bladed his body into a fighting from what’s really important: getting the stance and shook his head side Seattle City Council and King County to side as if he were preparing Council to sign off on a Memorandum of to fight.” Court documents Understanding (MOU) backing prospecsay Ratliff soon tried to flee tive owner Chris Hansen’s proposal to the premises. build an arena for the NBA and NHL When Tallmadge in SoDo. An advisory panel has tried to detain the been examining Hansen’s proposal, unruly fanny-pack and should deliver its findings wearer, the pair within the next few weeks. If grappled and fell to the everything falls into place, floor, at which point Hansen could then take the Ratliff allegedly kicked MOU to the NBA ownership the security guard in meeting in April to make the the head several times, pitch for Seattle. eventually pinning him. “Right now, you have a lot of the An SSA office manager components in place,” says Robinson, jumped into the fray, freereferring to Hansen’s willingness and ing one of Tallmadge’s arms. money and the proposed SoDo site According to court documents, for the arena. Robinson also cites the Ratliff then put the security guard need for a willing local government and, in a chokehold and kneed him in obviously, eventual NBA and NHL franthe head and back. chises. “We can’t impact what other Another SSA office cities do. We need to stay focused worker came to the resand be ready.” MATT DRISCOLL E cue, and the three federal news@seattleweekly.com

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bout 213 miles up in space, the Earth below a cerulean blue, the universe around them infinite and awesome, Jose Hernandez and Danny Olivas wanted Mexican food.

Seattle weekly • APRI L 4 - 10, 2012

with the tortilla. The salsa acted as a binding agent and secured the incipient Icarus. The eggs proved more manageable. Hernandez cut them out of a packet; Olivas used a spoon to guide each mini-mound onto the tortilla, then promptly chopped them into smaller pieces, the better to smush and smear—if the tortilla would only bend. The moment of truth arrived: Olivas folded the vessel in half, wrapping one flap over the other, and rolled it tight. Success! A breakfast burrito was born, and more were on the way. This wasn’t the first time burritos had orbited Earth—Olivas had made a batch on his visit to the Space Station two years earlier. In fact, NASA had used tortillas for astronaut sustenance as early as 1985, when Mexican scientist Rodolfo Neri Vela requested a pack as part of his food provisions to make tacos. At the time, the media treated Neri’s food choices with bemusement, but astronauts quickly took to flour tortillas—not only because of the flavor, redolent of flour and slightly sweet, but also because they were better than most of the sterilized slop they ate. Tortillas didn’t spoil easily. Astronauts could wrap one around anything and make a quick meal. They also weren’t as dangerous as bread, whose crumbs crippled air vents and sensitive equipment. NASA took tortillas so seriously that it tinkered with the recipe—which hadn’t

TIM MELIDEO

The two had come prepared. They were astronauts on STS-128, a NASA mission that flew the Discovery space shuttle to rendezvous with the International Space Station on Aug. 30, 2009. Discovery’s seven-member crew spent 10 days at the research station, primarily to resupply the people already up there and to rotate members. Olivas—raised in El Paso, Texas—went on a space walk to repair an ammonia tank, among other tasks; Hernandez—a native of Mexico who picked crops in California’s Central Valley alongside family members as a child—sent his thoughts to our planet en español. “Espero la cosecha de mi sueño sirva como inspiración a todos!” he enthused via Twitter. “I hope the harvest of my dream serves as inspiration to all!” On Sept. 8, the Discovery crew undocked from the Space Station. It was morning. It was time for breakfast burritos. The rest of the crew had earlier asked Hernandez and Olivas if they might cook the meal, as Olivas was the NASA member who knew how to make them best. Of course. A video camera transmitted footage of the duo floating toward the galley of the mid-deck to open a shelf containing the ingredients they needed to construct the cylindrical god in zero gravity: flour tortillas sealed in a vacuum pack, clumps of ready-to-eat scrambled eggs, and fat sausage patties. Olivas pulled out a tortilla, letting it float

HOW MEXICAN FOOD CONQUERED AMERICA.

We’ve had generations of Americans who scarf down tacos and burritos just as a previous generation forked through chicken potpies and ate pastrami on rye. And that’s just the United States. As globalization sets in, so does Mexican food. in front of him while tearing open a thumbsized salsa packet. He smeared a smiley face on the tortilla and tried to roll it up; since it wasn’t cooked, the flour flatbread bent into a U-shape but wobbled back into its outstretched natural state. Hernandez, meanwhile, opened a pouch that contained the patty. Olivas placed the tortilla near the meat, expecting the sausage to plop down on it, as it would in terra firma. Instead, the brownish, glistening mass popped out of the bag, away from the tortilla below it; presumably, it would’ve continued on an endless trajectory in zero gravity if the fastthinking Olivas hadn’t grabbed the sausage

substantially changed in millennia save for the introduction of flour—to keep stacks fresh for up to six months. Scientists created a nitrogen-filled packet that removed almost all the oxygen present in the pouch, so as to prevent mold from growing. One major problem arose: Astronauts discovered that six-month-old space tortillas became bitter—and no one deserves a bitter tortilla. Finally, NASA found a manufacturer that made an extended-shelf-life tortilla that lasted up to a year and retained its allure, a maker that also sold the product to fast-food Mexican chains. Hundreds of thousands of dollars well-spent.

“I cannot think of anything that cannot be put on a tortilla or has not been put on a tortilla,” wrote veteran astronaut Sandra Magnus in a blog post while aboard the International Space Station in 2008. “When a shuttle shows up, you are in tortilla heaven because [astronauts] show up with tons of them and graciously donate all of the extras to the ISS crews. You really want to be swimming in tortillas your whole increment.” And for short missions of five to seven days? Astronauts often bring flour tortillas fresh from a Houston tortillería. No modifications, no chemicals—just unadulterated rapture. The perfect food.

“Danny is an expert in zero-g burritomaking,” Hernandez radioed to Mission Control after the burrito party. It was a mission of celebration: Never had two Mexican-Americans flown in space on the same mission, and never had burritos shone so brightly. Sure, Hernandez and Olivas offered a service to their crewmates that hundreds of thousands of their fellow Mexicans provided daily back on Earth— prepping Mexican food for Americans more than happy to gobble it up. The feast made the news; a video soon went viral across the Internet, the astronauts’ beaming, proud smiles as they hoisted their fast

food available for humanity to see. So high up in the heavens, up above the world, the burrito not only had become universal—but it was now finally, truly cosmic as well.

exican food appears at our state dinners in elegant presentations. Mexican food appears in our school cafeterias; packaged as chimichangas or in bags of Fritos; in convenience stores, heating on rolling racks, waiting for the hands of hurried customers. Mexican food sponsors college bowl games such as the Tostitos Fiesta Bowl, and buys naming rights for sporting venues such as the Taco Bell Arena at Boise State in Idaho. Mexican-food commercials blanket television airwaves, hawking salsa and hardshelled taco packets and high-priced tequilas and imported beers, promising a day at the beach and endless fiestas. Mexican food fills our grocery aisles, feeds college dorm residents, sits in our freezers and pantries, is the focus of massive festivals, becomes a tween trend or front-page news—and if you don’t know what I’m talking about, ask your kid about spaghetti tacos.

That wonderful culinary metaphor, the melting pot, has absorbed Mexican in this country just as so many immigrant cuisines of the past—but in a demanding way unique from other traditions that have penetrated the American palate. While there are more Chinese restaurants than Mexican in this country, the latter is the easier sell; you don’t see hundreds of different soy-sauce brands sold at supermarkets or General Tso’s chicken cook-offs at your local community fair, but you do see hot sauces and chili contests. While pizza is the best-selling and furthest-reaching item of Italian-American cuisine in fast food, its rise, and that of pasta and Italian restaurants, is only relatively recent; the United States, on the other hand, has loved Mexican food for more than 125 years—bought it, sold it, made it, spread it, supplied it, cooked it, savored it, loved it. Comida mexicana in the United States is similar to M.C. Escher’s Relativity—each staircase helping the climber reach a particular plateau, only to whisper promises of higher, better planes in an endless hat dance of delights. Americans have defined

» CONTINUED ON PAGE 10

Seattle’s Feuding Tamale Men

GUSTAVO ARELLANO

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Seatt le w eekly • APRIL 4 - 10, 2012

crime came to tamale men like frat boys to Corona. And Seattle was no exception. In 1905, a turf war emerged in what’s now Pioneer Square, then known as the “restricted district” among the city’s tamale men (interestingly, newspapers of the time wrote that most of them were Afghans, not Mexicans). One of them, Mohamed Kahn, took five competitors to court after they nearly beat him to death in an argument. Kahn himself had been fined for fighting just a couple of days earlier, but claimed his rivals had entered into a pact to drive him out of Seattle by any means necessary. “They killa me,” Kahn is quoted as saying, according to The Seattle Star. “They maka me skipa de town. They fina me in de courts. Me arresta, put in jail and seek. I want to stoppa dis. I no biza man and I wanta stay and sella de tamale.”The authorities had to place him under protection for his own safety. Such problems led Seattle to severely restrict where tamale men could roam, effectively killing off the trade—but city residents still needed their masa meal. The city’s first Mexican restaurant opened in 1909—the Tamale Grotto, at 1428 Fourth Avenue, run by the B. & M. Tamale Co. The Star called it “one of the best-known places of its kind on the Coast,” serving “those delicious tamales which have no superior in flavor anywhere in the state.” The tamale fad eventually ended and the meal faded from the minds of Seattleites. So next time some pendejo like me rambles about Mexican food being alien to Seattle, smack them on the head: They’re your heritage, older even than pinche Starbucks. TOM DOUGHERTY

SORRY, SEATTLE: You’ve yet to secure a spot in America’s Mexican-food pantheon. While I know the Reconquista is alive and kicking in your beautiful city, there still aren’t enough Mexicans up there to influence national trends. I know about Taco Time, created by Frank Tonkin in 1962—the first franchised Mexican-restaurant chain in the United States, beating even Taco Bell. But Tonkin got the idea from Eugene, Oregon, and he opened his first spot in Renton, so it’s not a Seattle original. It’s unfortunate, because your beautiful city has a proud Mexican-food legacy. A century ago, Seattle boasted a thriving Mexican-food scene gracias to the humble tamale. On the corner of First Avenue and Cedar Street stood a tamale factory run by Safa Carrillo, descendant of a famous California family that dated back to when Spanish conquistadors first settled the region. Marriage to one J. Matheny took her to Seattle, where she carried on the family business. Her tamales became nationally acclaimed, appearing in newspapers from Chicago to the Los Angeles Times, which said her tamales “have long been known as the genuine product of Old Mexico.” Much more memorable, however, were Seattle’s tamale men. By the early 20th century, tamaleros had spread across the United States, wearing immaculate white uniforms and carrying their tamales in steam buckets. Though popular wherever they went, newspapers tended to concentrate only on crimes committed against or by them—and given that the industry comprised immigrant men who frequently had to travel streets at night by themselves with money in their pockets,

LUCKY

One Nation, Under Tacos » frOm page 9

GREENHOUSE & LIGHT

Mexican food as combo platters and enchiladas, margaritas and guacamole, tortilla chips and actual tortillas, frozen burritos and burritos made to order. There are momand-pop shops and multinationals, taco carts and tamale men, taco trucks operating under cover of night, and luxe loncheras that tweet their latest specials. Beans, rice, carne asada, soyrizo—all of it absorbed, enjoyed, demanded by Americans, all of it whetting appetites for more. And with this country’s latest Great Migration stretching brown folks beyond the American Southwest to all 50 states, covering virtually all metropolitan areas, from the prairies and flatlands of the Midwest to Maine’s rocky shores and Alaska’s tundra to the Florida Keys, we’re experiencing a renaissance of Mexican food—a perpetual foreigner perfectly at home. Generations of Americans have scarfed down tacos and burritos just as previous ones forked through chicken potpies and ate pastrami on rye. And that’s just in the United States. As globalization sets in, so does Mexican food. Mexican restaurants operate across Europe, in Turkey, in Nepal and Addis Ababa. Down under, Taco Bill’s has sold fish tacos to Australians for nearly 25 years. Sometimes Mexicans run these restaurants; many times it’s American expats. Sometimes locals dine there, but more often it’s American tourists seeking a taste of home. It’s too easy to say Mexican food is an all-American food; to do so is to ignore the tortured relationship between Mexicans and their adopted country. But Mexican food is as much of an ambassador for the U.S. as the hot dog, whether or not either country wants to admit it.

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Comida mexicana in the United States is similar to M.C. Escher’s Relativity, each staircase helping the climber reach a particular plateau, only to whisper promises of higher, better planes in an endless hat dance of delights.

n Ha DaviDso

old movie house now home to one of the most vibrant Chicano theaters in the United States. There’s no need to go into the details of our discussion, except for one pertinent point: Before lambasting Mexicans and our supposed refusal to join American society, Tancredo joined me for a Mexican dinner. The restaurant was across the street from Su Teatro—El Noa Noa, a large eatery that advertises itself as the Mile High City’s “best and most authentic Mexican restaurant.” At night, Art Deco neon lights flash the restaurant’s name, a reference to a legendary nightclub in Ciudad Juárez that was the subject of a famous Mexican song. A party on your plate. The atmosphere isn’t aggressively ethnic: no strolling mariachis or women fluttering fans and eyelids. Eaters sit; waiters bring out plates of chips and salsa and fetch drinks. People of all ethnicities come in to eat, though the clientele leans more American than Mexican. Tancredo and I sat down near the middle of the restaurant; Patty Calhoun, editor of Westword (Denver’s alternative weekly, which carries my “¡Ask a Mexican!” column and is one of Seattle Weekly’s sister publications), and others joined us. We traded small talk, saving our salvos for the discussion to come—but around us, tables whispered, fingers pointed. Some people came to our table to greet Tancredo and wish him luck for the evening. Another woman approached me and offered her appreciation for my upcoming public confrontation of someone she considered a living embodiment of Satan. She wanted to make a scene, but her chile relleno was getting cold. Our plates came. I drank tequila, of course; Tancredo, a dry red wine. He ordered the tamale dinner, hold the rice. Two of them, slathered (or as more accurately stated in the Denver lexicon, “smothered”) in green

Let me give ustedes an example. Tom Tancredo doesn’t like Mexicans—no way, nohow, no duh. The former Colorado Republican congressman and onetime presidential candidate has spent most of his political career railing against a supposed invasion of the United States by Mexico—and while intelligent minds can disagree about unchecked migration to this country, Tancredo flat-out feels Mexicans are downright deficient. “Sadly, corruption is deeply ingrained in Mexican society, from the local police to the government-owned utilities,” Tancredo wrote for the conservative website WorldNetDaily. “It’s a way of doing everyday business.” This statement was a direct dig at me. In Denver in November 2010, we debated whether Mexicans ever assimilate. I maintained that we do; Tancredo didn’t accept the possibility, yet he never explained how someone such as myself— who spoke only Spanish when I entered kindergarten, is the child of two Mexican immigrants (one of whom came into this country in the trunk of a Chevy), and who now favors English and Chuck Taylor All-Stars—did it. The backand-forth squabble happened at Su Teatro, an

chiles, each as long as a palm, as thick as a book, sat before him. They glistened with the dabs of lard needed to make a tamale moist and more than mere cornmeal and shredded pork. I stole bites of the same plate from Calhoun. Soft, spicy, and filling, the pork’s sweet essence melted on my palate; the green chile piqued toward the end. These weren’t the tamales of my youth; they were smaller, but that was OK. The chile—born from the fertile soil of southern Colorado, which Hispanics had tilled for centuries before there was a Mexico or a United States—seared differently from the Mexican chiles I grew up on, and were so flavorful they needed no extra salsa. Tancredo thought so as well: He polished off the plate, laughing and talking between each bite, getting fueled for a night of decrying the very lifestyle that had just fed him. More than a year later, I can recall only some of the points of our philosophical fisticuffs, but the scene I can’t get out of my head is Tancredo’s massive, tamale-induced smile. Tom Tancredo may not like Mexicans, but he sure loves his Mexican food. Of course he does.

» CONTiNUed ON page 12

APRIL 13 - 15, 2012

Musical theater’s brightest stars from Seattle and beyond will sing the soulful and sweeping score of Titanic: The Musical with the support of a 25-piece orchestra and the 80 voices of the award-winning Pacific Lutheran University Choral Union.

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In honor of the 100th anniversary of the Titanic’s epic voyage, The 5th Avenue Theatre is presenting a concert as grand and beautiful as the Ship of Dreams it celebrates.

One Nation, Under Tacos » frOm page 10

tion, examination, celebration—to be hailed as the epic it is. While Mexican culinary culture is an unquestioned part of America’s gastronomic essence, the stories of how we t’s not just Tom who holds this contragot to this point are largely unknown. The dictory position. From the early days of evolution of food in the United States has Mexico’s birth in 1811, when our young until recently been dismissed as a frivolous country longingly looked west toward subject, but we’re now in an age of culinary its newly christened southern neighbor’s reminiscing, when scholars and journalists vast provinces, lonely and so full of potenalike examine cuisines as they do customs. tial, Mexican food has entranced Americans The history of Mexican food in the United while Mexicans themselves have perplexed States has bubbled up in articles and chapters Americans. In the history of Mexican food in in books over the years, but never has a full this country, you’ll find the tortured, fascinatvolume tracked each foodstuff, each craze, ing history of two people fighting, arguing, each pioneer, each controversy. but ultimately accepting each other, if only in What’s so cosmic about a burrito? Everythe comfort of breakfast, lunch, and dinner. thing. It says something about us that Taco See, the greatest apostles of Mexican food Bell makes billions of dollars each year, that in this country haven’t been Mexicans, but Koreans in this country are making millions rather Americans, the unknowing masses by stuffing barbecue into tortillas and selling who—having tasted the Bread of Life that is a them from fancy food trucks—and it’s a good steaming taco, a bowl of chili, a foil-wrapped thing. Anyone who dismisses this reality as not burrito—sought to proclaim its gospel. While indicative of something seismic in the Ameriwe’ve long quarreled with Mexico over seemcan story is more deluded than someone who ingly everything, we’ve always embraced the food, wanting to experience the “authenticity” thinks refried beans are actually fried twice. It has been conquest by a thousand tacos, a milof the Other Half: enjoying the meals Aztec lion tamales, and a hell of a emperors might have feasted lot of salsa, which surpassed on before meeting their fate; ketchup as America’s topdining before handsome, selling condiment back in the bronze-skinned waiters and 1990s and only continues to beautiful señoritas; eating as a grow. Through interviews Mexican might, on the street, and archival material, via in poverty back in Mexico, chronological and thematic in the cantina, through chapters, and never, ever loscookbooks, with canned ing focus that we are after all products, classes, trips to talking about food, here the the motherland or the local story is told of the best cuisine taquería—but always within on Earth, one now set to take the prism of America. That over the world. The U.S. is consumption hasn’t always on the losing side of this been pretty; caricatures of Mexican-American War— hot tamales, Montezuma’s and boy, are we grateful. revenge, questionable ingreOne final point: My book dients, Frito Banditos, talking is not about the history of Chihuahuas, and sleeping Excerpted from Taco USA: Mexican food in Mexico. peons litter the landscape How Mexican Food Conquered Mexican cookery is as multiand continue to influence America, published by Scribfaceted, if not more so, than American perceptions of ner. Hardcover, 320 pages, its American cousin; each Mexican food, as well as of $24.95. Available April 10 at state offers unique culinary Mexicans themselves—but your finer bookstores, online practices that are slowly even negative stereotypes retailers, and swap meets trickling into our country, and digestive concerns never selling pirated goods everyas I mentioned earlier. But stopped our collective yen for where. Arellano, managing those who dismiss Taco Bell, the stuff. editor of OC Weekly, Seattle the taco pizza, even a church Mexican food’s American Weekly’s sister paper in enchilada booth as somehow journey is obviously personal Orange County, Calif., writes not Mexican because Mexito me. I consider tortillas and the “¡Ask a Mexican!” cans aren’t the main consumhot sauce as essential to life column that appears each ers or creators miss a huge as oxygen, walk about with a week on seattleweekly.com. point. We must consider the bag of serrano peppers in my infinite varieties of Mexican pocket, have served as a food food in the United States as part of the Mexieditor for a newspaper for nearly a decade, and can family—not a fraud, not a lesser sibling, have always pushed for Mexican food to be but an equal. treated seriously. I’m someone whose fondest As I’ve driven and flown around the counchildhood memories usually involved smugtry and come across a mild salsa, a mutated gled cheese wheels from my parents’ ancestral muchaco (a ground-beef taco served in pita villages, whose mom was a tomato canner and bread by the Midwestern Taco Bueno chain) got up early in the morning to make us a Mexiand other items I immediately wanted to can breakfast of eggs and beans, went to work, decry, I remembered the concept the legand returned in the evening with the whereendary Chicano scholar Américo Paredes withal to make us a full dinner. Mexican food deemed Greater Mexico: The influence of is a way of life, which isn’t a surprise, of course. Mexico doesn’t cease at the Rio Grande. But that so many Americans, with no blood Wherever there is something even minutely ties to Mexico and who might not even like the Mexican, whether people, food, language, country, revere my cuisine? The reporter in me or rituals, even centuries removed from the is piqued, the Mexican in me flabbergasted. original mestizo source, it remains Mexican. My book Taco USA: How Mexican Food Even in outer space. E Conquered America isn’t about me, though. It’s about a food that deserves documentagarellano@ocweekly.com

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Home Collection

the»weekly»wire *

FRI: FILM

The Dead Girl

This new print of Otto Preminger’s 1944 Laura likely means Fox

thurs/4/5 FIRST THURSDAY

Soft Hardware

Even those not terribly interested in last weekend’s gathering of the National Council on Education for the Ceramic Arts (or NCECA) will find much to like at Soil Gallery ’s interactive and ever-evolving clay show Open for Construction . Its First Thursday opening in March drew a very cheerful mob— including many children—who were encouraged to don aprons, knead fingers into the mush, and help create a pseudo-office environment. It was a helluva lot more fun than the average gallery opening. It was like a special episode of The Office, with the whole cast gone crazy with ceramics! The gallery took on a party atmosphere (a clay rave?), as that most ancient of art forms emulated our modern office technology. And its discontents: Last month, some tiny little effigies of office workers were being prepared for the kiln. (I guess you could call that getting baked at work.) Since the show closes mid-month, this may be your best chance to check out the nonfunctioning computers and uncomfortably hard clay chairs—and possibly contribute some ideas of your own. (Through April 14.) Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264-8061, soilart.org. Free. 6–8 p.m. BRIAN MILLER

TWENTIETH CENTURY FOX

BRIAN MILLER

is preparing a fresh addition to its big shelf of classic noirs on DVD. Yet the film is really an outlier to the genre, and Preminger (Porgy and Bess, Anatomy of a Murder, etc.) was more of a project director, a sophisticated prewar Austrian Jewish immigrant with a salesman’s eye for the topical, the political, and the scandalous. The original 1942 magazine detective serial by Vera Caspary offered such tabloid titillation: Her heroine is a beautiful career gal juggling three different men. At first, she’s the front-page murder victim; then, in one of the ’40s biggest gasps, Laura (Gene Tierney) returns from the dead to enchant the cop on the case (the stolid Dana Andrews) but also to be named a suspect in the

One of the tiny office workers at Soil.

Seattle weekly • APRI L 4 - 10, 2012

Ghost story meets detective yarn in Laura.

shotgun killing. Caspary originally split the narration among all the key players, but Preminger makes us privy only to the supercilious thoughts of haughty gossip columnist Waldo Lydecker (the supremely arch Clifton Webb), who purrs, “In my case, self-absorption is completely justified.” Andrews’ cop is just a regular fella, but Lydecker, Laura, and her Southern gigolo fiance (Vincent Price) are from a skyscraper elite of corruption, cocktails before noon, and (implicitly) loose sexual morals. Roughly a decade before the Mad Men era, Preminger can’t actually say that Laura slept her way into an advertising career, but Lydecker’s creepy possessiveness carries the waft of very expensive scented bedsheets. (Through Thurs.) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6–$10. 7 & 9 p.m. BRIAN MILLER

BOOKS

Fugitive in the Basement

Anyone who followed the saga of Camano Island’s Colton Harris-Moore probably assumed the plane-stealin’ folk hero would eventually end up the subject of a book. Or books. First out of the gate was Jackson Holtz’s Fly, Colton, Fly, based on his reporting for the Everett Herald. Now comes The Barefoot Bandit (Hyperion, $25.99) from itinerant magazine writer Bob Friel, who moved to Orcas Island in 2007 to get away from crime-ridden Orlando. Which is ironic, since the story of his life ended up right in his backyard—or, more specifically, in the crawl space underneath his house. Like many Orcas-ites, Friel found himself churned into Harris-Moore’s felonious wake when the teen outlaw started using his home as a hideaway. And it’s that mix of I-was-there personal history and Friel’s ability to get Harris-Moore’s notoriously press-shy mother to speak—did you know

she brought baby Colt home from the hospital in a white limo?—that makes Barefoot Bandit such a page-turner. University Book Store, 4326 University Way N.E., 634-3400, bookstore.washington.edu. Free. 7 p.m. CALEB HANNAN

sat/4/7 BOOKS/MUSIC

Regrets? He’s Had a Few

Memoirs about rock ’n’ roll and addiction are all the rage now. In the last couple of years, we’ve been handed volumes by Steven Tyler, Sammy Hagar, and SW’s own Duff McKagan. The best of the bunch was Keith Richards’ Life, as you might expect. But the second best has come out of left field—from former Soul Coughing frontman Mike Doughty. It’s called The Book of Drugs (Da Capo, $16). As the title suggests, it’s a hilariously dark look at his rise and collapse, his wacko family, and the alt-rock stars he met along the way. Like any good addict, Doughty is open and honest about the way drugs made him feel. They made him feel great, he says. And if they had continued to make him feel great, he would’ve happily continued living his life in a heroin-clouded state. Tonight, Doughty will read from his book, sing some songs, and open the floor for audience questions. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $25–$30. 7 p.m. BRIAN J. BARR

tues/4/10 BOOKS

Up From the Bowery

Belly dancer and illustrator Leela Corman has created a cinematic story with her graphic novel Unterzakhn (Schocken, $24.95), Yiddish for “underthings”—which foreshadows the stark unveiling the book contains. Twin sisters Esther and Fanya grow up on New York’s Lower East Side during the early 1900s; the tragic cobblestone milieu suggests a Jewish-immigrant La Vie en Rose. There’s also a big, colorful cast of characters—Minna, the girls’ brutal, adulterous mother (memorably described as “loose like a farmhouse goose” by a pair of street urchins); Isaac, their longsuffering father; Sal, Fanya’s one-legged lover; Bronia, the lady doctor who performs abortions, preaches celibacy, and takes Fanya under her wing; and Miss Lucille, the vulgar brothel owner who takes Esther under hers. The story’s also infused with dancing, since Esther has showbiz dreams. (“I like the fat one,” a visitor to Miss Lucille’s burlesque theater says. “They charge extra for that?” his companion asks.) Corman also casts her tale back to Eastern Europe, where Isaac’s family is murdered by Cossacks. Poverty and anti-Semitism are a constant: One of Esther’s stage rivals hisses at her, “You’re a tricky little kike.” Despite Corman’s vivid drawings of rowdy dancing, frilly costumes, romping lovers, and sisterly bonds, Unterzakhn’s story is anything but comic. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliott baybook.com. Free. 7 p.m. ERIN K. THOMPSON

Seatt le w eekly • APRIL 4 - 10, 2012

arts»Opening Nights P First Date

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First Date is a gossamer confection of a new musical, easily several notches above last year’s co-production by the Fifth and ACT, the paint-by-numbers Vanities. Contained within First Date’s brisk 90 minutes are a baker’s-dozen hummable tunes, a clutch of stellar performances, and a very close approximation of the thrill and anxiety of a first— and in this case, blind—date. Aaron (Eric Ankrim), a successful young Jewish investment banker, meets willful artistewannabe Casey (Kelly Karbacz) at a local bistro. Around them, the other patrons take on the imaginary guises of those who influence their evening—parents, clergy, old beaux, and the ball-busting fiancee who jilted Aaron on their wedding day. It’s a canny idea that hits its stride early in “The Girl for You,” as Aaron’s family rends their collective garments at the discovery that Casey is a goy. (A ghostly relative moans that, were she alive, this news would surely kill her all over again.) Given writer/producer Austin Winsberg’s TV background, First Date works best when he lets fly with sitcom-ready dialogue. Yet Aaron and Casey’s fragile new relationship never seems anything but authentic— especially in its missteps and detours. Ankrim has the bookish charm of a younger Matthew Broderick, while Karbacz channels a smoldering Sarah Jessica Parker as his foil and object of desire. Director Bill Berry juggles the action well, giving most of the supporting cast a moment to shine. (The music and lyrics are by Alan Zachary and Michael Weiner.) Despite numerous references to contemporary life, particularly social media, this workin-progress does stumble into the generic. It’s as if the L.A. creators of the show had wandered into a little Silver Lake boutique that sells set pieces for musicals and ordered one of everything. Onstage, the familiarity of these oft-chosen elements can overwhelm Aaron and Casey’s winning and quirky characters. Overall, there’s much more right than wrong to First Date, a show clearly designed to tour, even if it’s not quite ready for Broadway. With its crisp dialogue and songs that cling like cotton candy, this little musical deserves your love. KEVIN PHINNEY CHRIS BENNION

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Smart, silly, and sexy, Liz Duffy Adams’ pseudoRestoration comedy is based, very loosely, on the life of Aphra Behn (1640–1689), considered England’s first professional female playwright. Her career coincided with the restoration of King Charles II, prompting a pleasure-fest after decades of dour Puritan rule, which had closed the theaters. Director Allison Narver celebrates

Von Fliss (left) and Potter take liberties with history.

the dual thrills of artistic productivity and sensuality, supported by costume and sound choices that, as in a music video, use color and beat to ratchet up the passion. Sometimes the effect is unintentionally dorky instead of smooth (a tossed feather that doesn’t quite launch, a skirt caught in a door, etc.), but the mishaps mar none of the charms. Aphra (likable and bodacious Kirsten Potter) has a hybrid engine that runs on libido and creativity: Her quill pen can’t keep up with her ideas while scribbling. Nor can her body keep up with her intrigues while shoving lovers and husbands into closets. While spying for Charles II (delicious Basil Harris, in a Breckcommercial wig), whom she adores but doesn’t dare mate with for fear of “a royal bastard,” she meets actress Nell Gwynne (Montana von Fliss), who stirs almost as much lust in her, but without the risk. Another real historical figure, Nell is played half Gaga and half Snooki. Showcased in androgynous glam finery by Catherine Hunt, she drives Aphra into a netherspace between absolutes, where pleasure can dwell without the tyranny of yes/no decisions. The shifting hues of L.B. Morse’s background lighting might support that thesis, but to me it was more of a distraction. Christopher Walker’s sound design is more obvious, e.g., behind-door sex accompanied by “Bang a Gong (Get It On).” Delivered rapidly in well-honed accents, Adams’ 2009 comedy combines a lightweight tone (rhymed couplets) with historical detail (studying Restoration politics before you go wouldn’t hurt). In its funniest scenes, Harris and von Fliss double as other characters— notably Harris’ hulking Lady Davenant, who manipulates her mouth like a Möbius strip while unwittingly cracking inside-theater jokes (“I won’t have one of those Or titles”). Von Fliss is also a hoot at the gigantic-reared maid Mariah, who’s pathologically untormented by indecision. But these are sideshows to the horny, artsy trio—who always take Or, back to the boudoir. MARGARET FRIEDMAN E stage@seattleweekly.com

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Seatt le w eekly • APRIL 4 - 10, 2012

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arts»Performance BY GAVIN BORCHERT

Stage OPENINGS & EVENTS

Second Story Repertory Theatre, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $20–$25. Preview April 5, opens April 6. 8 p.m. Fri.–Sat., plus 2 p.m. Sun. starting April 15. Ends April 29. DEATH, SEX 3: ELECTION SEASON Short plays about— well, it’s in the title. Erickson Theatre Off Broadway, 1524 Harvard Ave., balagantheatre.org. $15. Opens April 5. 8 p.m. Thurs., 8 & 11 p.m. Fri.–Sat. Ends April 14. THE LAST DAYS OF JUDAS ISCARIOT Judas is tried, with testimony from witnesses from Freud to Mother Teresa. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, ghostlighttheatricals.org. $12–$15. Opens April 6. 7:30 p.m. Thurs.–Sat., plus 7:30 p.m. Mon., April 16 and 2 p.m. Sun., April 22. Ends April 22. THE MYSTERY OF EDWIN DROOD Rupert Holmes’ audience-interactive adaptation of a Dickens mystery. Intiman Theatre, Seattle Center, cornish.edu. $5–$15. 8 p.m. Tues., April 10–Fri., April 13; 2 & 8 p.m. Sat., April 14. SPIN THE BOTTLE Annex Theatre’s late-night variety show, every first Friday. April’s show includes “doleful yet delightful musings,” “jungle-cat smut,” and plenty more. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 11 p.m. Fri., April 6. THE TWILIGHT ZONE: LIVE! Theater Schmeater’s zany annual take on Rod Serling, in three scenes. ACT Theatre, 700 Union St., 292-7676, acttheatre.org, schmeater.org. $15–$23. Preview April 5, opens April 6. 8:30 p.m. Thurs.–Sat. Ends April 28. Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

•

» by gavin borchert

Dance THE IMPOSSIBILITY OF CROWS Butoh dancer Vanessa

Skantze’s new solo work (the title comes from Kafka). Teatro de la Psychomachia, 1534 First Ave. S., 697-3855. $5–$15. Opens April 6. 8 p.m. Fri.–Sat. Ends April 14. 12 MINUTES MAX OtB’s mostly dance performance showcase. On the Boards, 100 W. Roy St., 217-9886, ontheboards.org. $8. 7 p.m. Sun., April 8–Mon., April 9.

Classical, Etc. •

SCRAPE Guitarist Bill Frisell is the guest, as performer and composer, of this avant string ensemble. Chapel Performance Space, 4649 Sunnyside Ave. N., jimknapp music.com. $10–$20. 8 p.m. Wed., April 4–Thurs., April 5. JUBILATE! St. James’ young women’s choir performs Pergolesi’s aching Stabat mater. St. James Cathedral, 804 Ninth Ave., stjames-cathedral.org. Free. Noon, Fri., April 6. MARK SALMAN A recital series celebrating Franz Liszt’s bicentennial. On this concert, Salman explores the composer’s forward-looking late works, plus music by those he influenced (Busoni, et al.). University Christian Church, N.E. 50th St. & 15th Ave. N.E., marksalman.net. $15–$25. 7:30 p.m. Fri., April 6. IMPROV AND ELECTRONICS Experimental music from Seattle flutist Clifford Dunn and international colleagues. Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.blogspot.com. $5–$15. 8 p.m. Fri., April 6. DON PASQUALE Donizetti’s battle-of-the-sexes farce is the spring show from Seattle Opera’s Young Artists Program. Meany Hall, UW campus, 389-7676, seattle opera.org. $20–$55. 7:30 p.m. Fri., April 6–Sat., April 7. TOMOKO SUGAWARA A performance on the traditional kugo harp in conjunction with SAAM’s “Colors of the Oasis” exhibit. Seattle Asian Art Museum, 1400 E. Prospect St., earlymusicguild.org. $15–$20. 8 p.m. Sat., April 7. WHO ARE YOU AND HOW DO YOU KNOW? Jay Hamilton’s three-part music/performance art piece evokes a medieval English priest and the legend of Gilgamesh. Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.blogspot.com. 8 p.m. Sat., April 7.

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Taken to Extremes

Intending to make his first year with the Seattle Symphony as fresh a start as possible, music director Ludovic Morlot avoided programming any music too associated with his predecessor, Gerard Schwarz. In fact, the orchestra’s only performance of a Gustav Mahler symphony this season will be led by Schwarz, returning this weekend for three concerts. The symphony is Mahler’s First, finished in 1888 when he was 27, and it’s very much a young man’s piece—a gauntlet toss, intended to make a mark. No symphony opening was ever more atmospheric, just mist and birdsong for several minutes; no evocation of folksong, especially Jewish folksong, was ever more earthy and unprettified. (This was perhaps the symphony’s most controversial aspect: The unabashed klezmerisms of the third movement practically begged disapproving critics to let their anti-Semitism show.) The finale opens with a shriek that echoes the grinding blast Beethoven used to kick off his Ninth’s “Ode to Joy,” though Mahler intensifies it into something even more hysterical— and follows it with the swooniest love music and the stirringest fanfares yet written. Schwarz’s

BERNADENE BLAHA This USC faculty pianist plays

Gershwin, Schubert, and more. Brechemin Auditorium, School of Music, UW campus, 685-8384, music. washington.edu. $15. 2 p.m. Sun., April 8.

BEN VANHOUTEN

AMADEUS Peter Shaffer’s fable of envy, God, and art.

EarSupply

A player’s-eye view of Schwarz.

special way with Mahler is to bring out all these extremes and make his music as explosive, throbbing, and just plain nuts as it must have sounded to its first startled audiences. As it happens, the First is the one piece I’ve actually had the chance to play under Schwarz, in a pickup reading at the SSO’s “Day of Music” a few years ago, when I sat at the back of the cello section and tried to keep up. If far more unpolished, the performance was no less electric than what you’ll hear this weekend. Benaroya Hall, Third Ave. and Union St., 215-4747, seattlesymphony. org. $17–$110. 7:30 p.m. Thurs., April 5; noon, Fri., April 6; 8 p.m. Sat., April 7. previews an •COMPOSER SPOTLIGHT Steve Peters The Sinking of the April 14 performance of Gavin Bryars’ Titanic. Jack Straw Studios, 4261 Roosevelt Way N.E., jackstraw.org. Free. 7:30 p.m. Wed., April 11.

Seattle weekly • APRI L 4 - 10, 2012

Leading Scholars Discuss Gauguin’s Polynesia

Wednesday, April 11 7–8 pm In conjunction with SAM’s exhibition Gauguin & Polynesia: An Elusive Paradise, leading scholars will discuss Polynesia past and present:

Dr. Caroline Vercoe Head of Art History Department, The University of Auckland, New Zealand

Dr. Carol Ivory Professor and Associate Dean, College of Liberal Arts, Washington State University This keynote program is the opening event for the University of Washington (UW) Art History graduate symposium, with graduate students presenting papers at UW and SAM the next day. All are welcome.

Seattle Art Museum, Downtown 1st Avenue & Union Street Tickets may be purchased online, by phone (206.654.3121) or at the Ticketing Desk at any of SAM’s three sites. SAM members: $5 Adults: $10 Students and Seniors: $8 Image: Portrait of a New Zealand Man (detail), Sydney Parkinson, made during James Cook’s first voyage, © The British Library Board, Shelf Number: Add 23920.

seattleartmuseum.org

APRIL 2012

S E AT T L E W E E K LY. C O M / R E V E R B M O N T H LY

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takes the M' t or Japa ne s e e xp our orn in around the h ing Day. en tribute to Op

Reve r b • Seat tle weekly • APRIL 4 - 10, 2012

opening acts »April 2012 volume 2 | number 4 » seattleweekly.com/reverbmonthly

»eDitoR’S letteR

Play Ball, Punks!

ckornelis@seattleweekly.com

inside» 4 column

by Duff McKagan | Why do all ballparks play the same music?

4 Dig my mooD

by DaviD StoeSz | Elvis Costello snobs

wrongly dismiss his most recent work.

7 answers & aDvice

by John RoDeRicK | Teaching a new Mariner all he needs to know about Seattle.

8 he let the Dogs out by DaMon agnoS | The man who launched the party anthem that rocked a thousand stadiums.

10 reviews

What’s your pleasure: Bumber-funk, skronk therapy, or organ-flaring rawk?

16 the month aheaD

Oberhofer, Opeth, Oneohtrix Point Never, Overkill, and much more.

»cover credit

IllustratIon by: noah Kroese »reverb monthly COPYRIGHT © 2012 bY SeaTTle WeeklY, llC. all RIGHTS ReSeRved. RePROduCTIOn In WHOle OR In PaRT WITHOuT PeRmISSIOn IS PROHIbITed. ISSn 0898 0845 • ReveRb is published monthly by seattle Weekly, llC. SeaTTle WeeklY® IS a ReGISTeRed TRademaRk. 1008 WesteRn ave., ste. 300, seattle, Wa 98104. • Founded 1976. main sWitchboaRd: 206-623-050 0

Reve r b • Seattle weekly • APRI L 4 - 10, 2012

On Super Bowl Sunday, Death Cab for Cuite founder Ben Gibbard tweeted: “An important gateway to adulthood is the realization one can like both art AND sports.” Rob Femur, co-founder of Seattle punk band the Piniellas (see album review, page 13), may wince at the suggestion that he’s entered adulthood, but he’s well aware of the chasm that can exist between aficionados of the arts and of sports. Yet Femur, a New York native, thinks Seattle often bucks the stereotype. In fact, he’s spent many evenings huddled at bars like Redwood watching M’s games with fellow musicians whose sporting preferences are more closely aligned than their musical tastes. “[That] sports in Seattle means so much to so many people may have to do with the fact we are, for many, a transplant city,” Femur told me. “Sports are a way of really identifying with a city and a community.” It’s in this spirit that we dedicate our monthly music magazine to the Mariners’ home opener, Friday, April 13. It may seem like a strange marriage of disciplines, but for Femur—a man who named his band after the beloved former Mariners (and, yes, Yankees) manager Lou Piniella—it makes perfect sense. “I gotta tell ya,” Femur says, “I think in this town . . . baseball and punk go really hand-in-hand.” E Chris Kornelis, Editor, Reverb Monthly

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Soul-Filled R&B Singer and Blues Harpist April 10 – 11

McCoy Tyner with Special Guest Saxophonist Gary Bartz

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Reve r b • Seat tle weekly • APRIL 4 - 10, 2012

April 16

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Local Hits?!?!

It’s time to look beyond the jungle (at least sometimes). BY DUFF MCKAGAN

am in no way alone among touring rockers who live and die with every pitch. Dudes from Death Cab to Soundgarden to Alice in Chains to Mark Lanegan all count themselves as Mariner fans. And beyond our local team, it seems that a conversation is easily started if it’s about baseball. I can be anywhere. Baseball fans of every team tour like I do, and we often end up going to some game together, whether in Boston, Chicago, Anaheim, Texas, or wherever an ump cries “Play ball!” As a traveler who has gone to games in different locales, it has become apparent to me that the music at baseball stadiums is getting rather homogenized. You’ve got the opening riff of of Ozzy’s “Crazy Train,” the whole “Who Let the Dogs Out?” thing (see page 8 for an explanation), and an opening riff of some song called “Welcome to the Jungle” being played in every stadium. (For all you Mariners fans, truth be told, “Jungle” was meant for our team, and not the Brewers or the Yankees or the Dodgers or whoever. At least that is how I like to tell the story . . . ) I remember going to Sonics and Mariners games in the ’80s and ’90s, and the music played in those places was WAY more provincial then. You’d hear a Soundgarden song followed by a Pearl Jam song into a Nirvana thing, and then some Sir Mix-a-Lot. Looking back, it all seems so damn quaint—but why would we ever have thought it’d be different? DIG MY MOOD

HALL OF FAMER Elvis Costello’s still hitting ’em out of the park. BY DAVID STOESZ IS IT A COINCIDENCE that Seattle

abounds both in Elvis Costello fans and in guys who look vaguely like Elvis Costello? No. As David Lee Roth once observed, rock critics like Elvis Costello because they look like him. And when the Great One himself appears at the Paramount on April 12, you can expect a whole lotta nerdy glasses and straw fedoras. As an owner of both those items, I’ve had my fair share of conversations with fellow Costello fans, and it’s shocking—shocking!—how many of them dismiss his recent work—“recent” meaning anything after 1979’s Armed Forces. Even a lot of those who venture as far as, say, Spike (1989) wouldn’t dream of picking up anything from the past 10 years. To which I say: You crazy. In terms appropriate to the stupid timely and quite interesting theme of

I mean, of course they should play local music in your locale, right? Somewhere along the line, everything just got big and national music-wise at these stadiums. Sure, in the ’90s, some of the most popular bands in the world were coming out of Seattle. But it’s not like we haven’t had plenty to celebrate musically—if not in the park—over the past decade. We should celebrate our unique local music at the park. And you know what—I think we may be able to celebrate our team this year, too. Yeah. That’s right. Maybe we’ve gotten something with all these new young kids coming into the Mariners program. Sure, they’ve yet to prove themselves. But the competitive canon is rife with tales of unproven athletes overwhelming expectations. We in Seattle have learned to thrive on words like “optimistic,” “potential,” and “bright future.” It COULD happen. And if it does, I say we start rocking music from our own city at our hometown park again. I can hear it now: Some Death Cab for Cutie, Long Winters, and Fleet Foxes, some Chasers, Vendetta Red, and yes, of course, some Loaded too. Play ball! E Duff McKagan is the founding bassist of Guns N’ Roses and the leader of Seattle’s Loaded. His column runs every Thursday at seattleweekly.com/reverb. askduff@seattleweekly.com

this issue of Reverb, don’t be such fair-weather fans. If you attended more of Elvis’ games, you’d see he still often hits baseball home runs in baseball stadiums. For baseball. A highlight reel of the past decade: “You Hung the Moon”: A solid triple from National Ransom (2010), this gorgeous, jazzy ballad basks in the full warmth of Elvis’ middle register. “The Crooked Line”: Defiant, joyful, wise, fun. Elvis at his hootenanny best. A motherfucking home run from Secret, Profane & Sugarcane (2009). “No Hiding Place”: Crushes it. A pulsating slab of melodic pop from the gloriously ragged Momofuku (2008), it hits with 50 tons of sweetness and another 50 tons of battery acid. “Either Side of the Same Town” and “There’s a Story in Your Voice”: The Delivery Man (2004)

is a rain cancellation of an album with two killer performances: a magisterial torch song worthy of Ray Charles and a brilliant, rowdy sneer-off with Lucinda Williams. “Still”: There’s not a single dud on the hushed and lovely North (2003). This gorgeous little gem is the best of the bunch. That’s just for starters. There are whole other decades of great Elvis music to discover. It’s definitely time to join Team Costello. Especially since so many of you are already wearing the uniform. E music@seattleweekly.com

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Reve r b • Seattle weekly • APRI L 4 - 10, 2012

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Saturday & Sunday April 21-22 1st annual Fremont Earth Day Festival

Featuring raffles, silent auctions and sponsor booths to help educate and raise awareness on the importance of biking. Proceeds to Benefit The Cascade Bicycle Club Education Foundation. - Activities for all ages (until 7pm) -

A TRIBUTE TO PINK FLOYD

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Reve r b • Seat tle weekly • APRIL 4 - 10, 2012

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distractions&diversions diversions» ANSWERS & ADVICE

Coming to Amerıca

father-in-law. Did you ever want to learn pottery? Or boat-building? Seattle has so much going on. Sure, you can drive around in a white Escalade eating sushi and dating blankfaced girls, but when you retire you’ll probably still be a young guy, and the bad news is: Pontiac went out of business!

The M’s new Japanese export gets a crash course in Northwest living. BY JOHN RODERICK

Who is your favorite all-time Mariners player?

What is your favorite moment in Mariners history?

Have you noticed that Ichiro is like a character out of Kafka? Every time he goes to bat he puts down his invisible briefcase, takes off his invisible black suit jacket, singles to center, steals second base, and then the Mariners lose! He’s caught in an endless Groundhog Day, where it doesn’t matter whether he learns the

aMORE»ONLINE

We’re talkin’ baseball with Oberhofer and Sleigh Bells. SEATTLEWEEKLY.COM/REVERBMONTHLY

CMY

the ballpark)?

Seriously, though, you’re moving to Seattle and you’ve got some money to burn; I think you’re going to have a blast. I’m sure the Mariners want you to have a good time and enjoy a little bit of the high life, but that usually means they squire you around in a white Escalade to some gaudy steakhouse bar called “The Cosmopolitan” or something, where everyone is weirdly tall and some bald Ukrainian guy with a $25,000 wristwatch keeps slapping you hard on the back while his teenage girlfriend looks at you like a halibut. Does that sound fun? You need to get away from those mutants! Favorite sushi restaurant in Seattle?

I know you’re already 30, you’ve been in the Olympics, and you’ve probably been around the world, but I’m guessing that baseball’s been your whole life until now, right? With this big move to Seattle, to the major leagues, you can really expand your horizons. I don’t know how it is in Japan, but in America a professional baseball player retires sometime in his 30s and ends up co-owning a Pontiac dealership in Silverdale with his

What is your favorite coffeehouse?

Hey, I don’t want you to get in trouble while you’re here. There are a lot of unsavory types in this city who will lead you astray. Heed my advice: Stay out of the coffeehouses! What would you recommend doing when the team has an off day in the summer in Seattle?

I recommend this to everyone who visits Seattle in the summer: Don’t fall in love! Seriously, it seems like some kind of earthly paradise here during baseball season, such that you might make decisions you’ll come to regret while intoxicated by the perfect temperatures and clear blue skies. Don’t be fooled. It’s a fever dream. When they talk about the “mild climate” of the Northwest, what they mean is “all the worst kinds of comparatively mild weather strung together in an unending cycle of despair.” When you have an off day during the summer, you should stay inside and read. Close the blinds and watch some old episodes of Upstairs Downstairs. E jroderick@seattleweekly.com

Reve r b • Seattle weekly • APRI L 4 - 10, 2012

Professional athletes sure get paid a lot of money, don’t they? I’m not saying you’re not worth it, but it must have a profound effect on your sense of taste. Most baseball players live in crappy mansions with 15 bathrooms and no furniture, dating women whose looks fall somewhere on the scale between a gazelle and a catfish. Doesn’t that sound like something you’d only do on a dare? How come more baseball players don’t just live in normal apartments, reading magazines and making spaghetti? That’s pretty much the definition of happiness right there, no matter how much money you have. Eventually, all our baseball stars move to Florida to be “closer to their families,” which is code for them just wanting to be around other crass people in a warm swamp.

You mean ladies, right? I’ve seen pictures from Japan—I know you guys are into some wild stuff in the love-times department. My suggestion is that you get a threeIf you were a professional baseball day pass to one of Seattle’s many player, what position would you comic-book/video-game conferplay? Baseball is considered by many people to ences, and maybe you’ll meet a be the most intellectual sport, but isn’t it sad nice girl who likes to dress up that most other “intellectual” things are as a sexy blue panda and play considered snobby? Like, artisunderwear games. Seattle girls are very opentic dancing is also very minded when it athletic, both modern comes to Star Wars– and classical, and the Seriously, don’t fall in love. themed lovemaking. dancers I’ve known haven’t been any smarter than baseball players, but What is your favorite local band? going to a dance recital seems like a Why do baseball players all wear those very elitist thing to do. gold neck chains? Don’t they always fly up in Why is that? Is it because no your face when you’re running? My policy has one wins at dancing? Look at always been never to wear any kind of jewelry figure skating—it’s like dancing, that an angry woman might use to haul me to except one person wins and the the floor, but then rock and roll is different. losers go home in tears. You’d think You might be surprised at how many musithat figure skating would be a big cians in Seattle LOVE the Mariners. We can hit, but nobody cares about it except really relate to that resignation-and-futility Russians and some really brassy thing I was talking about before. If you want moms. to come check out some music, I suggest you comb your bangs down over your forehead and grow a creepy little mustache, just so you What is your favorite place to watch a blend in. Mariners game with friends (besides INERS

I’m guessing from your first question that you had a little coaching from the Mariners organization in preparing things to ask. That’s understandable. I’m sure you do a lot of press and get asked a lot of these same questions yourself. I know what that’s like, since I am a famous rock star. Anyway, since this is probably the only time we’ll get a chance to chat, I’m going to read between the lines of your questions a little bit so we can really get the most out of our conversation.

What is your favorite Seattle landmark to take guests from out of town to?

MAR EATTLE

Hisashi: What’s your favorite seating location in Safeco Field to watch the Mariners? Roderick: Welcome to Seattle, Hisashi!

piano or kidnaps the groundhog and drives into a gravel pit, the Mariners lose! Seattleites love resignation in the face of futility—it’s one of our defining characteristics.

S ESY OF COURT

For this month’s Answers & Advice column, we invited Hisashi Iwakuma—the Mariners’ new relief pitcher, making his major-league debut with Seattle after a career in Japan—to send Roderick a few queries about his American hometown.

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The Dogfather The enduring legacy of Gregg Greene, the man who let the dogs out. By Damon agnos

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Reve r b • Seat tle weekly • APRIL 4 - 10, 2012

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here’s nothing like DJing a party for 47,000 people and getting a reaction like that—people clapping and cheering and woofing.” So says Gregg Greene, director of marketing for the Mariners and the man who famously declared on ABC’s 20/20, “I let the dogs out.” At a Mariners home game in June 2000, he played what was then an obscure song, the Baha Men’s “Who Let the Dogs Out?”, as intro music for Mariners backup catcher Joe Oliver. Oliver had two straight games of hot hitting with the Baha Men at his back before Miamiraised star shortstop Alex Rodriguez pulled rank and claimed the tune as his own, noting that it has “a little bit of a Miami sound to it.” Fans began to woof along to the chorus and the team played the song in the locker room after victories. On July 25, the Baha Men released “Who Let the Dogs Out?” as a single. The rest, as anyone who has seen VH1’s long-running OneHit Wonders countdown will tell you, is history. The crazy thing is, “Who Let the Dogs Out?” may not be the only stadium staple that Greene introduced that season. He recalls receiving a phone call the day before the start of the team’s playoff series against the Chicago White Sox from Assistant General Manager Lee Pelekoudas, whose son, a college student, had recommended a track. “He plays this Zombie Nation track, and I’m like, ‘Holy crap, that’s great!’ ” Greene played “Kernkraft 400” at the Mariners’ first home playoff game, a series-clinching 2-1 victory on a ninth-inning bunt single by Carlos Guillen. The song is now played in stadiums throughout the world, and has been sampled by Three Six Mafia, Chamillionaires, Childish Gambino, and Game. Greene sits before a soundboard in the Safeco Field booth, around the corner from a personalized, signed gold record from the Baha Men and beneath a personalized, signed headshot of Bay Area rap legend Too $hort. He wears glasses and a businesscasual shirt/pants combo, hardly the appearance one would expect of a man who, like strip-club DJs in South Florida, might be seen by aspiring artists as a hidden hit-maker, an alternative channel to stardom. In 1995, Greene was working at Fisher Radio, hoping someday to become a program director and manning the mike only “when most people wouldn’t listen.” One of his coworkers happened to be the Mariners’ regular DJ, who happened to be getting married that summer. He wanted some time off for his nuptials, and offered Greene roughly a third of the games. Lucky Greene: 1995 was the miracle year in which a torrid late-season run landed the team in the playoffs, where they knocked off the New York Yankees in five games. When Greene recalls the series finale, he brings up Randy Johnson’s surprise relief

If you’ve seen a game at Safeco Field, you’ve heard his work.

appearance. The crowd was already buzzing at the sight of the 6-foot-10 ace starter on the bullpen mound, and Greene and his cohorts in the booth “had a little bit of adrenaline going.” When Lou Piniella made the pitching change, they popped in something special. “We played ‘Welcome to the Jungle’ [see page 4] as loud as you can play any piece of music in the Kingdome, and the crowd was still riding on top of it.” The popularity of mp3 players, Greene says, has changed the stadium DJ game by making everyone a DJ. “It used to be a small handful of players that would request songs,” says Greene. “But for the last decade, you’ve been able to carry your entire music collection on your hip, and the players know what music they like.” This year’s at-bat selections debuted in Japan. Miguel Olivo gave a nod to Seattle’s grunge history with Alice in Chains’ “Man in the Box”; savior-come-lately Jesus Montero watched the throne with Jay-Z & Kanye’s “Paris”; and last year’s bright spot, Dustin Ackley, rolled to Lynyrd Skynyrd’s “Simple Man.” Ichiro stuck with Flo Rida, though Greene writes in an e-mail that the new 3-spot hitter “may have another surprise up his tugged sleeve. We’ll see come Opening Night, April 13.” If the team’s performance last year is any indication, the DJs will have their work cut out for them. “One-hit wonder” has been as likely to apply to nine innings of Mariners offense as it has to anything played over the stadium’s speakers. Yet Greene remains stubbornly optimistic about the prospect of helping one day to tie a song to a Mariners championship. If he could be known for something musically, he says, that would be it. Until then, he’ll likely remain best known for emancipating canines. “They’re going to put that on my tombstone: ‘Let the dogs out,’ ” he says. “There’s worse things to be known for.” E music@seattleweekly.com

Reve r b • Seattle weekly • APRI L 4 - 10, 2012

This is a classic piece of Sailor Jerry flash, unmatched in its attention to detail. (Check all the rigging.They’re correct down to the last sheet bend.) Consisting of a schooner ship–usually a memento of a successful trip around Cape Horn– surrounded by two sweetheart-style mermaids and balanced by two flags, this design harkens back to a time when “ships were made of wood and the men were made of iron!”

RE 10(28)

reviews»Our Take on Every Local Release*

It’s April 2012, and Seattle Sounds Like . . .

(Seattle),” a clever but grating novelty song about Seattle clichés, with trashy dubstep remixes (or are they mashups?) of “Bad Romance” and “Baba O’Riley.” ANDREW GOSPE

LOCAL REVIEWS

Hey Beautiful, Gone (out now, self-released,

The Absolute Monarchs, 1 (4/17,

heybeautifulmusic.com): This three-song EP approximates the subtle dream-pop of a band like Low, but too often the droning arrangements don’t do enough to support singer Mackenzie Buchanan’s serviceable voice. AG

Good to Die Records, goodtodierecords. com): From the shredding on anthemic “Killing the Old” to the jangled, dissonant guitars of “Sharp,” Absolute Monarchs rock hard and keep a heavy hand on the volume, but stay within tight songwriting parameters. Echoes of the Kills and some San Diego beachpunk reverberate throughout, but that greasy garage rock is pure Seattle. GWENDOLYN ELLIOTT (Sat., April 21, Comet Tavern)

JD Hobson, Where the Sun Don’t Shine (out

Animals in Cars, Motion Blur (out now, self-

released, animalsincars.com): On its eight-song debut, this year-old Seattle quartet shows a fondness for early Merge and Matador Records bands like Sebadoh and Pavement. “Nothing” could be an outtake from Weezer’s Blue Album, and though the playing and production is a bit sloppy in parts, Blur is a promising first effort. DAVE LAKE (Fri., April 13, The Mix)

Caspar Babypants, Hot Dog! (4/17, Aurora Elephant Music, babypantsmusic.com): Chris Ballew’s fifth album as a children’s Pied Piper, Hot Dog! contains more of his irresistibly lovable, plinking sing-alongs and a whole new cast of cute animal characters, like Stompy the Bear and Eleanor the Elegant Elephant, that your kids will be liking more than you in no time. ERIN K. THOMPSON (Sat., April 7, Mount Baker Community Club) Bakelite 78, What the Moon Has Done (4/13,

Reve r b • Seat tle weekly • APRIL 4 - 10, 2012

self-released, bakelite78.com): With jazzy scats, Dixie guitar plucks, accordion and trumpet pairings, and the occasional duet, Bakelite 78’s new album woos even the most prudish listeners into smirking smiles. Keep your ears open for the snarky Seattle references. KATHERINE MCKEON (Fri., April 13, Columbia City Theater)

Beat Connection, “Think/Feel” (out

now, Tender Age, facebook.com/ beatconnexion): The first single from Beat Connection’s forthcoming full-length, Palace Garden, due later this summer, is an incredibly svelte song, shimmering and liquidsmooth as a clean pool of water thanks to the easy-pulsing beat, the bell-like marimba, and guest vocalist Chelsey Scheffe’s serene intonations. EKT (Thurs., April 5, Chop Suey) Kristin Chambers, Endless Road (out now,

self-released, kristinchambers.com): There are some really nice, mellow flourishes on Kristin Chambers’ new EP, particularly on

Yeah, every release

the title track, and she’s a very gifted vocalist. Maybe too gifted: Listening to Chambers is impressive yet somehow vacant, like hearing a musical-theater pro nail “All That Jazz” during a karaoke competition. MIKE SEELY (Sat., April 21, Sorrento Hotel) Andy Clausen, The Wishbone Suite (out now,

Table and Chairs, andyclausen.com): From the ever-prolific Table and Chairs collective comes this elegant chamber-jazz composition that unites wild improvisation and frenzied syncopation with elements of classical composition, flashes of pop, and buoyant, melodic themes. GE Cold December Way, Electrified (out now, self-

released, colddecemberway.com): Too bad it’s not the mid-’90s, because these guys would be a kickass opener for a Gin Blossoms/Goo Goo Dolls/ Dramarama tour. DL (Sat., April 7, Cafe Racer)

Country Lips, Touched (4/8, self-

released, countrylips.com): “Well I’m shit-faced wasted, sitting by the campfire drinkin’ Hamm’s . . . ” That’s the opening line of “Twelve Oh Nuevo,” the second cut on Country Lips’ 10-inch vinyl, and it describes the vibe of the entire record. The eight-piece “outlaw country” group crafts songs that feel as though they ought to be belted out by friends on a beerguzzling bender. It’s good-ol’-fashioned honkytonk music, with guitar twang, foot-stompin’ rhythms, and a rebellious streak a mile wide. KEEGAN HAMILTON (Sun., April 8, Crocodile) Dog Shredder, Brass Tactics (4/17, Good

to Die Records, goodtodierecords.com): Lightning-quick time changes, epic shredding

*In each issue, we review every release from local bands and labels scheduled for the coming month. We fully expect a few releases to slip through the cracks. So each issue will also include anything we missed in previous issues, or that had been released in the interim. Send releases and reminders to reverbreviews@seattleweekly.com.

(of guitars, not dogs), and prog-metal thrashing make this Bellingham trio’s threesong onslaught of sound a robust follow-up to their 2010 two-song, self-released Boss Rhino EP. GE (Thurs., April 26, Barboza) Fight the Current, Bridge (out now, selfreleased, fightthecurrent.com): With a sound akin to what Lifehouse’s would be if that band worshiped John Mayer, Fight the Current puts together a solid album of grainy, emotional alt-rock. “Found You Today” has a ’90s Top-40 edge to it that’s a tad nostalgic. JOE WILLIAMS

Go El Grande Go, ExTant (out now, self-released, goelgrandego.blogspot. com): This is the kind of record you can put on as a musical litmus test. Can your subject see past the unhinged vocals and the deceptive simplicity to get that this record is actually out-of-sight? For fans of Jeffrey Lewis, Daniel Johnston, Kimya Dawson, Captain Beefheart, and all those other misunderstood folky weirdoes who aren’t even considering commercial viability when they create music.

MA’CHELL DUMA LAVASSAR

The Goblin Market, Beneath Far Gondal’s Foreign Sky (out now, Green Monkey Records, greenmonkeyrecords.com): Goblin Market is a side project of two members of veteran Seattle retro-psych band Green Pajamas, and their latest album is inspired by Emily Brontë. From Colin Meloy’s mind, this would be a recipe for pretentious disaster. In Goblin Market’s humbler hands, however, it’s a surprisingly pleasant, melodic listen. MS Golden Gardens, The Eden Sessions (out

now, self-released, goldengardens.bandcamp. com): While this unplugged record is built of three songs spanning almost 16 minutes, there is little to no variation whatsoever. The entire release is essentially one long, meditative guitar strum with a few whispers and hums. JW

Graz, Teenage Bassland (out now, Automation

HIGHLY RECOMMENDED

J. CLIFFORD PHOTOGRAPHY

The outlaws of Country Lips.

Records, graz.bandcamp.com): The Kentbased producer’s latest pairs “Luv 2 H8

now, self-released, jdhobson.com): Hobson’s brand of bluesy Americana is steeped in rich outlaw tradition. His latest blends originals and covers seamlessly, making it hard to tell which are which, and that’s a compliment. DL (Thurs., April 12, 418 Public House)

Impossible Bird, Impossible Bird (4/28,

self-released, impossiblebird.com): This debut album, composed of an internationally known fiddler, acoustic guitar, and impeccable vocals, is an absolutely stellar combination of upbeat alt-folk that’s mesmerizing and radiates talent. JW Infinite Loop, Hyper Palace (out now,

self-released, infinitel88p.bandcamp.com): This youthful production duo’s sense of irony (see the titular sample on “Funky Mama”) is more developed than its music, which veers between vocoder-laced electro-pop and hip-hop-leaning instrumentals. AG

Kissing Potion, Gimme Love (out now,

self-released, facebook.com/kissingpotion): Named after the greatest lip gloss ever invented, Kissing Potion is more a sonic explosion of Don Cherry than wild cherry (and not at all Buckcherry) for your ears. With a stereotypically funky horn section and big vocals, this is the kind of band whose chill energy and pro execution pull you into their whole set at an outdoor festival. Let’s go ahead and call them Bumber-funk. MDL (Sat., April 7, White Rabbit)

Chris Klimecky, This Journey (out now, self-released, chrisklimecky.com): Imagine throwing Lucero, Switchfoot, and Brantley Gilbert into a meat grinder. That awkward country-grunge “Let me hug you while I’m sweaty” squeal you hear? This Journey. Klimecky’s voice is so misplaced that the whole experience is simply uncomfortable. JW Chad Knight, Shy Daydreamer (out now,

self-released, chadknight.webs.com): Part of what stands out about this album is also its problem: Knight flexes his muscle on a variety of styles, jumping from hip-hop to reggae to alt-rock, but it feels more like an unfocused artist’s identity crisis than a fully formed voice. DL (Fri., April 6, Hard Rock Cafe) Sam Lachow, “23rd Avenue” (out now, self-released, samlachow.com): Though the “I - I be on the block,” etc., vocal drop seems kind of style-jacked from Blue Scholars’ similarly stuttered refrain from “Slick Watts,” Lachow’s beat is simple yet effective. His verses are short but also enjoyable. TODD HAMM

» CONTINUED ON PAGE 12

RE 11(29)

tractor www.tractortavern.com

5213 BALLARD AVE. NW • 789-3599

TUES, 4/10 9PM ~ $10 BLUESY GARAGE ROCK

WED, APRIL 4

RUSTED ROOT ~ SOLD OUT!

HANNI EL KHATIB

THUR, 4/5 9PM ~ $12 POST-POP FROM PORTLAND, OR

TIJUANA PANTHERS THE SUNDELLES

LAKE YOU ARE PLURAL

WED, 4/11 9PM ~ $6 LOCAL INDIE ROCK

TYPHOON

FRI, 4/6 & SAT, 4/7 9:30PM ~ $22ADV/$25DOS TWO NIGHTS WITH NEW ORLEANS INSTITUTION & GRAMMY AWARD WINNERS

REBIRTH BRASS BAND THE REVIVALISTS SUN, 4/8 8PM ~ $7 INDIE FOLK FROM BROOKLYN AND SEATTLEA L B

DREW VICTOR

U R E L E A SM SHOW E

ALICE IN THE RIVER GHOSTS I’VE MET TOMO NAKAYAMA OF GRAND HALLWAY MON, 4/9 7:30PM ~ $6

MONDAY SQUARE DANCE FEAT. MUSIC BY

THE TALLBOYS HELLACIOUS SQUARE DANCING STARTS AT 8 PM!

THE AWFULLY SUDDEN DEATH OF MARTHA G

KITHKIN THE HOOT HOOTS

THUR, 4/12 9PM ~ $8 RETRO ORGAN/ELECTRIC PIANO DRIVEN SOUND

TOMTEN EIGHTEEN INDIVIDUAL EYES EP R E LE A S P A R TY E

RULER

FRI, 4/13 9:30PM ~ $8 PSYCHEDELIA, DREAM POP & DIRTY BLUES-ROCK

THE MISSIONARYRSEALLEBAUSME HOW POSITION FOX AND THE LAW ALMA ROSA

TIMES LISTED ARE SHOW TIMES. DOORS OPEN 30-60 MINUTES BEFORE

P U &COMING:

/14 TEA LEAF GREEN, THE SILENT COMEDY 4/15 THE BROTHERS COMATOSE, WATER TOWER (formally Water Tower Bucket Boys), NETTLE HONEY 4/17 ACID MOTHERS TEMPLE, THE PHANTOM FAMILY HALO 4/18 HENRY AT WAR, OTHER DESERT CITIES, RIVER GIANT album release party 4/19 POLECAT, PERT NEAR SANDSTONE, RATS IN THE GRASS 4/20 ELDRIDGE GRAVY & THE COURT SUPREME, THE BROWN EDITION, PHILLY’S PHUNKESTRA 4/21 Square Peg presents CASH’D OUT - a tribute to Johnny Cash 4/22 THE INFAMOUS STRINGDUSTERS 4/23 MONDAY SQUARE DANCE with THE TALLBOYS 4/25 FINN RIGGINS, KOKO AND THE SWEETMEATS, GARAGE VOICE 4/26 The Tractor & 91.3 KBCS present THE MILK CARTON KIDS, THE BRENDAN HINES 4/27 FIVE ALARM FUNK, YELLOW DUBMARINE performing all of Abbey Road in a dub reggae style 4/28 REWIND

Reve r b • Seattle weekly • APRI L 4 - 10, 2012

reviews» CONCERT SERIES

H T!

WED APR 4 • MARKET

TO N

7PM DOORS • ALL AGES

Best Washington Beer and Wine List

HOMETOWN TOUR

THIS SATURDAY! APR 7 • MARKET 7PM DOORS • ALL AGES

UNCLE KRACKER

Celebrating Washington Wine, March 1st - April 15th Scan for $30 Wine Dinner for Two

go to www.cafeveloce.com for a list of more Washington Wine Events

THIS WEEKEND! APR 8 • SODO 7PM DOORS • ALL AGES

SLEIGH BELLS with JAVELIN , ELITE GYMNASTICS

7PM DOORS • 21+

The Time Capsule Tour

THOMAS DOLBY with AARON JONAH LEWIS, BEN BELCHER

BOLD ZINGER WED, APR 4 UW SENSATION

JOHN GARDNER AND FRIENDS DWIGHT SLADE

8PM DOORS • ALL AGES

Reve r b • Seat tle weekly • APRIL 4 - 10, 2012

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THR-SAT, APR 5-7 BEST IN THE NORTHWEST

WED APR 11 • SODO

Vintage motorcycle memorabilia

WED APR 11 • MARKET

6:30PM DOORS • ALL AGES

“Piano Talk Show” An evening with

PLUS KELSEY COOK SUN, APR 8 NEW BITS FROM TOP ACTS

CULTIVATE

ODD FUTURE UP AND COMING:

The Life, Alone (out now, Green Monkey

Records, greenmonkeyrecords.com): After their 1987 debut, Seattle band The Life promptly broke up. To celebrate Alone’s 25th anniversary, their label is rereleasing it. Admittedly, it’d be a lot cooler if a new band sounded this retro with their chorused guitar tones and New Wave melodies, but if you’ve played your Big Country and Simple Minds records to death, this ought to scratch your itch. DL

Lux, We Are Not the Same (out now, self-

with SONIA LEIGH, TY STONE

TUE APR 10 THE TRIPLE DOOR

» FROM PAGE 10

APR 13 | MARKET • DOM KENNEDY | APR 14 | MARKET • SLAUGHTERHOUSE | APR 15 | MARKET • ESCAPE THE

FRI& JAN 20 •ATTACK! ALL AGES | APR 16 | MARKET • GREENSKY BLUEGRASS | APR 19 | MARKET • SUPER GEEK FATE ATTACK SAT JAN 21 • 21+

LEAGUE & LACERO | APR 20 | MARKET • REBEL SOULJAHZ & NESIAN N.I.N.E. | APR 20 | SODO • YONDER MOUNTAIN STRING BAND | APR 21 | SODO • THE NAKED AND FAMOUS | APR 24 | SODO • DJ SHADOW |

HOSTED BY DEREK SHEEN MON, APR 9 EVERYONE’S A COMIC

OPEN MIC NIGHT THR-SAT, APR 12-14 COMEDY CHAMP

JOE VESPAZIANI

APR 25 | MARKET • WAKA FLOCKA FLAME | APR 26 | SODO • BRAD | APR 27 | MARKET • ANDRE NICKATINA | APR 28 | MARKET • ZEDS DEAD | APR 28 | SODO • HUNTER HAYES | MAY 1 | MARKET

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released, theluxwebsite.com) Electro duo David Chandler and Leah Rosen swap lead vocals throughout their 13-track debut, fusing synth-rock, New Wave, and a dance-floorready sound with poppy nods to every genre from ’50s bop-rock to ’90s grunge. GE

Midnight Salvage Co., What You Hope For (4/6, self-released, midnightsalvageco.com): Led by Brason Alexander’s gravelly, sputtered vocals, this Tacoma five-piece’s first album is pure blue-collar, beer-drinking heartland rock, a gritty, stripped-down folk-roots panorama somewhere between Asbury Park Springsteen and The Hold Steady. GE (Fri., April 27, Skylark) Debbie Miller, Measures + Waits (out now, self-released, thedebbiemiller.com): The second release from this songwriter and classically trained pianist (and her first since relocating here from New York) runs the gamut from elegantly choral (“Inch by Inch”) to bouncy and quirky (“It’s Been a Day”). Miller’s sweet vocals and restrained melodies give all the songs a clean and peaceful aura. EKT (Sun., April 15, Columbia City Theater) The Missionary Position, Consequences

(out now, The Boredom Killing Business, the missionaryposition.us): Consequences sounds like lead singer Jeff Angell’s hometown of Tacoma: a little past its prime, bluesy and boozy—yet virile enough to rip your jeans off and fuck you quick and hard in a bar’s back lot. In that setting, doing it missionary-style would actually be quite innovative. MS (Fri., April 13, Tractor Tavern)

Moraine, Metamorphic Rock (out now, Moonjune Records, moraineband.com): There’s the sort of jazz that’s great for pleasant dinner music, and then there’s the kind that’s a bit more dangerous. If you like your jazz bopping and meandering but filtered through the haunting, heady lens of ’70s prog-rock and world music, then Moraine is the perfect trip for you. GREGORY FRANKLIN (Thurs., April 19, Cafe Venus/Mars Bar)

Naomi Punk, The Feeling (4/24, Couple

Skate Records, stopandrewinddd.com): The Olympia-and-Seattle trio’s second fulllength album is a glorious racket. The songs’ discernible melodies and choruses are washed over with the clamor and clang of metallicsounding guitars, walloping drums and cymbal crashes, and strangely spirited vocals so thin and echoing they almost sound disembodied. EKT

The Navins, Time to Go (out now, self-

released, facebook.com/thenavins): Featuring ex-members of Tad, Gnome, and Peach, the

GRAVE BABIES Gothdammit

(4/17, Hardly Art, hardlyart.com)

Navins’ three-song EP harks back to the golden age of college rock, combining the power pop and jangly guitars of bands like Redd Kross and the Posies with noisier indie-rock faves like Built to Spill. Retro and pleasing, especially for those 35 and over who like their rock ’n’ roll with a bit of grit and an equal amount of melody. DL (Fri., April 13, Comet Tavern) Neighbors, John in Babeland (out now, Lost

Sound Tapes, neighbors.bandcamp.com): An agile album of fuzzy power pop and indie rock from this Seattle quartet, with hints of twang in some corners, British invasion and American garage in others, led by sometimes gawky but largely endearing vocals. EG (Wed., April 13, UW Ethnic Cultural Center) Stephen Nielsen, Mystic City (out now, self-released, stephennielsen.bandcamp.com): Simple melodies and sparse and punctuated guitar work propel Mystic City. Nielsen falls into that vein of folk rock that sounds down-home without being at all country, and his honestly emotive storytelling is quite listenable. MDL

Out on the Streets, We Buy Gold (4/21,

Petty-P, “The Incredible” (out now, self-

released, reverbnation.com/pettyp): Petty-P has a voice that sounds a bit like that of Cypress Hill mike-man B-Real, but a shade lower, with a Dirty South inflection. Petty isn’t on the same level as Real, but his overanimated rhymes have notably improved here, and DJ Erok’s beat definitely helps things along. TH

The Piniellas, Without a Fight (out

now, self-released, reverbnation.com/ thepiniellas): These Ramones-loving nice guys serve up a platter of throwback riffs, mashing up early-’60s innocence (“I want to be with a rock-’n’-roll girl”) with the derelict, rebellious instrumentation of NYC punk. CHRIS KORNELIS (Fri., April 6, 2 Bit Saloon)

The Satellite 4, Street Food (out now, self-

released, thesatellite4.bandcamp.com): The Satellite 4 specialize in smooth, contemporary lounge music sweetened with some soulful organ and jazzy good vibes. Won’t your parents be surprised when you show up at

their barbecue this summer with the perfect soundtrack? MDL

ShewHorn Jonez and His Super Sonic Patriots, Steamin’ With ShewHorn Jonez

Vol. I (out now, self-released, theunibroz.band camp.com): Color me surprised, ShewHorn. Your name made me wonder what the hell I was getting into. Steamin’ is a interestingly low-fi take on summer hip-hop jams that occasionally veers into Kool Keith-esque territory. MDL

Silicon Girls, Rana (out now, self-released,

silicongirls.bandcamp.com): Three gleeful Eastside boys from the Old Redmond Firehouse crew make vertiginous, breakneck music complete with wobbling guitars, bratty vocals, and one educational number (“Greatriot!”) that solemnly recites some Presidential similarities between Lincoln and Kennedy—kind of like if Sonic Youth taught your history class. EKT (Wed., April 18, Jewelbox/Rendezvous)

Visit Dry Fly Online

Soundgarden, 22 seconds of “Live to Rise” (out now, Hollywood Records, soundgardenworld.com): For the first time in 15 years, Soundgarden’s recorded and released brandnew material. Unfortunately, they’ve only teased 22 seconds of “Live to Rise.” It sounds more like Audioslave than Soundgarden. It’s not bad. But, like the rest of the awkward rollout of Soundgarden 2.0. it’s a bit frustrating. 22 seconds? Really? CK The Spittin’ Cobras, Year of the Cobra (out

now, Omega Records, omega-records.com): Resurrecting the all-too-underappreciated genre of ’80s heavy metal, Alx Karchevsky’s roaring vocals ignite this punk-influenced speed-rock outfit that calls to mind AC/DC, Metallica, and the Sex Pistols. GE

Sugar Sugar Sugar, (out now, self-titled, sugarsugarsugarmusic.com): This hesher’s delight is an homage to wind-whipped, ’70s freeway rock. The Bellingham trio serves up plenty of O-faced guitar solos, straight-faced cowbell, and double-time dustups. Just in time for summer. CK (Fri., April 6, Funhouse) Sundries, All Good Daughters (out now, self-released, sundries.bandcamp.com): A fun album with addictive flair. Indie-grunge with a dash of soul, Sundries weaves smooth angst with beautiful guitar picking and intricate backbeats. The standouts, “The Hunter” and “Ribbon,” grow effortlessly with soaring vocals and snappy melodies. JW

» CONTINUED ON PAGE 14

ROCK STARS WILL WANT TO DRINK LIKE YOU. Please Enjoy Dry Fly Products and the Outdoors Responsibly

Reve r b • Seattle weekly • APRI L 4 - 10, 2012

self-released, outonthestreetsofficial. bandcamp.com): Few records explode out of the gate with the grandeur and passion of this EP. It’s impossible to peg the multilayered indie pop, but a few words come to mind: bold, upbeat, dance . . . British? Two more: must listen. JW (Sat., April 21, Hard Rock Cafe)

EMILY DENTON

When anyone can record crystalclear pop or indie rock on their home computer, what does it say when a band chooses to make their music sound lo-fi and blown out? Well, if you take the first track of Grave Babies’ new fivesong EP at face value, it says, simply, “Fuck Off.” Such surly goth posturing and noisy treatments belie some ingratiatingly poppy tunes, though. “Nightmare” rides a twangy, easygoing guitar lead before drowning it in dour, groaning vocals; the pneumatic snares of “Mourning Heir” almost swing. For all the shrill guitars and reverb-muddled moping, it’s almost as if these guys are having a good time. ERIC GRANDY (Fri., May 4, Funhouse)

got hops? dinner & show

Our 10th (!) Annual IPA Fest is set for

More than

60 IPA’s

THU/APRIL 5 • 7:30PM & FRI/APRIL 6 • 7:30PM

1962-1966 (thu) / 1967-1970 (fri)

alessandra rose w/ kaylee cole, zach fleury & friends

this year with samplers, blind tastings, and food specials all month long.

apple jam: beatles singles SAT/APRIL 7 • 7PM

mike doughty: the book of drugs TUE/APRIL 10 • 8PM THE SHOWBOX PRESENTS

chilly gonzales WED/APRIL 11 • 7:30PM

freddypink

Variable, Sleeper Files (out now, self-

Coopers Ale House 8065 Lake City Way NE (206) 522-2923 www.coopersalehouse.com

Karaoke with DJ Yoda @ 9 PM

Tuesdays No Cover, Purchase bracelet $12, All drinks after that $1

w/ the main attraction Reve r b • Seat tle weekly • APRIL 4 - 10, 2012

Ticktockman, Ticktockman (out now, self-released, ticktockman.bandcamp.com): Ambitious early-aughts riff rock pumped through a tunnel of fuzz and polished for radio on the other end. This headbanging guitar-rock record— featuring veterans of Wild Orchid Children and Gatsbys American Dream—is the arena-rock record to beat in 2012. CK (Sat., April 7, High Dive) Tomten, Ta Ta Dana (4/10, Flat Field Records, facebook.com/TomtenMusic): The two tracks on this EP’s B-side are pleasant but forgettable. The reverse, however, contains two supremely elegant pop songs—both of which will appear on Tomten’s forthcoming summer full-length— that belie the band’s youth. The title track is smooth and stately with a longing organ melody; “So So So” is a blithesome, headbobbing tune sung like a bird by bassist Lena Simon. EKT (Thurs., April 12, Tractor Tavern)

WED/APRIL 4 • 7:30PM

» FROM PAGE 13

(out now, self-released, rockyvotolato. com): Votolato’s eighth full-length is an archetypal Seattle folk record, but it’s both pretty and unpretentious, and he’s a skilled enough songwriter to convey a message without beating you over the head with it. AG (Sat., June 9, Neumos)

• 4/4 peace / pereira duo • 4/5 first thursday w/ mat hayward / tubaluba presents: whifth of fiskey • 4/6 youngblood groovement • 4/7 tip to base • 4/8 charles mack • 4/9 free funk union • 4/10 scott lindenmuth DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW ALL-AGES (BEFORE 9:30PM)

thetripledoor.net 216 UNION STREET, SEATTLE 206.838.4333

Various artists, The Undercaste Mixtape (out now, self-released, undercastestudios.band camp.com): A couple of keepers on this mixtape deserve repeat listens, but far more earn a skip. The tape’s sound quality is pristine, though, which accomplishes its goal as a functional promotional tool for one of Seattle’s long-running recording spaces, Undercaste Studios. TH Rocky Votolato, Television of Saints

• 4/13 glen phillips • 4/15 cahalen & eli • 4/17 showgirls the movie w/ david schmader • 4/18 the moondoggies • 4/19 & 4/20 todd snider

TO ENSURE THE BEST EXPERIENCE

Various artists, Soul of Seattle (out now, Empathy Records, empathyrecords.net): Local label Empathy Records has gathered some of the finest soul and R&B music the town has to offer in this 16-track compilation (a special nod to Mycle Wastman and Malice & Mario Sweet). All slow jams and relaxed get-downs, the city’s put its best voices forward on this one. TH

next • 4/12 hayes carll (solo) w/ zoe muth

PLEASE ARRIVE EARLY

released, variable-mass.bandcamp.com): Sleeper Files’ rhythms play with aqueous synth splashes and various sharp bits of sound data in a way that occasionally implies plot, but atmosphere is the real star here. It takes a while to get going, but things heat up by the midpoint. TH

WaMü, Viafuckt (out now, Talking Helps Records, wamü.com): Invoking at least two failed or crumbling local institutions and one natural disaster, WaMü’s Viafuckt is an appropriately anarchic set of primal-scream and skronk therapy, sax and violins, things falling apart. EG (Wed., April 11, Mercury Lounge)

KINKY - OAKE

Friday April 6th 9PM Sing a kinky song from our list! $500 worth of Prizes Drink Vouchers and Sex Toys

Vibe Bar and Grill 226 1st Ave S - Kent www.thevibebarandgrill.com

The Washover Fans, Live at Empty Sea (out

now, self-released, thewashoverfans.com): Holy Avett Brothers, Batman! These kids sure dig the Jayhawks. Finely, with pleasing results, these hicksters unpretentiously cover a bunch of songs (from the Velvet Underground to Foo Fighters) that showcase a wide array of influences and may or may not get them sued. MDL

MXPX PLANS WITHIN PLANS

JERED SCOTT

April 6th-27th.

reviews»

(Out now, Rock City Recording Company, mxpx.com) You won’t find any surprises on the ninth studio record from Bremerton’s favorite pop-punk sons, but you will find the band sounding renewed and more vital than it has in years. Perhaps this new energy stems from all the recent behind-the-scenes changes— namely that MxPx isn’t so much a fully functioning band anymore. With longtime bandmates Tom Wisniewski and Yuri Ruley taking full-time jobs at Bremerton’s shipyard, singer/ songwriter Mike Herrera has been left to tour as the MxPx All-Stars without them, though the pair do play on Plans. Maybe this time apart has sparked a newfound passion among the musicians. Long gone is the Green Day aping that clogged their early albums; in its place, a more realized band deftly merges catchy, Costello-influenced pop-punk with an occasional hardcore breakdown or foray into power pop. As they hit their 20-year mark, MxPx sounds better than ever. DAVE LAKE

The Way We Were in 1989, Floating Islands

(4/24, Team Pegasus, thewaywewerein1989. bandcamp.com): Chill, ambient electro-pop with New Wave and folk leanings. The songs on this EP roll fluidly into each other, and all display a marked contrast of dueling male and female vocals, breakup themes, and edgy tempos. MDL (Thurs., May 3, Columbia City Theater) Wayfinders, Wayfinders (out now, self-

released, wayfinders.bandcamp.com): Lo-fi garage sounds, folk harmonies, and a freewheeling take on ’70s rock place the Wayfinders somewhere between the Velvet Underground’s stripped-down style and T. Rex’s glam rock. GE (Sat., April 14, Wildrose)

The Willow Collective, Underground Sky Soaring Collective (out now, self-released, thewillowcollective.com): An intriguing eight-song LP full of haunting and fantastical tunes, though at times the guitar riffs seem to clash rather than coalesce. LAURA SWARTZ

X-Suns, X-Suns (out now, self-released, xsuns.bandcamp.com): There’s a beautiful simplicity about this record that makes it a stellar piece of post-rock. Each track is a mini-orchestra, layered with dazzling guitar and backbeat, without an emphasis on speed. It’s brilliant, complex music without the need for flash. JW

Tired of the sound of soapy residue? LOCAL LABELS’ OUT-OF-TOWN BANDS Canyons of Static, “Wake/Drift” (out now,

Fin Records, finrecords.com): One of those musical projects where the tracks are more audio experiences/experiments than “songs.” Soundscape-style indie rock that makes for an epically indulgent instrumental mood-core trip. MDL

The Coathangers & Davila 666, “Smother”

b/w “No Crees Que Ya Cansa” (4/17, Suicide Squeeze, suicidesqueeze.net): The language of punk is universal on this 7-inch split between Atlanta bad girls the Coathangers and Puerto Rican hellions Davila 666, who offer, respectively, organ-flaring rawk and a tinny, drummachine-driven guitar wipeout. EG

Ruby Fray, Pith (4/17, K Records, krecs.

com): Fray’s debut record doesn’t stay in one place for long, moving from freak-folk to wistful balladry to skewed indie pop, often in the span of a few songs. It’s a bit unfocused, but never boring, and indicative of an artist with lots of room to grow. AG

Horse Feathers, Cynic’s New Year (4/17, Kill

Rock Stars, horsefeatherstheband.com): While their name hints toward rowdy, blurry nights soaked in whiskey, Horse Feathers is actually a much more contemplative, gentle affair. Still firmly rooted in Americana, every element of the record seems to shine and sparkle with clarity, even as singer Justin Ringle struggles with his own mortality. GF (Fri., April 20, Barboza)

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King Tuff, “Wild Desire” (out now,

Suicide Squeeze, suicidesqueeze.net): Carefully fuzzy overdriven vocals, totally carefree, joyriding guitar melodies and singing, and lo-fi static so honest you hear the cassette recorder click off at the end. EG

Solid Home Life, Solid Home Life (4/10, Fin Records, solidhomelife.bandcamp.com): Switching between harmonic vocals and glossy vintage instrumentation, Solid Home Life creates an album of lo-fi folk that could have benefited from a little more studio direction, or a drummer capable of keeping a steady beat. JW

White Woods, “Where Did You Go”

(out now, Suicide Squeeze, suicidesqueeze.net): Coathangers singer/guitarist Julia Kugel takes time off from bratty punk rock to craft (what else?) twee, fairy-forest folk songs—but surprisingly good ones. EG E music@seattleweekly.com

Reve r b • Seattle weekly • APRI L 4 - 10, 2012

Maps & Atlases, Beware and Be Grateful (4/17, Barsuk Records, mapsand atlases.org): This Chicago quartet shows noted growth on the follow-up to their complex and off-kilter 2010 Barsuk debut Perch Patchwork. Beware still contains Maps & Atlases’ trademarks—intricate guitar lines and frettapping, Dave Davison’s squalling vocals—but the songs, particularly album standouts “Fever” and “Vampires,” have an added hypnotic pop zing and sheen. EKT (Wed., June 13, Crocodile)

the»month»ahead

pop/rock

Slaughterhouse SUNDAY, APRIL 15

Expect to hear some new material from rap industry veterans Crooked I, Joe Budden, Joell Ortiz, and Royce Da 5´9” as they gear up for the release of their sophomore album, Welcome to: Our House (out May 15 on Shady Records).

BY ERIN K. THOMPSON

Oberhofer THURSDAY, APRIL 5

Showbox at the Market, 1426 First Ave., 628-3151. $26.50 adv./$30 DOS. All ages.

The 21-year-old Tacoma native Brad Oberhofer fronts this New York–based guitar and synth-rock quartet. The band’s fulllength debut Time Capsules II was produced by Steve Lillywhite and released just last month; it’s a happy mix of jolting, hyperkinetic tunes. With Pond, Makeup Monsters.

Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880. 9:30 p.m. $8 adv./$10 DOS.

Choklate & Eighty4 Fly FRIDAY, APRIL 20

Silky-smooth soul singer Choklate and local MC Eighty4 Fly team up here for an “Unplugged”-style performance with a live band. With Vitamin D, Bobby Hustle. Nectar,

Chairlift.

412 N. 36th St., 632-2020. 8 p.m. $10. TOM HINES

Chairlift SATURDAY, APRIL 7

This Brooklyn synth-pop duo, Caroline Polachek and Patrick Wimberly, is currently best known for a 2008 iPod commercial that featured their sweet song “Bruises.” Their new album, this year’s Something, is rapturous, sexy, and fluid, and should propel the band past one-hit-wonder status. With Nite

Jewel, Bell. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $12.

Jeff Mangum MONDAY, APRIL 16–TUESDAY, APRIL 17

Indie rock’s favorite recluse has slowly been emerging from the shadows over the past few years. Last fall, after releasing some unreleased Neutral Milk Hotel tracks, he performed at Zuccotti Park for a surprised group of Occupiers; he’ll spend the spring touring the West Coast. Catch him while you can. The Moore, 1932 Second Ave., 877-

784-4849. 8 p.m. $32.50. All ages.

Perfume Genius Reve r b • Seat tle weekly • APRIL 4 - 10, 2012

THURSDAY, APRIL 19

Local pianist/songwriter Mike Hadreas’ second album, the stunningly emotive Put Your Back N 2 It, has received some righteous raves for its starkly beautiful, brutal, and brave openness; at this point he may be the most critically applauded Seattle musician outside of Fleet Foxes. With Parenthetical Girls. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $10.

Coldplay WEDNESDAY, APRIL 25

The world’s biggest rock band went more pop on their fifth album, last year’s Mylo Xyloto. The duet with Rihanna is best forgotten, but tracks like the dreamy “Paradise” still pack all the heart and finesse of their most memorable hits. KeyArena, 305 Harrison St., 628-0888. 7 p.m. $46.50– $107. All ages.

Frankie Rose WEDNESDAY, APRIL 25

The erstwhile Vivian Girls and Dum Dum Girls drummer released her fantastic second solo album, Interstellar, in February to much

acclaim. A shimmering piece of spacey, synthsoaked indie pop, it’s already earned a firm standing as one of the year’s best records. With Dive, Stephanie. Barboza, 925 E. Pike St., 709-9467. 8 p.m. $10.

Wanda Jackson & the Dusty 45s FRIDAY, APRIL 20

After the success of her Neumos set in 2011— the year that saw the release of her Jack White–produced The Party Ain’t Over—the Queen of Rockabilly returns for another session of soul-soaked country blues with our very own Dusty 45s. With Sallie Ford & The

country

Sound Outside, Larry and His Flask. Neumos, 925 E. Pike St., 709-9467. 8 p.m. $20.

BY GWENDOLYN ELLIOTT

Yonder Mountain String Band

Hayes Carll THURSDAY, APRIL 12–FRIDAY, APRIL 13

With his 2011 Americana chart-topping album Kmag Yoyo (a military abbreviation for “kiss my ass guys, you’re on your own”) and three of his songs, plus screen time, in the film Country Strong, Texas singer/songwriter Carll is winning hearts with his boy-nextdoor brand of country rock. Thurs.: Triple

Door, 216 Union St., 838-4333. 7:30 p.m. $17 adv./$20 DOS. All ages. Fri.: Treehouse Café, 4569 Lynnwood Center Rd. N.E., Bainbridge Island , 842-2814, treehouse bainbridge.com. 8 p.m. 21 and over. $24.

Henry at War WEDNESDAY, APRIL 18

Danielle Henry’s songbird, pitch-perfect pipes easily complement the classic country sounds of this pedal steel- and reverb-soaked folk band. With Other Desert Cities, River Giant. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 8 p.m. $6.

The White Buffalo WEDNESDAY, APRIL 18

Jake Smith’s trembling baritone calls to mind Eddie Vedder’s, but his stripped-down altcountry songs work on a different level; tender and humble, his recently released Once Upon a Time in The West rings with emotion and powerfully raw feeling. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $12.50 adv./$15 DOS.

Waka Flocka Flame THURSDAY, APRIL 26

Hot-topic “trap” rapper WFF brings his booming club anthems to town, hopefully leaving his gun-toting admirers on the road.

Showbox SoDo, 1700 First Ave. S., 6520444. $29.50 adv./$35 DOS. All ages.

Lil B SUNDAY, APRIL 29

Lil B The Based God is a bizarre yet strangely down-to-earth-seeming individual. The Bay Area Internet sensation could cover the whole emotional spectrum here, but my money’s on a straight good time. Neumos, 925 E. Pike St., 709-9442. 7 p.m. $20.

SATURDAY, APRIL 21

This Colorado-based four-piece incorporates old-timey sounds, traditional bluegrass, and four-part harmonies into a mellow, laid-back, jam-band aesthetic. With Brown Bird. Show-

box SoDo, 1700 First Ave. S., 652-0444. 8:30 p.m. $23. All ages.

dj/electronic BY ERIC GRANDY

Dierks Bentley

Tiger & Woods

SATURDAY, APRIL 21

THURSDAY, APRIL 5

This mainstream country star just has that voice—a perfect blend of croon and twang— and the self-made, hardworking story to back it up; both elements make his country pop a lush and polished pleasure. With Eli Young

Spring is sprung, nights are warming up— why not ring in the season with a cruise? Tonight’s features deep house/disco-edit duo Tiger & Woods at the wheel; expect exceptionally smooth sailing. The Islander Boat

Band, Will Hoge. Everett Events Center, 2000 Hewitt Ave., Everett, 425-3222600. 8 p.m. $25–$35. All ages.

Cruise, 1611 Fairview Ave. E., 637-8434. 8 p.m. $20 adv./$30 DOS.

Oneohtrix Point Never TUESDAY, APRIL 10

hip-hop BY TODD HAMM

Odd Future Wolf Gang Kill Them All WEDNESDAY, APRIL 11

The L.A. shock consortium is touring in support of their new offering The OF Tape Vol. 2, and has notably evolved from a rambunctious group of unknown hooligans to a rambunctious group of better-known hooligans. Showbox SoDo, 1700 First Ave. S., 6520444. 8 p.m. $30 adv./$35 DOS. All ages.

UW’s Rainy Dawg Radio kicks off its birthday party with this Brooklyn-based experimental electronic musician, aka Daniel Lopatin. Expect analog synths warped from clear and bright to hazy and sluggish. With USF, Secret

Colors, DJAO. UW Ethnic Cultural Center, 3931 Brooklyn Ave. N.E., 543-4635. 8 p.m. $14/$10 students.

Sweatbox Fourth Anniversary With Derek Plaslaiko SATURDAY, APRIL 21

Raised on Midwest raves and based in Berlin, Plaslaiko’s punishing techno workouts and

» CONTINUED ON PAGE 18

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Tanlines TUESDAY, APRIL 24

NYC duo Tanlines makes spacey, handpercussion-accented electronic music that moves fluidly from upbeat dance tracks to synth-heavy vocal pop. Like-minded locals USF open. With Rewards. Barboza, 925 E.

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The same voracious, omnivorous crate-digging instincts that fueled DJ Shadow’s trip-hop masterpiece Endtroducing have led him to uneven ends ever since (hey, hyphy), but you can’t knock the man’s classic-packed live show. Showbox

at the Market, 1426 First Ave., 628-3151. 8 p.m. $25 adv./$35 DOS. All ages.

Neon Indian & Lemonade FRIDAY, APRIL 27

Neon Indian and Lemonade have both outlived “chillwave” buzz to arrive at second acts making more streamlined and straightforward electro-pop, of which Neon Indian’s is especially promising. Neumos, 925 E. Pike St., 709-9442. 8 p.m. $16.

Night Moves SATURDAY, APRIL 28

From the heads behind Trust, Trouble, and more, here’s a new night of old-school house, nouveau disco, and “boogie from the past, present, & future” in Neumos’ newly revamped basement space. Barboza, 925 E.

Pike St., 709-9467. 10:30 p.m. Free before 11 p.m., $5 at 11 p.m., $8 at 1 a.m.

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On Zoo, their first record for Matador, this Northern California hardcore band slows things down and expands their sound. It’s Dead Kennedys meets Wire. With Milk Music, Society Nurse. Vera Project, 305 Harrison St., 956-8372. 7:30 p.m. $11. All ages.

Christian McBride.

fIREHOSE The genre-blending punk trio will pass through Seattle on a two-week reunion tour that concludes at Coachella. Even if the band won’t be playing any new songs tonight (they haven’t made a record since 1993), being in the room while Mike Watt plays bass is something everyone should experience at least once. With Tera Melos, Virgin Islands. Neu-

mos, 925 E. Pike St., 709-9467. 8 p.m. $18.

Sepultura FRIDAY, APRIL 13

Kairos, the 12th LP from the Brazilian metal legends, was inspired by the band’s 26 years together, a span that’s seen them transition across several styles and several singers. They’re supported by American metal legends Death Angel, who have a similarly storied history. With Krision, Havok, Psychonaut

ANNA WEBBER

SATURDAY, APRIL 7

to his own Grammy-winning big band, Inside Straight, the quintet he brings downtown for four nights. Jazz Alley, 2033 Sixth Ave.,

441-9729. 7:30 & 9:30 p.m. Thurs.–Sat., 7:30 p.m. Sun. $26.50. All ages.

ous locations and ticket prices; see ballardjazzfestival.com for details.

Ballard Jazz Fest

Kenny G

WEDNESDAY, APRIL 18–SATURDAY, APRIL 21

THURSDAY, APRIL 26–SUNDAY, APRIL 29

With all due respect for the Swedish Pancake Jazz Brunch (April 21), the marquee event at the Ballard Jazz Fest, April 18–21, is the Ballard Jazz Walk, during which 17 artists (such as local piano players Wayne Horvitz and Jovino Santos Neto) spread out among a dozen venues (Lock & Keel, Salmon Bay Eagles, etc.) around the neighborhood. Don’t like what you hear? Just keep walking. Vari-

Life imitated Wayne’s World last year when this Seattle expat, who’s sold more albums than any other saxophonist in history, came to town (OK, Kent) to provide the music for a televised ice-skating performance at the ShoWare Center. He returns to a more appropriate venue—one he hasn’t played since the Carter administration. Jazz Alley, 2033 Sixth Ave.,

441-9729. 7:30 & 9:30 p.m. $55. All ages.

Grab a seat. The show’s about to begin.

Deathtrip, Primarch. Studio Seven, 110 S. Horton St., 286-1312. 6:30 p.m. $22 adv./$25 DOS. All ages.

opening night – Friday, april 13th

Rise Against THURSDAY, APRIL 19

If you don’t mind driving to Kent to see a punk band in a hockey arena, you’ll be treated to a set of terrific high-energy political punk. Rise Against’s sixth LP, Endgame, takes on homophobia, teen suicide, and oil spills. Plus it was produced by Black Flag’s drummer.

The curtain goes up on the 2012 season at Safeco Field as the Mariners return for a big nine-game homestand. Opening Night festivities start at 6:30—with fireworks, player introductions and a first pitch by popular former Mariner, Mike Cameron. Plus, all fans receive a 2012 magnetic schedule courtesy of Safeco Insurance.

With A Day to Remember, Title Fight. ShoWare Center, 625 W. James St., Kent, 253-8566777. 6 p.m. $35. All ages.

Opeth and Mastadon MONDAY, APRIL 30

Though Opeth and Mastadon hail from different continents, the two powerhouses— which have both evolved metal into new, exciting directions—come together for an evening of unapologetically heavy music. With

Good seats are still available. But hurry, this is one show you won’t want to miss.

Ghost. The Paramount, 911 Pine St., 4675510. 7 p.m. $32 adv./$35 DOS. All ages.

Overkill MONDAY, APRIL 30

Forbid, Suidakra, Diamond Plate, Three Chord Killer, Elks Blood. El Corazon, 109 Eastlake Ave. E., 381-3094. 7 p.m. $23 adv./$25 DOS/$65 VIP. All ages.

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Christian McBride & Inside Straight THURSDAY, APRIL 5—SUNDAY, APRIL 8

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Reve r b • Seattle weekly • APRI L 4 - 10, 2012

Though Overkill gets overshadowed by fellow East Coast thrash band Anthrax, their mascot Chely, a skull with bat wings, is way cooler than Anthrax’s Not Man. The New Jersey five-piece will play songs from their 16th (16th!) album, The Electric Age. With God

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“AMERICA’S GREATEST QUARTET.” —Time magazine Room. Note opening reception 7–10 p.m. Sat., April 7. Art/Not Terminal Gallery, 2045 Westlake Ave., 233-0680, antgallery.org. April 8–May 3.

BY KAT CHOW

Openings & Events • BAM’S FREE FIRST FRIDAY Strapped for cash? BAM

offers free admission every first Friday of the month. Here’s your chance to check out the museum’s current exhibits, including Mary Lee Hu’s jewelry and Push Play: The 2012 NCECA Invitational. (That’s the National Council on Education for the Ceramic Arts.) Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. Free. 11 a.m.–5 p.m. Fri., April 6. CARTASONIC In this group installation, Perri Lynch, Lara Swimmer, and Robert Zimmer offer field recordings, projections, and photo montages to show the architecture of Civita di Bagnoregio, a remote Italian hill town. Note opening 7 p.m. Fri., April 6 and artist talk 7 p.m. Fri., June 1. Jack Straw New Media Gallery, 4261 Roosevelt Way N.E., 634-0919, jackstraw.org. Opens April 6. Mon.–Fri., 9 a.m.–5 p.m. Through June 8. RACHEL DENNY In Works of Nature, Denny gives new life to familiar objects like sweaters, pennies, and mirrors. Note opening reception 6–8 p.m. Thurs., April 5. Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com. Opens April 5. Tues.–Sat., 10 a.m.– 6 p.m. Through April 28.

•

DELPHINE DIAW DIALLO The Great Vision

SCAN

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SEATTLE WEEKLY

presents 20 examples of the French artist’s documentation of Crow tribal culture in Montana. Photos, collage, and drawings are on display. Note First Thursday opening reception, 5–8 p.m. Thurs., April 5. M.I.A Gallery, 1203 Second Ave., 467-4927, m-i-a-gallery.com. Opens April 5. Tues.–Sat., 10:30 a.m.– 5:30 p.m. Through May 12.

• FREMONT ART WALK

Send events to visualarts@seattleweekly.com = Recommended

•

up for White Shadows, which began with light as an inspiration and developed into a site-specific installation paired with glass sculptures. Note First Thursday opening, 5–8 p.m. Thurs., April 5. Pratt Gallery at Tashiro Kaplan Studios, 312 S. Washington St., Ste. 1A, 328-2200, pratt.org. Opens April 5. Wed.–Sat., noon– 5 p.m. Through April 28. BRITTA JOHNSON We’re curious to find out how she depicts Washington state in her series of stop-motion animations, titled Hover. Note First Thursday opening reception, 6–8 p.m. Thurs., April 5. Also see Evertt Beidler’s short film Moves Manager and Salise Hughes’ The Perils of Boating in the storefront video display. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296-7580, 4culture.org. Opens April 5. Mon.–Fri., 8:30 a.m.–5 p.m. Through April 27. MARTHA KINGSBURY & PATTI WARASHINA The artist and curator talk ceramics, with particular emphasis on the museum’s ongoing Around the Bend and Over the Edge show. Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. $5. Fri., April 6, 7 p.m. CASEY MCGLYNN Manchild shows off McGlynn’s mixed media on canvas. First Thursday opening reception, 6–8 p.m. Thurs., April 5. Foster/White Gallery, 220 Third Ave. S., 622-2833, fosterwhite.com. Opens April 5. Tues.–Sat., 10 a.m.–6 p.m. Through April 28. KIM OSGOOD Osgood’s new floral-type monotypes and paintings are shown in Trust: Truth. Note opening reception, 6–8 p.m. Thurs., April 5. Lisa Harris Gallery, 1922 Pike Place, 443-3315, lisaharrisgallery.com. Opens April 5. Sun., 11 a.m.–4 p.m.; Mon.–Fri., 10:30 a.m.–5:30 p.m. Through April 29. BRION NUDA ROSCH On display are Rosch’s sculptures and collages relating to “nature and the human form” are made abstract and somehow tied together. Note First Thursday reception, 6–8 p.m. Thurs., April 5, and talk by the visiting Bay Area artist, noon Sat. April 7. Also on view: the boxes and paintings of local artist Joseph Goldberg. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera.com. Opens April 5. Tues.– Sat., 10:30 a.m.–5:30 p.m. Through May 12. ANNE SIEMS In Guidance, her semi-eerie paintings feature portraits of what looks like Victorians. Note artist reception, 6–8 p.m. Thurs., April 5. Grover/Thurston Gallery, 319 Third Ave. S., 223-0816, groverthurston. com. Opens April 5. Tues.–Sat., 11 a.m.–5 p.m. Through May 12.

•

EMERSON

STRING QUARTET Performing an all-Mozart program.

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206-543-4880 uwworldseries.org

PRESTON SINGLETARY AND MARSHA BLAKERDESOMMA In confluence, Singletary makes Tlingit

designs in blown glass, moving away from traditional wood carvings. DeSomma uses blown, cut, and fused glass to create diving in, a series of hollow and translucent discs. Note First Thursday opening reception, 5–8 p.m. Thurs., April 5. William Traver Gallery, 110 Union St., 587-6501, travergallery.com. Opens April 5. Tues.– Fri., 10 a.m.–6 p.m.; Sat., 10 a.m.–5 p.m.; Sun., noon– 5 p.m. Through May 13. SPRING GROUP SHOW The work of Cynthia Krieble, Jeremy Mangan, Jim Phalen, and Kurt Solmssen will be on display in this appropriately-named exhibit. Note First Thursday opening, 10:30 a.m.–5:30 p.m. & 5–8 p.m. Thurs., April 5. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. Opens April 5. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 11 a.m.–5 p.m. Through April 28. TRADITIONS Curated by Romson Regarde Bustillo, Traditions features the work of Jite Agbro, Maikoiyo Alley-Barnes, and other Puget Sound area artists. Note opening reception, 5–7 p.m. Wed., April 4. Seattle Central Community College, Broadway and Pine St., 344-4379, seattlecentral.org. Mon.–Fri., 9:30 a.m.–3:30 p.m. Through April 26. WALLINGFORD ART WALK Participating venues and galleries include Stu Stu Studios, Fuel Coffee, Julia’s Restaurant, and Oasis Art Gallery. See wallingfordartwalk.org for full roster of attractions. 6–9 p.m. Wed., April 4. WHERE WE MEET In this group show of artists from all around the globe—Wang Jiang, Yuko Ishii, Gillchun Koh, and Jane Alden Stevens—reflect on nature, just in time for Earth Week. Note First Thursday opening, 5–8 p.m. Thurs., April 5, and artist talk with Gillchun Koh, 3 pm. Sat., April 21. ArtXchange, 512 First Ave. S., 839-0377, artxchange.org. Opens April 5. Tues.–Sat., 11 a.m.–5:30 p.m. Through April 28. JESSE YOUNG In Precise Interpretations, Young uses black-and-white photography to contrast urban- and waterscapes. Note First Thursday opening reception. Zeitgeist Art and Coffee, 171 S. Jackson St., 583-0497, zeitgeistcoffee.com. Opens April 5. Runs through May 2.

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Seatt le w eekly • APRIL 4 - 10, 2012

Venues include Activspace, Fremont Brewing Co., 509 FOR MORE EVENTS OR VISIT Winery and Tasting Room, seattleweekly.com Caffé Vita, and Fremont Abbey. (See fremontfirst friday.com for participating artists.) 6–9 p.m. Fri., April 6. SUSAN GANS AND DAVID TRAYLOR In Micro/ Macro, Gans and Traylor separately treat urban and natural spaces. Gans’ photo montages are like filmstrips. Traylor’s paintings depict a range of land forms. Note First Thursday opening reception, 5–8 p.m. Thurs., April 5. Shift Collaborative Studio, 306 S. Washington St. (Tashiro Kaplan Building), 547-1215, shiftstudio.org. Opens April 5. Fri.–Sun., noon–5 p.m. Through April 28. WYNNE GREENWOOD Greenwood says “peace in” instead of “peace out” with his new sculpture and music. Note First Thursday opening, 5–8 p.m. Thurs., April 5. Lawrimore Project, 117 S. Main St., 501-1231, lawrimoreproject.com. Opens April 5. Wed.–Sat., 11 a.m.–5:30 p.m. Through May 12. LAUREN GROSSMAN In Sphincter, she uses glass, steel, plastic, and cast iron to create sculptures that reflect changing Judeo-Christian imagery in contemporary culture. Note artist reception 6–8 p.m. Thurs., April 5. Platform Gallery, 114 Third Ave. S. (Tashiro Kaplan Building), 323-2808, platformgallery.com. Wed.–Fri., 11 a.m.–5:30 p.m.; Sat., 11 a.m.–5 p.m. Through April 28. RONALD HALL & LI TURNER Hall’s paintings reimagine Southern history from an African-American perspective in Structure and Re-Structure. Turner explores other dualities in Dancing With Jekyll and Hyde. First Thursday opening reception, 6–8 p.m. Thurs., April 5; artist reception 5–8 p.m. Sat., April 7. Call for regular hours. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com. April 6–May 2. A HEAP TO BE LEFT BEHIND UW anthropologist Peter Moran gives a talk on “A Precious Jewel Hard to Obtain: Buddhist Views of the Body,” in conjunction with Li Chen’s Eternity & Commoner show (extended through April 15). Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Free. Thurs., April 5, 7 p.m. INK ON PAPER Cornish and the gallery present the catalog and selected works from the college’s Mary Alice Cooley Print Collection. First Thursday opening reception, 5–8 p.m. Thurs., April 5. Paper Hammer, 1400 Second Ave., 682-3820, paper-hammer.com. April 6–30. INSIDE/OUT “Functional art” is the focus of this group show. Also on view: photos by Carlton Canary and paintings by Sammy Nasholm in the Subterranean

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film»This Week’s Attractions

American Reunion

Four Lovers: Flour power?

OPENS FRI., APRIL 6 AT METRO AND OTHER THEATERS. RATED R. 113 MINUTES.

Seattle weekly • APRI L 4 - 10, 2012

This latest episode in the ongoing American Pie saga, handled by the Harold & Kumar writer/ director team of Jon Hurwitz and Hayden Schlossberg, reunites the full original cast at their 13-year high-school reunion, as the anticlimactic disappointments of their 30s have begun to sink in. Onetime band-camp nymphomaniac Michelle (Alyson Hannigan) is married to Jim (Jason Biggs), but their sex life has gone dry since having kids; B-list talkinghead celebrity Oz (Chris Klein) is mismatched with a party girl, a mistake that becomes glaring when he’s confronted with old flame Heather (Mena Suvari); Stifler (Seann William Scott) is in white-collar clip-on-tie purgatory, still pining to party like it’s 1999. After some strained “Remember the time . . . ” callbacks to decadeplus-old gags, Reunion gets comfortable and funny as Hurwitz and Schlossberg hit familiar marks from unexpected angles, while the ensemble interplay is “routine” in the best sense of the word. The recipe is so durable and the sustained character work—more arrested development than development—so second-skin by now, one can imagine the Pie films sticking with these dramatis personae through middle age and into the problems of geriatric love. American Midlife Crisis? American Retirement? American Funeral? Let’s go! NICK PINKERTON

Footnote OPENS FRI., APRIL 6. AT GUILD 45TH. RATED PG. 105 MINUTES.

Uriel Shkolnik (Lior Ashkenazi) is a 40something Talmudic scholar whose research has earned adulation while his 60-something father’s has mostly been ignored. In this Israeli film’s very first scene, he accepts an honor with an obliviously glib speech built around a childhood anecdote about his dad’s attitude toward his own profession. The camera stays on the father, Eliezer (Shlomo Bar-Aba), for the entirety of the speech, his facial expression subtly transitioning from discomfort to disdain. Slowly, writer/director Joseph Cedar sketches in the details of father and son’s non-bond. Eliezer’s old-school approach to academia is a day-in, day-out study of primary documents, while in his eyes, his celebrity-academic son frivolously exploits history as fodder for cocktail parties. To another father, Uriel’s success

might be a source of pride; to Eliezer, it’s an affront to his life’s work, an embarrassment. The stage thus set, a clerical mistake begets an academic scandal that, if allowed to come to light, would have major repercussions for both Shkolniks, their personal relationship, and the validity of their shared profession. Something between a comedy of everyday absurdity and a family tragedy pushed into the realm of the hyperreal, Footnote uses its characters’ differing relationships to authenticity as the basis for an enigmatic riff on representation. Perhaps too enigmatic: Cedar’s rigorous formal achievement is above reproach but emotionally distant. Like its elder main character, Footnote is something to respect and admire, but it remains cold and unknowable. KARINA LONGWORTH

Four Lovers OPENS FRI., APRIL 6. AT SIFF CINEMA AT THE UPTOWN. NOT RATED. 103 MINUTES.

Using a fluid naturalism to establish its afterglow vibe, Four Lovers follows two married couples as they swap partners and invigorate their own marriages in the bargain—for a time, at least. Boutique jeweler Rachel (Marina Foïs) is unable to resist tattooed Web designer Vincent (Nicolas Duvauchelle), so she invites him for dinner; soon her husband, Franck (Roschdy Zem), a writer/photographer behind Eastern-themed erotic coffee-table books like Shiatsu for Couples, can’t keep his gentle hands off Vincent’s wife, Teri (Élodie Bouchez), a half-American ex-Olympic gymnast. Early on, Rachel cues up Teri’s routine at the 1988 Seoul Games on YouTube—Four Lovers is stronger on the details than on the bigger picture. “Is it normal to feel so good, so quickly?” asks Rachel in retrospective voice-over after they all agree to share each other freely, and the characters begin appearing onscreen in various states of undress. Unsurprisingly, Four Lovers becomes about the precariousness of such arrangements, as jealousy of one form or another strikes each member of the quartet and the logistical problems mount: The time commitment required by the extramarital activity stretches even the seemingly inexhaustible Teri to her breaking point, and the couples’ children, left behind together during the adults’ group vacation, create additional

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headaches down the line. Co-writer/director Antony Cordier remains sensitive to the subtle shifts in the foursome’s dynamics, but the viewer might feel compelled to ask whether we really need another hand-wringer about the perils of polyamory. BENJAMIN MERCER

P Once Upon a Time in Anatolia

RUNS FRI., APRIL 6–THURS., APRIL 12 AT NORTHWEST FILM FORUM. NOT RATED. 157 MINUTES.

When even the cops in this Turkish police story begin joking about bladder control, you know you’re in for a very long drive. From Nuri Bilge Ceylan (Distant, Three Monkeys), Anatolia is shot wide-screen, and its title refers you back to Sergio Leone’s epic showdowns between sheriffs and outlaws. Only here, as a caravan of weary cops weaves through the night, two killers have already been caught and cuffed; the policemen’s challenge now is to locate the shallow grave. The suspects are a pair of taciturn brothers seen in the movie’s prologue at a garage; every clue they offer leads to naught, and the posse begins to suspect they’re on a fool’s errand. With no shootouts or car chases, and only one big plot twist that refers to a long-closed case, Anatolia is an undeniable test of patience. The cops, prosecutor, and doctor on this slow journey are a morose bunch who gradually reveal their midlife disappointments with love, marriage, and family. Although the chief suspect receives a few kicks and punches, these are the guys dripping out confessions over tea and cigarettes, as night gradually surrenders to a cold dawn. While not truly a police procedural (there are a few supernatural moments beneath the full moon), the film is something like a forensic examination of the living, an autopsy of memory and loss. (Imagine one of those CSI shows written by Samuel Beckett.) The corpse, if you want to be symbolic about it, comes to represent every one of the searchers’ buried, existential complaints. Never mind the cause of death. What’s the cause for living? BRIAN MILLER

P The Salt of Life

OPENS FRI., APRIL 6 AT SEVEN GABLES. NOT RATED. 90 MINUTES.

As in his directorial debut, Mid-August Lunch, Gianni Di Gregorio stars in this quiet comedy—this time as Giovanni, a man in his early 60s, forcibly retired for nearly a decade, whose only employment today is playing grayhaired errand boy to the still-active women who surround him. Giovanni lives in Rome with a wife—the relationship has evidently

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cooled to mutual indifference—and a daughter. Aside from his mother (Valeria De Franciscis), who hectors Giovanni with calls for assistance, no one seems to expect much more from him. Giovanni in turn doesn’t seem to expect much from life, until his contemporary and lone friend, rubicund lawyer Alfonso, stokes Giovanni’s desire to take a last crack at physical love. Though when they step out together, Giovanni notices they don’t make much of an impact: “It’s like I’m transparent.” Di Gregorio’s performance sets the tone of dim hope and quiet forbearance, telling the story through reactions: an ever-accommodating smile that shades into a wince; sparkling, heavy-lidded eyes betrayed by vexed brows. With a fine, finicky touch, these convey the longings of a flâneur with yet-young eyes, clinging to the right side of the divide between late middle age and true senescence, though even the more broad, shame-based humor is done discreetly— a Viagra joke comes as close to tactfulness as such things can, limited to Giovanni giving his lap a few furtive glances. NICK PINKERTON

“A quietly rapturous film about love and redemption.” — New York Times

They Call It Myanmar: Lifting the Curtain OPENS FRI., APRIL 6 AT METRO. NOT RATED. 88 MINUTES.

Much less the rabble-rouser than 2008’s Burma VJ, Robert H. Lieberman’s two years of firsthand reportage from that country was filmed prior to recent developments that freed Nobel-winning opposition leader Aung San Suu Kyi (just elected to Parliament) from house arrest. Suu Kyi is interviewed here, but her remarks—like the rest of the doc—fall well behind the news cycle. Lieberman, who teaches physics at Cornell, also waits far too long to explain Burma’s history, a mistake any HBO editor would have quickly rectified. He also asks the same benign questions over and over again (“Have you been to school?”), and resorts to the same shots of adorable kids doing manual labor. Still, because he filmed most of his footage covertly while on teaching and tourist visas, he provides a valuable, commendable glimpse into what he calls “the second most isolated country on the planet.” In a weird way, under military rule since 1962, Burma has been preserved and paradoxically protected from the West, Lieberman finds, unlike its gaudy neighbors Thailand and Vietnam. There are elements of travelogue to the scenes of pristine rice paddies, temples, and oxcarts, but Lieberman is quick to interrogate any friendly face on the street. Just to ask questions is a subversive act in a country where propaganda slogans read “Crush all internal and external destructive elements as the common enemy.” A title card explains at the outset that he won’t identify any of his interviewees, many of whom speak English, his camera sometimes directed at their feet. One woman says, “There is something brewing beneath that calm, serene facade” of her homeland. Reading the latest headlines, it’s likely she’s right. NOTE: Lieberman will attend the screenings Wed., April 11 and Thurs., April 12. BRIAN MILLER E film@seattleweekly.com

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OSCAR® NOMINEE BEST DOCUMENTARY

A SEXY NEW FRENCH DRAMA

Four Lovers

featuring Roschdy Zem and Élodie Bouchez

HELD OVER!

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Seatt le w eekly • APRIL 4 - 10, 2012

ANTONIO CARLONI/ZEITGEIST FILMS

Di Gregorio (right) tries yoga, while Michelangelo Ciminale watches in The Salt of Life.

PLAYING APRIL 6–12

film» BY BRIAN MILLER

Local Film BIG Tom Hanks stars in this very popular comedy from

1988, about a kid who wakes up one morning as a cockroach. No, wait . . . he wakes up as an adult. Yes, that’s it. (PG) SIFF Film Center, $4, Sat., Sun., noon. BLUE HAWAII Elvis stars in this fairly mediocre island romance from 1961. Beyond the title tune, the film’s most enduring aspect is his rendition of “Can’t Help Falling in Love,” which became a career staple all the way through his Vegas years. Call for showtimes. (PG) Central Cinema, $6-$8, April 6-11. CHOCOLATE UNDERGROUND From 2008, this Japanese anime imagines a world in which chocolate is illegal! Fortunately, a plucky band of teen bootleggers decides to brew their own—until they’re discovered by the Chocolate Police! (NR) Grand Illusion, Opens April 6, Fri., Sat., 11 p.m. Through April 13.

• DAZED & CONFUSED It’s 1976 all over again in

Richard Linklater’s 1993 pot-hazed high-school confidential. Yet beneath the cannabis clouds there’s surprising insight into the inner lives of slackers, stoners, and jocks. Throughout, Linklater’s laid-back observational style reveals all the longing, languor, and half-understood notions of self that define what it means to be 18. And you can’t beat Aerosmith’s “Sweet Emotion.” Keep your (red) eyes peeled for Parker Posey, Ben Affleck, and Matthew McConaughey, whose muscle-car Romeo memorably declares, “That’s what I like about these high school girls: I keep getting older; they stay the same age.” Somehow Linklater almost makes that seem poignant. (R) BRIAN MILLER SIFF Film Center, $5, Fri., April 6, 9:30 p.m. THE JERK Steve Martin probably wanted a do-over after this 1979 comedy, his first proper movie, which he co-wrote. In it, he strung together bits of slapstick and buffoonery as the moronic title character stumbles through various picaresque adventures. You can still see traces of such clowning in his later career (e.g. The

Pink Panther and Bowfinger), but it’s the smarter stuff, like Shopgirl and Roxanne, that made him a star. Call for showtimes. (R) Central Cinema, $6-$8, April 6-11.

JEFF, WHO LIVES AT HOME As the basement-dwelling

& THE GOLDEN AGE OF INDIAN • RAJ KAPOOR See siff.net for full schedule and details. (NR). CINEMA

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SIFF Film Center, $40-$75 (series), $5-$10 (individual), Through April 11. LAURA SEE THE WIRE, PAGE 14. NORTH BY NORTHWEST Alfred Hitchcock’s wonderful 1959 chase movie is one of his absolute best, an espionage romp for the ages. Criss-crossing the country from cornfield to Mount Rushmore, Cary Grant and Eva Marie Saint embody every sly, sexy nuance of Ernest’s Lehman’s excellent script. Sample dialogue exchange: Grant—“When I was a little boy, I wouldn’t even let my mother undress me.” Saint—“Well, you’re a big boy now.” So cool. So hot. Then there’s the priceless final train shot, still guaranteed to raise a hoot. The movie screens as part of the GI’s ongoing Grant retrospective. (NR) BRIAN MILLER Grand Illusion, Opens April 6, Fri., April 6, 6 & 8:30 p.m.; April 7-8, 3:30, 6 & 8:30 p.m.; Mon.-Thurs., 6 & 8:30 p.m. Through April 12. SCARFACE One of the most influential films of the ‘80s, Brian De Palma’s gangster tale made Cuban immigrant coke dealer Tony Montana an icon of the VHS era. Its nothing-to-everything theme had great resonance to the young Snoop Dogg, Method Man, Ghostface Killah, Eve, Capone, Scarface (who adapted his nom de rap from you know who), Russell Simmons, and others. According to no less an authority than P. Diddy, Montana “was an upstanding gangster, which is a rare thing.” Certainly these fans are right on target about Scarface as a parable of unfettered American capitalism. All point not to the film’s violence but to the moral: Montana is undone by his own excess. (R) BRIAN MILLER SIFF Cinema at the Uptown, $5-$10, Tue., April 10, 7 p.m.

STREET: THE BEST OF BRITISH FILM • SHADOW Forty years before Red Dawn, there was the

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NOIR

World War II thriller Went the Day Well?, based on a story by Graham Greene. The Nazi invasion, when it comes to the sleepy village of Bramley End, isn’t a blitzkrieg but a routine billeting of familiar British troops—or so they appear to be. They’re polite, speak English, and even help with the dishes. But wait, the vicar’s daughter notices, one soldier crosses his 7s in the continental style. And how could another have chocolate from Vienna? Produced by Ealing Studios, so famous for its postwar comedies, Went the Day Well? is full of types, from the plummy manor matron down to the rascally poacher. It’s propaganda, made mid-war in 1942, but the message is conveyed more by nudge than megaphone. There’s bumbling and bloodshed both as the astonished villagers gradually recognize the infiltrators, then form a ragtag resistance. (NR) BRIAN MILLER Seattle Art Museum, 1300 First Ave., 654-3100, seattle artmuseum.org, $53-$59 series, $8 individual, Opens April 5, Thurs., 7:30 p.m. Through May 24. TITANIC 3-D Yes, James Cameron’s 1997 Oscar winner has been given an expensive 3-D overhaul for Easter. Leonardo DiCaprio will presumably remain locked inside his Malibu compound this weekend, even though some young female teens today wouldn’t give him a second look. Opens Weds. (PG-13) Cinebarre, Pacific Place, Lincoln Square, Woodinville 28 DAYS LATER Danny Boyle’s confidently harrowing 2002 horror film is the thinking man’s zombie movie. What lifts it to a genre peak is its savage ability to be conscientiously terrifying. There is gore here, and a white-knuckle intensity (unlike George A. Romero’s lurching stiffs, these zombies give real chase). But the monsters aren’t really undead—they’re inhuman, the metaphorical implications of which the film riffs on in visceral, discomforting ways. Movie screens at midnight. (R) STEVE WIECKING Egyptian, $8.25, Fri., April 6; Sat., April 7.

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Seattle weekly • APRI L 4 - 10, 2012

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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 at the Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996.; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

Ongoing

undeniably charming homage to old • THE ARTISTTheAnArtist might be the first silent film many

Hollywood, of its viewers have ever seen. French writer-director Michel Hazanavicius’ film opens in 1927, when preening matinee idol George Valentin (Jean Dujardin) is still the top draw at Kinograph Studios. George acts as a mentor to Peppy Miller (Bérénice Bejo), a chorine with big ambitions. Borrowing heavily from A Star Is Born, The Artist tracks both Peppy’s ascent (through amusing montage) and George’s decline as he refuses to acknowledge synchronized sound as more than a passing fad. By 1932, Peppy’s attracting lines around the block for her latest, while George spends his afternoons passed out on a barroom floor, his Jack Russell terrier his sole remaining fan. Or so he thinks: Peppy has never forgotten him, and the film’s concluding act restores The Artist’s buoyancy. (PG-13) Melissa Anderson Harvard Exit

hero in Jay and Mark Duplass’s new quest movie, Jason Segel works his entire posture for laughs. He slumps expressively on the couch, does bong rips, and ignores chore requests from his exasperated mother (Susan Sarandon). He cringes meekly when being scolded by his asshole older brother (Ed Helms), who at least has a job and wife (Judy Greer). Yet Jeff, Who Lives at Home is a surprisingly mutable, ultimately poignant day-in-thelife drama about a slacker who genuinely wants to stand tall. The Duplass brothers are interested in demi-adults in the process of discovering, however belatedly, who they are. Accordingly, there are some weird emotional shifts in tone in Jeff, a karma caper that alternates between Jeff’s increasingly meandering errand and his widowed mother’s confusion over a secret admirer at work. Yet Jeff has a shambling, stubborn decency to him, a trace of Lebowski. (R) Brian Miller Lynwood, Meridian, Metro JIRO DREAMS OF SUSHI Tucked away in the basement of a Tokyo office building, Sukiyabashi Jiro seats only a handful, boasts three Michelin stars, and is presided over by renowned 85-year-old sushi chef Jiro Ono. For tens of thousands of yen, you can get a taste of the craft he has been tirelessly honing since the age of 10. This is, of course, a calculus apt to explode the mind of even the most casual gourmand, and the foodie set is well taken care of in director David Gelb’s portrait. Gelb documents many of Jiro’s unorthodox methods in the kitchen, but significant screen time goes as well to Jiro’s relationship with his sons. Gelb might flit around a bit too much, but his appealing documentary always comes back to its subject’s determination (sometimes overbearing) to leave the most meaningful possible legacy to his family and his craft. (PG) Benjamin Mercer Egyptian THE KID WITH A BIKE Cyril (Thomas Doret), a scrappy 11-year-old living in an urban orphanage, flees school in an attempt to track down both his deadbeat dad (Jeremie Renier) and the bike he left at his dad’s house. On the lam, Cyril carelessly crashes into Samantha (Cecile de France), a hairdresser, and impulsively asks her to be his foster mom. In what plays within Jean-Pierre and Luc Dardenne’s understated naturalism as a shocking twist, she agrees. In placing an unformed boy in limbo between an angelic godmother and teen hooligans in the woods, The Kid becomes a fairy tale. It seems to unfold in a different world than that of previous Dardenne films, one with a wider range of spiritual and practical possibilities. It’s still a version of the filmmakers’ constant inquiry into moral consciousness, but on a new path and with a new destination—a tentative happy ending. (PG-13) Karina Longworth SIFF Cinema at the Uptown PINA Choreographer Pina Bausch died unexpectedly right before shooting on this 3-D project began in 2009. Yet her friend Wim Wenders was convinced by her ensemble members to proceed. Their brief, mostly alfresco solo and duet performances are interspersed with voiceover memories of their beloved leader and excerpts from live stagings of four of Bausch’s works. Bausch’s choreography (at least to this unversed writer) emphasizes big emotions, Sisyphean gestures, and the pleasingly absurd, sometimes all at once. Wenders’s expert use of 3-D puts viewers up close to the spaces, both psychic and physical, inside and out, of Bausch’s work. Pina gives us the supreme pleasure of watching fascinating bodies of widely varying ages in motion. (NR) Melissa Anderson SIFF Cinema at the Uptown

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local v ring. T ount ustain honors ativity and da he fields of s at the Param of y l l a u ann ing cre s in t ngth us Tast h their Weekly he stre mselve Seattle scene throug guished the eek’s Voracio stament to t ks will be dining who’ve distin ated at this w ree that’s a te d mixed drin endable n r p leaders will be celeb d drinking s od samples a h their comm n o it — a f n g w e o n i h e i en we t t innova sold-out eat lture. While s will continu stronger wh en cu r, a er Theate on’s culinary r award winn d scene is ev o i o u g f o our re ight’s end, eattle’s t year. rtain S et again nex yn e gone b k, making ce m wor

Gjurgevich (left) and Ferrence have plans for four permanent stores. 20

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Mashiko customers who swore they’d never hy did Hajime Sato decide to be back after Sato struck their favorite fish from purge his menu of bluefin tuna, the menu are slowly returning. “They’re like kids freshwater eel, and yellowtail, going to the toy store, and Elmo is out and they’re transforming his 15-year-old West crying,” Sato says. “I explain to people we have Seattle sushi bar into the nation’s first sustainablemore fish than we used to, but no, they want that. sushi restaurant helmed by a Japanese chef? Sato It’s kind of fascinating to me, because the first time says that’s the wrong question. you ate unagi, I’m sure it took you time to erase “The bottom line is it’s not about why I did it, the scary. It’s slimy, weird, and lives in the mud. So but why everybody is not doing it,” he says. why can’t you make the same effort with catfish?” A startlingly small number of sushi chefs have He answers his own question with a sigh: followed Sato’s lead: Although a few restaurants “Maybe they made so much effort, they don’t have contacted him about making the sustainabilwant to do it again.” ity switch, most of them Just because Sato serves never call back. “There’s catfish instead of eel doesn’t this weird stigma that mean one’s replaced the other, it’s not macho,” Sato however. He wants customers says. “They say, ‘I’m not to think about the unique qualigoing to talk to these ties of whatever fish is local and fricking tree-huggers.’ ” seasonal, instead of hunting Yet from a purely for precise substitutions. Last financial perspective, summer, Sato served sushi at a Sato says, it makes sense reception after a screening of to wean customers off a documentary which showed fish which could be a chef who had shifted from wiped out if current bluefin to black cod. consumption patterns “This woman was persist. “I’m not talking watching it, and she about graphs and underthought she was going standing numbers,” Sato to get black cod,” Sato says. “If you look at basic 2012 says. “I said no, and she stuff, no matter how you ITY ABIL N I A freaked out. She said ‘Oh look at it, it’s bad.” T D S R SU AWA my God, I thought we Sato claims his phiato were getting this. What’s losophy is motivated S e Hajimner, the point of being here?’ by the self-interest of a Sato isn’t afraid ow That’s sad, because the sushi slinger who wants of alienating d n iko a whole point is don’t get to stay in business, but customers. Mash urger B stuck on any one product, admits his 2009 menu Katsu and she’s already stuck. I revamp alienated custhought, ‘Man, this world is tomers. He’s witnessed the same backlash at really tough.’ ” Katsu Burger, his new Georgetown joint that Sato isn’t trying to sway only customers; serves panko-battered patties: Prices there are determined by the going rate for all-natural beef, to he’s constantly hounding distributors to supply sustainable products, since he’s now sometimes the chagrin of eaters accustomed to fast-food rates. forced to work directly with divers to obtain sea “I have this belief that if we’re going to kill urchins for his kitchen. something, we should have respect for it. But the “I’m not asking people to be like me,” Sato says. clientele at [Katsu] Burger, they really don’t care,” “If one person is 100 percent sustainable, that’s Sato says. “Sometimes they actually yell at our not going to save anything. But if everybody shifts employees. If my restaurant goes down, it’s stupid 10 percent, that’s going to save the world.” E to satisfy my ego, but if I change my beliefs, it’s stupid too.” hraskin@seattleweekly.com

Seatt le w eekly • APRIL 4 - 10, 2012

errence and Gjurgevich, former classmates at Bainbridge Graduate Institute, were troubled by the persistence of urban “food desStock unders, box G erts,” neighborhoods in which a significant rocer s portion of residents aren’t able to shop for affordable, healthy food because the closest supermarket is miles away. They initially surmised the solution was a mobile produce market which would roll through town with berries and greens. But when Stockbox Grocers debuted last year along West Seattle’s Delridge corridor, the focus had shifted from produce to pantry staples. Realizing that sporadic access to fruits and vegetables didn’t help mothers who wanted milk for their children or elderly couples who’d rather have freshly made spaghetti than a heated-up can of Chef Boyardee for supper, Ferrence and Gjurgevich opened a miniature grocery store in a converted security trailer wedged into an apartment parking lot. The clean-cut prototype carried about 300 different items, including beans, tuna fish, and orange juice. “People are pretty shocked when they see a grocery store in the parking lot, but when they get in there, they’re like, ‘Oh my God,’ ” Ferrence said shortly after the store opened. “They’re blown away by the inventory, blown away by the prices.” The store, supported by a “We’d thought about ‘fresh’ mix of award monies, grants, mainly in terms of produce, and Kickstarter funding, but milk and meat are the closed in November after its scheduled three-month run. types of food people are Since then, Ferrence and most dependent on.” Gjurgevich have been busily revising their business plan to better match the consumer needs and desires they uncovered as the store’s only employees. “I’m really grateful we did the prototype, because it gave us an opportunity to play with the idea,” Ferrence says. “We learned about the real need for fresh food. We’d thought about ‘fresh’ mainly in terms of produce, but milk and meat are the types of food people are most dependent on. We only had two refrigerated cases and one freezer.” The first permanent stores are slated to open this year in Delridge, South Park, SeaTac, and Skyway, and will have more refrigerated cases, ingredients grouped for meal preparation, and exteriors that clearly communicate what lies within. They may or may not be housed in reclaimed shipping containers. “The shipping container is a big part of what gets people excited about what we’re doing,” the team recently explained on its blog. “But it’s just one of the tools that we will use as we roll out stores. While it enables us to launch just about anywhere, it may not always be our best option. For example, in some of the communities we’re currently researching, there are brick-and-mortar spaces that are accessible, affordable, and very usable from our perspective.” Stockbox has lately held a series of neighborhood meetings, partly to explain that its pint-sized-grocery concept is intended to be profitable. “Our goal is to get everyone on the same page about what’s going to succeed,” Ferrence says. “We’re not just doing this for the good of the community.” Sound business principles and a willingness to set up shop where other grocers won’t are perhaps the only fixed components of Stockbox’s plans. Ferrence predicts she and Gjurgevich will continue to tweak their model, innovating when necessary. “It will still be bootstrap,” she says. “But it won’t be as bootstrap.” E

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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.

CAPITOL HILL

AYUTTHAYA 727 E. Pike St., 324-8833. Ayutthuya is the

quintessential neighborhood Thai restaurant. The decor is undistinguished, and five-star spicy dishes won’t wow any taste buds accustomed to Tabasco sauce, but the food is cheap and the service is kind. There are trade-offs for the low prices—frozen broccoli is a recurring motif—but the curries are silky and the rice dishes are surprisingly elegant. $ CAPITOL CLUB 414 E. Pine St., 325-2149. The pillowy, mellow Mediterranean thing this place has going on isn’t BS. The service is top-notch, and the various hummus, prawns, and empanadas are all good, especially if you’re going to pair them with a sip of the Casbah, a house special featuring pomegranate syrup, orange juice, Absolut Citron, and Cointreau. Dinners have style—but drinks and appetizers on the upstairs patio are the way to go. $-$$ CASCINA SPINASSE 1531 14th Ave., 251-7673. Pasta is still the focus of this neighborhood trattoria, nearly three years after its muse, Justin Niedermeyer, split. Jason Stratton, who originally worked with

Niedermeyer to launch Spinasse, is its new chef and inspiration. Your itch for homemade Italian food will be scratched; the humble but seductive flavors and textures that Stratton creates will leave you deeply satisfied yet wanting more. And you’ll score extra points with the staff if you can pronounce the name of the restaurant correctly: spih-NAH-say. $$$ MACHIAVELLI 1215 Pine St., 621-7941. This is a full-on New York–style neighborhood Italian joint transplanted to Capitol Hill, with the vinyl tablecloths, waitresses who make you save your fork for your next course, and the consistently great food to prove it. The Caesar salad and pastas are excellent, pasta specials with seafood are likewise, and meats come with sides of fantastic roasted potatoes and garlicky sautéed greens. Machiavelli is a perfect date place, and has even hosted a few marriage proposals over the years. $$ PIECORA’S 1401 E. Madison St., 322-9411. The platonic ideal of an old-school Italian-American pizzeria, Piecora’s manages to simultaneously comfort and rock; you could bring kids here, or you could drink beer in a cushy red booth until you’re loud and obnoxious. The pizza is a fine underlayer for a night out or hangover salve; its New York-style crust is crisp but not crackery, its toppings include the regulars and some fancier stuff (feta cheese, roasted garlic). Heroes and pasta dinners are also available, though that would mean you’re not having pizza, and that would be kind of wrong. $

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of bottles and a limited wine selection. The beer list favors Belgian-style ales, mainly from out-of» by keegan hamilton state brewers. After asking about my preferences (no ultra-hoppy IPAs, please), Knox settles on Stillwater Premium from Baltimore. A cloudy, flax-hued brew, the menu describes it as being 4.5 The Watering Hole: Urban Family Public percent alcohol by volume (ABV), and says it is a House, 5329 Ballard Ave. N.W., 783-2337, BALLARD “farmhouse blond recipe aged with Brett.” The Atmosphere: It’s awfully blustery on the Who the heck is Brett? Knox explains it’s not first day of spring, and not another soul aside a person, but rather Brettanomyces, a type of from the bartender has sought refuge inside yeast used mainly in lambics and Trappist beers. Ballard’s latest beer emporium. The space used This particular genus of yeast tends to taste more to house the old Sutter Home acidic when it ferments, and Hearth store, but when and in Stillwater Premium’s that business decamped for case a pang of bitterness Fremont, the sizable room was definitely accompanies the remodeled and split down the first sip. That sensation fades middle. One side now houses quickly, though, and it finishes The Sexton, the other Urban with a nice, even balance of Family Public House—which sweet and sour—like an IPA, sounds like a commune for minus the face pucker. Knox alcoholics, but the decor could compares it to a saison, a not be more understated. The low-alcohol French pale ale, only thing that really stands and notes that it was aged in out here is the wooden porch oak barrels. Flavorful as it is, it swing that hangs in the front might be possible to drink an window. The bar itself is entire barrel’s worth. The Verdict: One of the topped with stainless steel, finest mugs of suds in recent with stool seating for perhaps memory. Then again, with the a dozen. A flat-screen TV Baltimore beer is as Urban selection at Urban Family, tuned to college basketball is as it gets. choosing from the tap on mute, while garage rock handles is sort of like picking plays on the stereo. The Barkeep: Mike Knox, a rugged fellow the cutest puppy from a litter of golden retrievers: with a thick beard and shaggy blond hair, is You really can’t go wrong. These are the craftiest pinch-pouring for the two regular bartenders, of craft beers, selling for $6–$10 a pour. both reportedly out recovering from surgeries. Knox offered several other shot-size samples, Knox got schooled on cerveza while working including the unforgettably named Cats Piss IPA, at Brouwer’s, the beer mecca of Fremont. His which is much tastier than it sounds. Perhaps resume includes numerous stints at local waterthe best of the bunch was Lost Abbey Devotion, ing holes over the years, most notably nearby a Belgian-style beer from California that at 10 King’s Hardware. He just returned to Seattle after percent ABV packs a punch but still goes down a four-month trek across the American West that smooth. Switching back to the far less potent included stops at 14 national parks. Stillwater almost feels like going from malt liquor The Drink: Urban Family is purely a tavern, to Bud Light—except that it’s the opposite of meaning there’s no hard liquor to be had. Instead swill. E khamilton@seattleweekly.com they have 25 beers on tap, along with a handful

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food&drink»Featured Eats CENTRAL DISTRICT

TANA MARKET 2518 E. Cherry St., 322-3835. Equal parts

all-American mini-mart, Ethiopian grocery supplier, and restaurant offering large plates of Ethiopian dishes alongside manhole cover-sized discs of sour, crepe-like injera. The beef tibs, a typical Ethiopian stew, are made with sliced beef, onions, jalapenos, and a ton of berbere (a common Ethiopian spice mixture typically containing fenugreek, basil, garlic, ginger, and a healthy dose of heat in the form of chili peppers). These dishes are made for two (or four) to share and are around $13. $

SCAN T H I S CO D E

COLUMBIA CITY

AWASH 3808 S. Edmunds

St., 723-1971. This Columbia City spot really comes alive some nights—check the TO DOWNLOAD THE FREE disco ball in the center of SEATTLE WEEKLY the dance floor. If it’s still spinning, you just missed the IPHONE/ANDROID APP FOR MORE RESTAURANTS OR VISIT party. Settle yourself instead seattleweekly.com with the Awash combo plate, which comes with stews and sauces in a variety of colors and spices. Bring a friend; it’s big enough to share. $

EASTLAKE & SOUTH LAKE UNION

BUCA DI BEPPO 701 Ninth Ave. N., 244-2288. You’re

surrounded by Italian kitsch at this boisterous spot, notorious for long waits (they don’t take reservations) and for family-style service (you pass around heaping platters). The pasta’s tasty, though nothing you can’t do yourself at home with a jar of Prego. Go for the party atmosphere and to channel your inner Guido. $$

ALittLeRAskin » by hanna raskin

Serious Beef

APRIL 11-17 2012

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love I Love Sushi. I Love Sushi is bright and clean, with a bright and clean staff, and bright, clean-tasting sushi. The popular spider roll surrounds a soft-shell crab with avocado, cucumber, mayonnaise, rice, and flying fish eggs; the I Love Roll, with unagi (broiled eel), is equally well-loved. I Love Sushi leans toward the upscale—both atmosphere and food are reliably lovable for I Love Sushi lovers, who crowd into both the South Lake Union and Bellevue restaurants to love them. $ LE FOURNIL FRENCH BAKERY 3230 Eastlake Ave. E., 328-6523. Go for the divine chocolate cream puffs, brioche, croissants, bread, fruit tarts, éclairs, and other French pastries that you can eat there or take home. Try anything that has almond in it, and don’t forget to take home a decadent quiche. Everything here tastes as artful as it looks. $

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633-4057. Fremont—the Fremont worth saving— survives and prospers as long as Brad Inserra is behind the stove at the Swingside. Inserra loves sautés, braises, and fricassees, often robed in dense, spicescented tomato sauces. He loves piling nuggets of fresh seafood atop swirls of pasta, secreting seasonal mushrooms and vegetables in one-dish meals, creating a kind of regional Calabrian gumbo from whatever’s in good supply right now. And all this hearty cooking is served in nicely noisy intimacy in a cozy space that makes diners feel like friends of the family. $$ PASEO CARIBBEAN RESTAURANT 4225 Fremont Ave. N., 545-7440. It’s a good idea to call Paseo first if you’re planning a lunch there. They make food until they run out, which can happen very early on a Saturday. “Do you still have pork?” you ask. “Yeah, for now,” the guy who answers the phone replies, before hanging up on you to deal with the line stretching out the front door and up Fremont Avenue. Almost every one of those

However, argues Kaplan, “I don’t have a moral obligation to support any particular economic activity. I could make the same case about cocaine farms or wagon-wheel manufacturers.” An essay writer could resort to Kaplan’s “It tastes really good” defense, which is properly termed an aesthetic argument. According to this line of reasoning, a person’s horizons are broadened by omnivorousness: Meateating makes for better citizens. But, says Kaplan, “My horizons can be broadened in all kinds of ways.” Another common argument is that people eat meat because they’ve always eaten meat. “That’s a pretty weak one—that we’re designed to eat meat because of our teeth,” Kaplan says. “This accident of evolution makes no moral claim. The fact I’ve evolved just means I’m capable of doing something. I have opposable thumbs, so I can now strangle a human neck.” That said, Kaplan thinks an essayist might have some luck with the contention that eating meat is a way of indulging in life. “Culture, manners, tradition—these are probably better arguments,” he says. “The religious, spiritual dimension isn’t bad either. “What’s interesting about this challenge is there are 100 reasons you can give not to eat animals,” he adds. “It really makes us reflect on our ethical commitments, and I think anything that helps people to think more critically about what we eat, it’s good for all of us.” E hraskin@seattleweekly.com

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Seatt le w eekly • APRIL 4 - 10, 2012

The editor of a recently published volume of essays examining food from a philosophical perspective says that entrants in a New York Times contest, asked to explain why meat-eating is ethical, face “an uphill battle.” “My wife says ‘How can you eat a hamburger when you know what you know?’,” says David Kaplan, a philosophy professor at the University of North Texas and editor of The Philosophy of Food. “I say ‘Because it tastes really good.’ Her question is better than my answer. It’s possibly indefensible.” The Times has asked readers with carnivorous streaks to submit, by April 8, 600-word essays defending the practice of eating meat on moral grounds. As the contest’s rules make clear, the “murderer’s row of judges”—four white men who’ve thought long and hard about dietary choices, and are outspoken vegetable advocates—aren’t interested in arguments that pivot on the humane treatment of animals before they’re slaughtered. They’re trying to determine “whether it is right to eat animals in the first place, at least when human survival is not at stake.” Beef Daily, the online offshoot of the nation’s leading cattle magazine, is recommending that its readers base their essays on the sanctity and fragility of the American family farm. “Food doesn’t come from a grocery store; it comes from people who care,” contributor Amanda Radke wrote in a post outlining how ranchers might structure their submissions.

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people is here for the Cuban Roast sandwich, constructed of roasted pork shoulder, aioli, crunchy lettuce, cilantro, and just enough jalapenos to give it heat without numbing your tongue. There’s no “Oh, I’ll just have half and save the rest for later” here. You will devour the whole thing, scooping up the sandwich filling that falls onto your plate and licking the last bits of pork off your fingers. Paseo does have other items, even entrées, on the menu, and word is they’re pretty good. But the Cuban Roast is the platonic ideal of “sandwich.” Just make sure you get there before the “sold out” tags kept by the register start showing up on the menu. $

GEORGETOWN

CALAMITY JANE’S 5701 Airport Way S., 763-3040.

Calamity Jane’s is a decidedly cozier venue than some of the other well-loved hangouts along Georgetown’s Airport Way. The menu offers good, old-fashioned comfort food, spiced with black pepper and butter. The appetizer list features pulled-pork sliders with BBQ sauce, while the dinner features burgers as well as traditional shepherd’s pie: ground beef, corn, and carrots topped with mashed potatoes. $

INTERNATIONAL DISTRICT GA GA LOC 424 Maynard Ave. S., 521-8933. This

Cantonese joint doesn’t look any different from the others in the ID, but it’s a quiet and cheap place to try salt-and-pepper shrimp, specialty hot pots, and any fresh catch of the day. Pay attention to the specials board: If you see pea vines, get them. $ HO HO SEAFOOD RESTAURANT 653 S. Weller St., 382-9671. If you can stand to watch your potential entrée writhe around in a tank, then you’ll love this place. There’s usually a wait, but it’s soon forgotten with the advent of specials like garlic-and-pepper crab, crispy baked halibut, and a wonderful eggplant with a rich meat sauce. This menu offers novelties (the sea cucumber with duck feet hot pot), a few warhorses, as well as the much-loved pot sticker. An exquisite appetizer called “rainbow stuffed crab claw” is a claw tip wrapped in gingery crab paté. Ho Ho’s chicken is the fried chicken of dreams, crisp and moist where it should be, with a sauce that’s spicy, teasing, even complex. Somewhere, General Tso is cheering. $

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breezy, delicate interior isn’t what you’d expect from an Ethiopian restaurant, but it’s a lovely surprise—as is the menu. The lamb berbere stew is the star: deep, garlicky, tender without being gamey, and spicy without being unpleasant. Chicken tibes is simple but fine, and the tomato-y ginger-shrimp sauté is beautifully executed with plenty of ginger. $ THAT’S AMORE 1425 31st Ave. S., 322-3677. There are some spectacular vantage points that no one should tell the tourists about. Olympic Sculpture Park: for everyone. Above the I-90 tunnel: just for us. Though its rear window looks across the Rainier Valley to downtown and the Sound, That’s Amore defies every expectation of a “view” restaurant. The place is filled at lunch and dinner with Mount Baker residents, who come for the homey, inexpensive pastas, giant meatballs, juicy roasted pork loin, and the servers, who seem to know every diner’s quirks and preferences. $$

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the conversation in Nishino, and you will hear the sound of money (not to mention the hundred-thousand-dollar view of the Fay Jones paintings on the walls). But even if you aren’t in the fiscal no-sweat set yourself, it’s worth it to splurge here from time to time. You simply can’t find more impressive sushi in Seattle: buttery salmon, meaty Spanish mackerel with no sea taint, sweet octopus. While Nishino keeps to the classics in its nigiri and maki, the small plates and cooked dishes venture much farther into Northwest-Japanese fusion, just as beautifully done. And everything tastes better with a bamboo box of cold, top-notch sake. $$$ ROVER’S 2808 E. Madison St., 325-7442. It would require many dollar signs to convey how expensive a meal at what many consider Seattle’s best restaurant can be, but you won’t regret a single dollar of your splurge. When chef Thierry Rautureau whips up five or eight courses featuring seafood, caviar, foie gras, minted tea sorbet, and squab with cauliflower mushrooms, then tops it off with “a symphony of desserts,” you will want to give him a standing ovation—that is, if you can still stand. Diners seem to get daunted by the hushedvoice (flawless) service and the doorstop wine list, but Rautureau swears you can pop in for a couple of dishes and a glass of wine. Consider taking the dare. $$$

Non-profit collective providing quality dry meds ranging from $7 to $10 a gram and a full range of mmj products. All top shelf (price includes tax) Free Joint for New Patients

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column»Toke Signals

Bananas for Kush

t didn’t take long to get a positive impression of Olympic Wellness, a medical-marijuana collective open since last June on Aurora Avenue North. Its spacious, well-appointed reception area has modern art on the walls. Waiting patients have medicinal cannabis– oriented publications Dope and NW Leaf on the table to read, with extra copies to take home if wanted. That happy trend continued in the bud room, where I learned from budtender Trevor that new patients get a free medible (a brownie, in my case) and a free quarter-gram of blonde kief. The collective has a good selection of concentrates compared to many of its competitors, including Rick Simpson Oil at $40 a half-gram, butane hash oil (B.H.O.) at $30 a half-gram for all four varieties (Afgooey, White Widow, Ogre Kush, and Blue Dream), Bubble Hash or Maddog’s Rolled Hash for $15 a half-gram, and kief at $10 a half-gram. Olympic also offers prefilled cartridges for the handy Omicron hash-oil vaporizer. The cartridges contain half a gram of hash oil for a $50 donation, and come in four varieties: AK-47 x Blueberry, Chemdog 4, Tahoe OG, and Afgooey. (The shop also offers the Omicron personal vaporizer itself: $106 for the original or $110 for the black Omicron V2.) Twenty strains were available on the Saturday I visited, with two strains offered for an $8 donation per gram, a dozen $10 strains, and six $12 strains. A quick check of their menu on WeedMaps revealed that the selection had expanded considerably since my visit a week and a half before; no fewer than 29 strains were listed, including five $11 strains.

20% OFF ALL NEW PATIENTS 100% ORGANIC AND TESTED 9240 2nd Ave SW, Suite 200 98106 206.535.7645 surecan.org In the Arrowhead Gardens Complex

I was in a Kush frame of mind the day I visited, because after my usual routine—asking the budtender to show me a bunch of flowers (Trevor offered no complaints, and seemed happy to provide the service)—I ended up with two members of the same family: Banana Kush (a $12 hybrid) and Platinum OG Kush (a $12 indica). The Platinum OG was, as expected, a soporific, couchlock type of cannabis, effective for body aches, insomnia, and anxiety. The typical heaviness of the indica stone was prevalent, although Plat wasn’t quite as long-lasting as I’d expected for a $12 strain. The Banana Kush, on the other hand, was simply one of the best strains I’ve had in 2012. Its onset is quick and spectacular, with a pulse-pounding, euphoric come-on bespeaking its sativa heritage and solid pain-relieving characteristics presumably from the indica side of the family. Not only did it hit fast, it was long-legged, too, sticking around for a good four hours, making it totally worth $12 a gram. A fellow patient helped me test the “Bananarama,” as she called it, and reported her experience to be much like mine.

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The Platinum OG was, as expected, a soporific, couchlock type of cannabis. Olympic Wellness is at 9520 Aurora Ave. N., 257-4628, info@myolympicwellness.com, myolympicwellness.com. It’s open from 11 a.m. to 7 p.m. Monday through Saturday and is closed Sunday. E Steve Elliott edits Toke of the Town, Village Voice Media’s site of cannabis news, views, rumor, and humor. TOKE SIGNALS WANTS TO REVIEW YOUR DISPENSARY E-mail tokesignals@seattleweekly.com.

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Dear Dategirl, I have a 17-year-old son who’s had the same girlfriend for two years. She’s a sweetheart, which is a huge relief because I was certain he’d end up with a Courtney Love type. They seem very happy together, neither has let their relationship affect their grades, and both are headed to excellent (different) colleges next year. I realize how lucky I am. I have a good kid and he’s dating another good kid. However, her parents are going out of town for a week, and he asked if she could stay with us, sharing his room. He and I have discussed birth control, and while I don’t know for certain that they’ve had sex, I’m not an idiot. Do I let her stay with us? I haven’t spoken to her parents, but I’m thinking they’d be all right with it because they’ve invited him on vacation with them this summer. On one hand, I’d rather they were having sex in my home than in some park or wherever kids go these days. But I’m also wary of co-signing off on sex between teenagers. What do you think? —Mother in the Middle

At the risk of sounding like a granny gassing on about walking 20 miles to school in sub-zero temperatures through neck-deep snowdrifts: What in the hell is wrong with kids today? Back in my day, if you wanted to have sex (and all teenagers do), you were sneaky about it. You got fingered in the bathroom at the after-school kegger. You broke out of your house with the stealth of a cat burglar after your parents had gone to sleep. You told your mom you were sleeping at your girlfriend’s house when really you were off to try your fake ID at the local hotshit joint you’d saved all your babysitting money for.

Now kids are asking their parents’ permission to do it? Where’s the fun in that? How mature. How responsible. How perfectly boring. How exactly like I’d hope my kid would behave if I ever were to have one. You are lucky. There’s no teen pregnancy (so far), and your child actually seems to have a mature attitude about having sex, which is remarkable considering the hormone stew he’s bathing in. That doesn’t mean his girlfriend’s parents are going to be down with this plan, though. Inviting him on vacation is one thing— maybe they plan to bunk him with her brother, or have enough space that he’ll be able to have his own vagina-free room. As you probably suspect, the parents of teenage boys can have very different opinions about sex than the parents of teenage girls. For one thing, your son will never end up pregnant on MTV being counseled by that handsome charlatan, Dr. Drew. Even if they know about birth control, self-control has never been something teens are known for practicing. So let’s hope they’re being as careful as you hope they are. The right thing to do is to have an uncomfortable talk with the girl’s parents. Find out if it’s OK by them and then proceed accordingly. If you are and they are, then I don’t see any problem. Just make sure to buy earplugs. You don’t need the bowm-chicka-bowm-bowm soundtrack of your kid’s sex life burned into your brain. E dategirl@seattleweekly.com WANT MORE? Listen to Judy on The Mike & Judy Show on the Heritage Radio Network, follow her tweets @DailyDategirl, or visit dategirl.net.

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WELCOME TO PARADISE. Charming, spacious, recently refurbished, cute as a button, and hipper than all get-out two bedroom apartment in the Ravenna/Maple Leaf area, 3 miles north of the University. One story walk-up; balcony; two large bedrooms; one oversized bathroom; living room; kitchen. Located at the juncture of Lake City Way and Roosevelt. Move in and live on top of Seattle’s famous publisher of comics and graphic novels, Fantagraphics Books. Utilities and free comics included. Contact Gary at GloriousApartment@fantagraphics.com

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