Seattle Weekly, March 07, 2012

MARCH 7–13, 2012 I VOLUME 37 I NUMBER 10

SEATTLEWEEKLY.COM I FREE

THE THEME BARS COOKETH PAGE 29 | DANNY BONADUCE: A TO Z PAGE 35

SHOULD STONED DRIVERS BE TREATED LIKE DRUNKS?

h g ı H d a o R THE

AMILTON H N A G E E

BY K

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inside» March 7–13, 2012 VOLUME 37 | NUMBER 10 » SEATTLEWEEKLY.COM

»10

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up front 7

NEWS

BEST OF THE DAILY WEEKLY

Charges of nepotism will follow Norm Dicks out of office. Also, a website shows where people are gettin’ some.

10 FEATURE

BY KEEGAN HAMILTON

Marijuana-legalization advocates are sharply divided over I-502’s severe stance on driving under the influence—to the point of jeopardizing its passage. It’s a question of science: Can blood-level tests truly gauge impairment?

in back 17 THE WEEKLY WIRE 19 ARTS

19 | OPENING NIGHTS | Rothko versus

Pop Art; Teatro ZinZanni goes to Mexico.

20 | EAR SUPPLY | Nature speaks.

22 | VISUAL ARTS | Recent archaeology at the Frye.

24 | THE FUSSY EYE | Domiciles of clay.

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news»Best of the Daily Weekly »dispatches from our news blog

All in the Family

Norm Dicks’ retirement doesn’t end speculation that he helped his son.

To some it seemed a conflict of interest for a father to direct public funds to an agency where his son earned $129,000 a year as an administrator. Furthermore, some of those funds were mismanaged, said a May 2010 report by Washington State Auditor Brian Sonntag.

The younger Dicks’ operation intentionally ignored state financial policies, said Sonntag, and its errant spending practices “went beyond sloppy bookkeeping.”

In one instance, David hired prominent Seattle attorney Gerry Johnson, a longtime friend of and political contributor to his father, at up to $478 an hour to work with the Partnership.

To avoid putting the legal work out for public bid by other firms, young Dicks’ agency signed Johnson’s firm, K&L Gates, to a $19,999 contract—$1 under the

ceiling for must-bid contractors.

The agency then later rewrote the contract several times until it was increased to more than $51,000.

In the wake of the audit revelations, David quit the post in 2010—about the time his father lost the Interior chair (Republicans had just won control of the House). Young Dicks then found another state job, beating more than 70 applicants for a $75,000 parttime directorship at the University of Washington’s College of the Environment.

A Free Public Workshop

To some it seemed a conflict of interest for a father to direct public funds to an agency where his son earned $129,000 a year as an administrator.

But the father/son funding issue kept resurfacing last year as questions lingered about the ethics of such an arrangement. A few weeks ago, it cropped up again, raising more questions.

As The Washington Post reported one month ago, the 6th District congressman

» Continued on page 9

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t had to do with family, Norm Dicks said in announcing last week that he will retire after his current 18th term as the “congressman from Boeing.” The “top appropriator,” a position that benefited him politically and familially, says he and wife Suzie “have made the decision to change gears and enjoy life at a different pace.” Yet his statement, and most media coverage of it, made no mention of another family member who might have influenced his surprise announcement.

In 2007, Dicks took over as chair of the House Interior Subcommittee just months before his son David became head of the Puget Sound Partnership, a newly created public/private state agency designated to help clean up Sound pollution, but one that lacked any significant funding. David, who told interviewers he was certain he could get the necessary money to run and expand the agency, had been appointed to the post by Gov. Chris Gregoire, who refers to his father as “a trusted partner, a staunch ally, and a close friend.”

David’s agency initially received $500,000 from the Environmental Protection Agency.

But, as Rep. Dicks would later boast in 2010, “Since then, we’ve put in $93 million for Puget Sound cleanup in the federal legislation,” millions of it going directly to his son’s project.

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Seattle weekly • M ARCH 7–13, 2012

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news»

Harry Kotlar

The Daily Weekly » from page 7 originally secured a $1.82 million earmark for the Partnership and more than $14 million in grants and other funds that also went to his son’s agency. There were no competitors for the funds. Said the Post: “The earmark and grants are unreported elements in the story of the father and son and Puget Sound, which has long been controversial in the Pacific Northwest, spawning charges of nepotism, waste, and no-bid contracts, according to state audits and political opponents . . . The case illustrates the complications that can arise when a lawmaker’s congressional actions benefit not only his district but also a family member.”

Dicks told the Post he still sees no problem with giving his son’s agency wads of It’s a good night. It’s a reeeally good night. taxpayer funds. “I don’t think there was a So good, in fact, that you feel like shouting to conflict,” he said. “David got the job through the world “I just had sex!” or dancing in puba competitive process . . . he had the paslic to Hall and Oates. Now comes an opportusion for the job.” David, 40, told the Post his nity for you to share that postcoital glow with father “didn’t do it for me; he did it because the world (and rate your partner while you’re he cares about Puget Sound and he finally at it), all in the name of safe sex. had the ability to do something about it.”

Right when Planned Parenthood was in a Norm Dicks later called the Post story knock-down, drag-out fight with the Komen unfair, and said no one has come forward Foundation, the organization began a new to demand he stop funding the cleanup of campaign to encourage condom use. And Puget Sound, as if that were the issue. But apparently the best way to do that, in Planned no one can convince Stormin’ Norman or Parenthood’s mind, was to allow condom his supporters that he was doing anything users to “check in,” using a rubber with a QR wrong. He’s the congressman most able to code (the organization distributed 60,000 in bring home the regional pork, even if some the Pacific Northwest alone), from wherever does go to his family. Norm’s Army agrees they’d just teeth-torn open a package for their with him: If he doesn’t snap up the funds, package. In other words, Planned Parenthood some other politician will. created a Foursquare for fucking.

That was the mantra of Dicks’ mentor, Sen. For Planned Parenthood, the scannable Warren Magnuson, remembered for adding bar-code condoms are part outreach, part an innocent line to an the rate-your-experiappropriations bill—and ence card you might Grand Coulee Dam was get with your check Print is great, but if you want to look at the map that born. Dicks became at a diner. Using the shows where Seattleites are (allegedly) foralmost as legendary. A mobile-friendly site nicating, check it out on The Daily Weekly.

2010 study showed how WhereDidYouWearIt. SEATTLEWEEKLY.COM/DAILYWEEKLY defense contractors com, these super-social and other recipients condoms give users the of federal earmarks (a money-gifting habit opportunity to share details about the sexual that Dicks says he’s since given up) returned experience they presumably just had by ratfavors to him and other legislators, mostly in ing it on a scale of “things can only improve the form of weighty campaign contributions. from here” to “ah-maz-ing—rainbows Those donations helped Dicks walk rather exploded and mountains trembled.” than run for re-election every two years, Social-media coordinator Nathan Engebretalmost automatically returning him to a job son says that just two weeks into the campaign, that pays $174,000 annually, not counting condom QR codes have been scanned 500 perks and health-care benefits, topped off times, while the website recently got more than afterward by a $60,000 annual retirement 45,000 unique visitors in only a day (meaning check. most people are rubbernecking rather than As Magnuson used to say, and Dicks always scanning their rubbers). And in those same preached: “What do they want me to do, send two weeks, Engebretson says, there have been the money to New Jersey?” Well, not necesmore than 4,000 “check-ins” in 75-plus counsarily. But last week the 71-year-old congresstries, meaning 4,000 happy nights—at least if man may finally have tired of people wonderyou believe people on the Internet, which you ing whether he had to send it to admirers and shouldn’t. JohnAthon FitzpAtRick E family, too. Rick AndeRson news@seattleweekly.com

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h g ıg ı H d a o R THE

MICHAEL CLINARD

AN INITIATIVE TO LEGALIZE MARIJUANA HAS DRAWN THE IRE OF SOME PRO-POT ADVOCATES, WHO OPPOSE A PROVISION THAT TREATS STONED DRIVERS LIKE DRUNKS. BY KEEGAN HAMILTON

Seattle weekly • M ARCH 7–13, 2012

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arly on the drizzly evening of March 4, 2011, a state trooper patrolling suburban Skagit County spotted a beige Volkswagen Jetta cruising down State Route 20 with a broken taillight. He flashed his lights, sounded his siren, and pulled over the infringing vehicle in the municipality of Sedro-Woolley. According to his report from the stop, the moment the trooper leaned into the window to ask for the driver’s license and registration, he detected “the strong odor of marijuana.”

Nearly a year later, the driver, 53-year-old Allison Bigelow, recalls how intensely she must have reeked of reefer at that particular moment. A heavyset woman with oval glasses and waist-length blond hair, Bigelow is authorized to use medical marijuana to treat a debilitating back injury suffered in a car accident several years ago. She grows her own supply, and had been gardening that afternoon. “I had some equipment in my car which I probably shouldn’t have had,” Bigelow explains. “Plus I had been trimming plants, and I smelled like fresh cannabis. My hands were still sticky.”

Bigelow told the trooper it had been approximately eight hours since she’d last smoked pot. He was unconvinced, and asked her to perform the standard battery of field

sobriety tests. The officer noted that Bigelow seemed unable to understand his instruction to walk heel-to-toe in a straight line, and that she swayed and lost her balance during the exercise. Then she teetered again, waving her arms as she tried and failed to stand on one leg.

When she was supposed to count off 30 seconds in her head, she stopped after 23.

Bigelow was arrested on suspicion of driving under the influence of marijuana. She was—and still is—indignant about the charge.

She insists it had been multiple hours since her most recent toke, and that, given her back condition, she was worried she’d wind up in the ditch during the heel-to-toe and balance exercises.

“I hadn’t done anything like that for years,” Bigelow says. “He basically said I had a hard time understanding the instructions, but I was mostly debating with him about whether I could do it without falling on my face.”

In addition to the grow-op supplies, a subsequent search of her car turned up a single joint, which hadn’t yet been sparked. A blood draw, taken roughly half an hour after she was placed in the back of a squad car, showed 18.3 nanograms of THC (tetrahydrocannabinol, the psychoactive chemical compound in marijuana) per milliliter of blood in her

system—a level that is relatively high compared to a baseline of zero, but not necessarily an indicator that she had been hot-boxing her ride like Snoop Dogg.

There is currently no legal limit for THC blood levels in Washington as there is for blood alcohol content, but that could change before the end of the year. Initiative 502, slated to appear on the November ballot, proposes legalizing, taxing, and selling (in state-run stores) marijuana for recreational use. It would permit possession of up to an ounce of pot, but also set a strict limit of 5 nanograms of THC per milliliter of blood for Washington drivers over age 21, and impose a zero-tolerance standard for younger motorists.

Some medical-marijuana patients and activists, doctors, lawyers, and even a state lawmaker known for taking a tough stance on alcohol DUIs are concerned that the otherwise progressive ballot initiative to decriminalize marijuana possession could inadvertently put thousands of stoners at risk of being busted for DUI, even if they are driving completely sober.

The conundrum has left some longtime crusaders for marijuana-law reform in the awkward position of opposing the measure.

“It would be historic legislation,” says Vivian McPeak, co-founder of Hempfest,

Seattle’s annual gathering to advocate marijuana decriminalization. “I’ve tried and tried to find a way to back this because my life is so dedicated to this cause. I just don’t think it’s fair to ask cannabis users, medical users especially, to trade their driver’s licenses for an ounce of pot.”

Proponents of I-502—an esteemed group that includes the local ACLU chapter’s drugpolicy director Alison Holcomb, former U.S. attorney John McKay, and travel guru Rick Steves—argue that the DUI fears are overblown, and the greater goal of legalization trumps all. “It would be a shame to basically oppose I-502 on a possibility, versus embracing something that can end real harm right now,” says Holcomb, the campaign director for New Approach Washington, the political action committee behind the initiative. “It’s just not reality that officers will start pulling over people randomly, illegally arresting them, and taking them in to get blood draws.”

But Bigelow suspects that she and other heavy users might never make it below 5 nanograms. She and a few other patients recently had their blood tested by a doctor after a night’s sleep. Troublingly, her sample contained more than twice the proposed limit of THC—even though it had reportedly been nearly 12 hours since she’d previously smoked.

Bigelow’s experience jibes with some of the leading scientific research on the subject of driving while high, which says not only that stoners exhibit behavioral and chemical signs of impairment dramatically different than drunks do, but that habitual smokers could test positive for THC after extended periods of abstinence. Answering the question of whether the proposed THC blood limit would spur a significant increase in DUI arrests and prosecutions, however, is hardly so straightforward.

I

nitiative 502 could effectively end pot prohibition in Washington. It would create a network of state-licensed growers, processors, and stores, and levy a 25 percent excise tax at each stage of the supply chain. Adults 21 and older could purchase and possess up to an ounce of dried marijuana, one pound of marijuana-infused product in solid form (i.e., brownies), or 72 ounces of marijuana-infused liquids. The millions of dollars in revenue reaped from the drug sales would be earmarked for substance-abuse prevention, education, health care, and the state’s general fund.

At a hearing last month in Olympia, a bipartisan group of lawmakers seemed both intrigued and amused by the proposal. Rep. Sam Hunt (D–Olympia), who chairs the House State Government & Tribal Affairs Committee that was reviewing the initiative, joked about how he was presiding over a “joint panel . . . no pun intended” before soliciting testimony from both supporters and opponents of the initiative.

McKay, a Republican and an outspoken supporter of drug-law reform since stepping down as federal prosecutor in 2007 (see “The Evolution of John McKay,” SW, Sept.

28, 2011), emphasized that the black market for marijuana creates “an enormous flow of money to dangerous drug cartels, to gangs, and thugs” which could be undercut by I-502.

University of Washington professor Roger Rothman, an addiction expert, said that current pot laws “misuse the criminal-justice system to deal with a public-health problem.”

» CONTINUED ON PAGE 12

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The High Road » fRom page 10 On the opposite side of the issue, Steve Freng of the Office of National Drug Control Policy argued that “it’s silly to think the cartels will simply pack up and leave the state with their tails between their legs” if the state legalizes their primary cash crop. He also said that the measure would make pot more available to children, a claim met with skepticism by several committee members.

The only question raised about the divisive DUI provision came after the hearing, in a press conference featuring I-502’s marquee backers. Dr. Kim Thorburn, Spokane County’s former top public-health official, was dismissive. “In order to be stopped for impaired driving, you have to show impairment,” she said. “This is not a concern for medicalmarijuana users, and has been kind of a red herring that has been raised.”

Ultimately the lawmakers took no action on the initiative, thus assuring it a spot on the

ballot. Holcomb cites polling which shows that DUI provisions make marijuana legalization more appealing to ambivalent voters, and says these provisions could be a deciding factor, given the increased voter To learn more turnout expected about the science in this presidential behind driving high election year. and how to avoid In particular, getting busted for Holcomb points to Prop 19, the failed a pot DUI during a marijuana-legaltraffic stop, go to ization initiative in seaTTleweekly.com/ California in 2010.

DaIlyweekly Polling after the fact showed that undecided voters had been swayed by arguments from Mothers Against Drunk Driving and the California Highway Patrol that hammered the proposal’s lack of a DUI standard. Holcomb says the authors of I-502 performed similar research in Washington, asking whether prospective voters would be more inclined

to support marijuana legalization if the law included a blood limit “roughly analogous” to the .08 standard for alcohol.

“The results were overwhelming,” Holcomb says. “People said they would be more inclined to support a legalization measure with such provisions. Sixty-two percent of respondents said they’d be more likely to support it, and only 11 percent said they’d be less likely.”

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hat irks critics of I-502 is that “roughly analogous” is an awfully subjective phrase, especially when it comes to the science of judging a stoned driver’s level of impairment. Decades of exhaustive scientific research have concluded that alcohol tends to produce uniform effects, and that .08 is the level at which drunk drivers begin to pose a risk to themselves and others. With marijuana, the effects are far less consistent, and the impact on driving ability is still largely inconclusive—particularly with regard to medicinal smokers.

“We do not know what the levels mean in these people,” says Dr. Jennifer Souders, a clinical associate professor of anesthesiology and pain medicine at the University of Washington and an expert witness in cannabis DUI cases. “To include them in this law when there’s no data on them is scientifically irresponsible and without merit.”

As it stands, Washington is one of the last states to operate in a legal gray area for driving while high. Among the 15 states that sanction medical marijuana, Nevada and Ohio have 2-nanogram limits for THC. Twelve states have a zero-tolerance policy for driving under the influence of any illicit drug, including marijuana. Arizona has the most draconian law on the books, with mandatory jail time for anyone who tests positive for even carboxy-THC, an inactive metabolite that can linger in the body for weeks after an individual’s most recent bong hit.

DUI prosecutions typically focus on the level of active THC in the blood, a figure that varies widely based on the potency of the

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n an unassuming three-story building on Airport Way, about a mile southeast of Safeco Field, stands a massive stainless-steel refrigerator. A bright-orange biohazard sticker warns that the fridge contains something other than snacks: namely, thousands of blood-filled vials collected as evidence in criminal investigations across Washington and Alaska, all awaiting analysis by the lab technicians using high-powered computers and scientific instruments in the adjoining rooms.

The building and blood belong to the State Patrol’s toxicology lab, which processed 1,060 blood samples last year in DUI cases that tested positive for marijuana. Roughly half of those involved pot combined with alcohol or other drugs. According to Fiona Couper, the lab commander, cannabis DUIs account for about one-fifth of their total workload, though she cautions the number could be higher because samples that test positive for blood-alcohol concentrations greater than .10 aren’t always screened for THC and other substances.

The THC in samples analyzed by the lab last year ranged from 1 to 58 nanograms per milliliter of blood, with an average of 6.6 nanograms. Couper says samples that test below 1 nanogram aren’t reported because the accuracy below this concentration cannot always be established. But even in cases where the THC levels are clearly elevated, Couper and

hundreds and hundreds of ways for the officer to pull you over for a traffic violation.”

Pelley says that about 30 percent of his clients are medical-marijuana users, and he has noticed an increase recently in routine traffic stops involving patients that turn into DUI prosecutions. The observations of state troopers and the results of field sobriety tests can be damning in such cases, but under the current law, there is some wiggle room for people accused of driving while high. THC blood levels are admissible as evidence, but other factors, such as the circumstances that led to the traffic stop, can be taken into account as well.

That leeway all but vanishes with per se limits.

“There’s no defense,” says Paul Armentano, deputy director of the National Organization for the Reform of Marijuana Laws, or NORML. “You broke the law by operating a motor vehicle with that level of THC in your blood. It’s divorced from impairment. It becomes very, very convenient for the state to gain a conviction, much more so than it is now when the state has to have their ducks in a row and present evidence of actual impairment and recent drug use.”

But, according to Armentano, who has also testified as an expert witness in more than 50 marijuana DUI cases around the country, there has never been a comprehensive study to assess whether the rate of marijuana DUIs increases or declines after states enact THC blood limits. “None of these states keep good records of that information,” he says. “There’s not any data whatsoever that seems to have been gleaned from any real-world experience from these laws.”

Anecdotal evidence suggests such laws do not result in law enforcement having a field day with stoned drivers. Pennsylvania implemented a 5-nanogram “guideline” for pot DUIs in 2003, but tightened its regulations last April by enacting a strict 1-nanogram THC blood limit. Michael Worgul, a Pittsburgh criminal-defense attorney specializing in DUI and marijuana cases, says the impact on his clientele has been negligible. “We hardly see any marijuana DUIs,” Worgul says. “Of the DUI cases I’ve handled here in Pennsylvania, 99.9 percent are alcohol-related. Marijuana might fall into that one-tenth of a percent.”

In King County, Amy Freedheim, the deputy prosecutor in charge of felony traffic cases, says she treats medical marijuana like any other prescription drug. She says she is wary of THC blood laws because medical patients can easily develop a tolerance, much as users of OxyContin and other painkillers do. Although 5 nanograms or more of THC would typically trigger a DUI prosecution, especially if the driver is involved in an accident, Freedheim cautions that it’s important to use discretion and take all the facts into account. “If you’re impaired, you should be prosecuted,” Freedheim says. “I have not had any problem currently with evaluating cases where I have marijuana, or somebody has marijuana on board. It is a drug, and I evaluate it accordingly.”

Last year, before I-502 came into being, the state House of Representatives considered legislation that would have enacted an 8-nanogram THC blood limit for motorists. Freedheim cautioned state Rep. Roger Goodman (D-Kirkland), the bill’s sponsor, that the science on per se THC standards is still unsettled. That was enough to make Goodman rethink the proposal.

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“I really don’t care about the levels In the blood. It’s the sIgns and symptoms of ImpaIrment that are Important.” her colleagues can’t testify in court that the drug directly correlates to impaired driving.

“We’re far less comfortable with equating specific signs of impairment to a THC concentration than we are with alcohol,” Couper says.

“We typically don’t go into court and say—I’m throwing out a figure here—10.3 nanograms of THC caused these symptoms. We’ll come along and say ‘This is the result of the testing, these are the general effects of THC, and then this can be matched up to the impairment observed by the officer.’ Then it’s the judge or jurors’ role to decide whether the impairment was likely due to marijuana use.”

The State Patrol has 238 “Drug Recognition Experts” trained to spot the symptoms of drug and alcohol abuse. Sgt. Mark Crandall, DRE program coordinator, says stoned drivers typically have a hard time understanding instructions, and have watery, bloodshot eyes with dilated pupils. He declined to comment on how I-502’s 5-nanogram “per se” (a legal term that means a certain act is inherently illegal) standard would impact the work of state troopers, but emphasizes that probable cause is required to make a traffic stop and arrest.

“Per se is really irrelevant,” Crandall says. “I really don’t care about the levels in the blood.

It’s the signs and symptoms of impairment that are important.”

Aaron Pelley, a Seattle attorney who specializes in medical-marijuana cases, says the notion of probable cause sounds good in theory, but the reality is cops can use practically any excuse to pull over a suspect. “It’s only a matter of time until the officers will find a reason to stop you,” Pelley says. “There are

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» Continued on page 14

Seattle weekly • M ARCH 7–13, 2012

pot, the frequency of use, and the manner in which it was taken into the body. In smoking, the THC level generally spikes at 50-plus nanograms immediately after inhalation, then dissipates rapidly, usually disappearing within one to four hours for occasional users.

But when edibles are used, or when a smoker already has a lingering amount of THC in his or her system, several scientific studies—including the one that was the basis for I-502’s proposed limit—have concluded that significant levels of THC will be detectable long after the high has worn off.

The 5-nanogram standard in I-502 is largely based on a 2005 study from a group of 11 international scientists, led by Germany’s Dr. Franjo Grotenhermen. The researchers caution that “empirical evidence on cannabis and driving is still much less conclusive than that for alcohol,” but suggest that a 5-nanogram limit “may achieve a reasonable separation of unimpaired from impaired drivers, who pose a higher risk of causing accidents.”

It’s important to note, though, that Grotenhermen and his colleagues devised their standard for infrequent users. The researchers caution that routine tokers “may present measurable THC concentrations at all times.”

They also point out that exposure to secondhand smoke could result in false positives, meaning that a zero-tolerance standard like the one proposed for minors in I-502 “facilitates law enforcement but is not based on science and does not target impaired drivers.”

Still other research suggests that the risk of driving after a few puffs of grass is minimal. Studies have shown almost universally that people should wait at least an hour to get behind the wheel after they inhale and avoid combining alcohol with THC. But a 2009 report from the Yale University School of Medicine concluded that, by and large, stoned drivers display “an increased awareness that they are impaired” and “tend to compensate effectively.”

In 1993, the U.S. Department of Transportation commissioned a study entitled “Marijuana and Actual Driving Performance.” In addition to observing joint-smoking drivers in action, the agency reviewed the role of drug use in fatal crashes. “In high-density urban traffic . . . THC did not impair driving performance,” the findings state. “There is little if any evidence to indicate that drivers who have used marijuana alone are any more likely to cause serious accidents than drug-free drivers.”

When Colorado proposed a 5-nanogram standard last year, the state legislature was besieged by complaints from the state’s wellorganized medical-marijuana lobby. The lawmakers convened a “marijuana DUI workgroup,” asking stakeholders on both sides of the issue to analyze the proposal. The group recommended against adopting THC blood limits.

Michael Elliott, executive director of Colorado’s Medical Marijuana Industry Group, was a member of the panel, and he says the conflicting literature was a key factor in their decision. “This is like global warming,” Elliott says. “I’ve got my research that says my thing and the opposition has their research that says the exact opposite. Both sides say it’s about research, but really it’s all about politics.”

In spite of the recommendation of Elliott’s workgroup, the state legislature is still considering implementing a 5-nanogram per se standard. Colorado is also considering a ballot initiative similar to I-502, but one that does not include a THC blood limit.

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The High Road » fRoM pAGe 13 Goodman has made DUIs a cornerstone issue in his political career. This year he has proposed tightening regulations on interlockignition devices, along with several other crackdowns related to alcohol DUIs. Goodman is also in favor of marijuana decriminalization, but he says he can’t endorse I-502 because of the DUI provision.

“I realized the science is very scant and unreliable, and that we should not be basing policy on assumptions,” Goodman says.

“We should be holding people accountable for driving impaired, but not holding people accountable for merely driving with certain metabolites in their body that don’t have an effect on their driving. We need to be fair, not punish people needlessly for using a substance in the past that doesn’t affect performance in the present.”

Adding another task to the sobriety tests, Mobley gives her three nouns—“tree, can, and mouse”—to repeat later, and asks her to recite a tongue-twister. He also has her glance at a drawing of pentagons with intersecting lines, then reproduce the image with a pen and paper. Finally, he tests her reaction time by dropping a measuring stick and noting how many inches it falls before she catches it. Once again, Bigelow’s performance is error-free, and she registers what seem like respectable reaction times with the measuring stick.

Pavlov, a middle-aged man with a short ponytail and a stubbly gray beard, tells Mobley that he smokes “pretty much every day” to soothe arthritis-like symptoms, but hasn’t lit up for 15 hours or so.

He breezes through the tests, as do the nonsmokers, Barber and Chanterelle.

The group leaves for about 45 minutes, and returns smelling noticeably of pot.

Bigelow says she smoked her standard two joints, with Pavlov taking a few hits off of one. The bystanders say Left: Troy Barber gets blood drawn. they were in an enclosed car Above: Dr. Gil Mobley tests with the smokers the entire Allison Bigelow’s sobriety. time. The nurse draws their blood a second time, and Mobley repeats the tests as before, varying asked to be checked out to see the memory questions. whether secondhand smoke This time, Bigelow slips up trying to might trigger detectable THC repeat “How much wood could a woodchuck blood levels. chuck,” and grimaces in pain while standing Lounging on uncomforton one leg, but doesn’t lose her balance. Her able couches, filling out reaction time on the ruler drop increases by paperwork, and reading a few inches. “I actually thought she showed magazines as they would at any other trip to some improvement overall,” Mobley says. a doctor’s office, the group of four listens as “But that could just be familiarity with the Bigelow recounts the story of her DUI arrest. test. She’s a large woman and it’s hard for her “The officer didn’t ask to see my patient docuto balance because of the pain, but otherwise mentation until the very end,” Bigelow says. she did flawlessly.”

“He said something like ‘Maybe next time you should get your errands done in the morning before you take your medicine.’ I told him I’m a safe driver. I don’t use drugs or alcohol, and I don’t use other medicines.”

“She is a really good driver, like, all the time,” Chanterelle chimes in. “Sometimes she’ll forget her blinker, though, and I’m like, ‘Mom!’ ” Mobley’s nurse summons the patients to draw their blood, and without fail they each wince when she pokes a needle through their skin and draws the crimson fluid into a test The two who abstained from smoking show tube. One by one, Mobley invites them into a no noticeable changes from the initial go-round. separate room and asks a series of questions Pavlov, meanwhile, has a more difficult time about their marijuana use. Bigelow tells him walking heel-to-toe, and loses his balance after she typically smokes two joints in a single sita few seconds of standing on one leg. “I have ting, four or five times a day. She says she had very stiff legs at the moment,” he says self-conmost recently smoked 11 hours prior to the sciously. He aces the nouns and backward spellexam, around midnight the previous evening. ing, and, like Bigelow’s, his reaction time also With his white lab coat, close-cropped gray improves slightly in the ruler grab. This time, hair, and methodical efficiency, Mobley looks though, he closes his eyes and rubs his temples every bit the experienced doctor as he gives while counting backward from 100 by sixes. instructions with a faint Southern drawl. He Afterward, Pavlov seems embarrassed asks Bigelow to walk heel-to-toe and stand on about losing his balance, but says he’d have one leg. He tracks her eye movements with no problem getting behind the wheel. “I feel a small flashlight. He tells her to count down like it hits me pretty hard in about the first from 98 in increments of seven, rather than 45 minutes after I smoke,” he says. “But norreciting the ABCs backward as in the classic field sobriety quiz. “I can’t do it myself,” Mobley mally I drive after that. I’m anxious to see the results of the blood test. My reaction time jokes. “So I don’t put my patients through it.” was faster [in the ruler test] when I’m high. I Other than wobbling a bit while standing thought that was pretty cool.” on one leg, Bigelow passes with flying colors.

to perform blood tests before and after smoking, combined with a neurological exam and the state patrol’s standard field sobriety test.

Another of Mobley’s patients expressed interest in trying a similar battery of tests, and opted to take part. He requested anonymity for this story, citing medical privacy concerns, and picked the amusingly appropriate pseudonym Pavlov. Bigelow’s teenage daughter, Chanterelle, and Troy Barber, a member of the anti-I-502 group Sensible Washington, also

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hen she was arrested last March, Bigelow’s attorney told her she had a 50/50 chance of winning the case in court. Unwilling to risk the severe repercussions of a DUI conviction, she pleaded guilty to a reduced charge of negligent driving, paid more than $4,000 in fines and court costs, and is still on probation.

She still takes strong doses of cannabis several times daily, and was anxious about reoffending even before the ballot initiative came along. Now she’s afraid a 5-nanogram standard might make it impossible for her to drive legally. “I’d probably never make it down to five,” she says, “even if I don’t use cannabis throughout the entire day.”

Bigelow’s pot doc is Gil Mobley, an outspoken critic of I-502. In addition to writing medical-marijuana authorizations from his office in Federal Way, Mobley practices occupational medicine, performing drug screenings for the Department of Transportation and private companies. He has no qualms about delivering urinalysis results that could cost employees their jobs, but believes a 5-nanogram THC blood limit for drivers would do more harm than good. “The fact that they’re trying to base this on a BAC [blood-alcohol content] model is senseless,” Mobley says. “It bothers me. The science isn’t there. Tens of thousands of people will be doing something illegal the minute that passes.”

Mobley serves as the spokesperson for the recently formed political action committee No on I-502. When Bigelow asked about testing her baseline THC levels to get a sense of how long she ought to wait before driving, the activist doctor went a step further and offered

“We need to be fair, not punish people needlessly for using a substance in the past that doesn’t affect performance in the present.”

I

n late February, NORML, perhaps the country’s most respected marijuanaadvocacy organization, officially endorsed I-502. Considering the mounting opposition to the measure, particularly in Washington’s medical-marijuana community, it was a contentious move. In making the announcement, NORML’s outreach coordinator, Russ Belville, slammed the DUI provision, describing the 5-nanogram limit as “unnecessary, unscientific, and unjust,” but also chastised groups like Patients Against I-502, calling them “Patients Against Pragmatism.”

Belville estimates that 630,000 people in Washington use marijuana at least once a year, and fewer than 100,000 have medical authorizations. He acknowledges flaws in the proposal, but emphasizes that it represents a realistic chance to legalize marijuana, a point that cannot be overlooked.

“Nobody is throwing the patients under the bus,” he says, addressing a common opposition claim. “I-502 is just asking that the healthy tokers not have to sit in the back of the bus anymore, and that the sick tokers ride one if they don’t drive well.”

Infighting among Washington’s marijuana activists is hardly unprecedented—a proposal to overhaul the state’s policies on marijuana dispensaries prompted similar squabbling earlier this year—but career reformers say things have never gotten quite as heated as they have with I-502. “For years we had this kumbaya, warm-and-fuzzy thing going on,” Hempfest’s McPeak says. “We disagreed on the nuts and bolts [of legalization], but it was so far away it didn’t matter. It’s good we’ve reached this stage, but it’s bad that

it’s creating so much animosity among folks who have been working together for years.”

Beyond the THC blood limit, I-502’s most zealous detractors complain that the initiative does not permit smokers to grow their own supply, and claim that it creates a state monopoly on the bud business. They also echo concerns once voiced by Gov. Christine Gregoire that state employees could be at risk of federal prosecution for distributing marijuana.

But the DUI provision is clearly the wedge issue with the most traction, and Holcomb worries that self-interest could get in the way of the greater good. “I have some concern that a few of the people that are yelling the loudest about the DUI provision are just opposed to I-502 for some other reason,” Holcomb says, “and this is the hook that they’re using and drumming up a lot of fear, in the medical-marijuana patient community especially, that is unfounded.”

When California’s legalization initiative was narrowly defeated in 2010, interest groups that capitalize on the medical-marijuana industry—doctors, lawyers, dispensary owners, and the like—were generally pleased to see their source revenue remain untouched. A similar dynamic could be fueling the anti-legalization sentiment in Washington’s pro-pot circles, although even those who stand to profit from a surge in DUI arrests—such as Pelley, the cannabis DUI attorney—claim that’s not the case.

“There’s nothing more I want to do than support this,” Pelley says. “It is such a huge step forward in reform of law in terms of criminal-justice-system resources wasted on marijuana cases. It’s hard to see past that, but you have to figure out, how many

lambs am I taking to the slaughter in the name of accomplishing this goal?”

The King County Bar Association has endorsed I-502, along with the Peace and Justice Action League of Spokane. Other interest groups—such as Physicians for Social Responsibility and the Washington Association of Criminal Defense Lawyers— have yet to endorse or reject the measure.

The simplest solution—striking the DUI provision from I-502, or rewording it to exempt medical users—is not feasible. At this stage of the initiative process, making

“I-502 Is just askIng that the healthy tokers not have to sIt In the back of the bus anymore, and that the sIck tokers rIde one If they don’t drIve well.” changes would require organizers to gather another 241,000 signatures to reclaim their proposal’s place on the ballot. If approved by voters, the state legislature would have to wait two years before tweaking the law, and muster a two-thirds majority vote to do it. The most likely scenario, according to Holcomb, is that lawmakers could amend the state’s medical-marijuana law with language that lets authorized users off the hook by requiring proof beyond a blood test for a DUI conviction. Two such bills were proposed earlier this year. Both quickly fizzled.

With no easy fix, I-502 critics like Mobley worry that marijuana DUIs could become as common as misdemeanor possession arrests.

A week after his informal study with Bigelow and the others, he reported that Bigelow’s blood had 11.7 nanograms of THC in her blood before smoking and 41.9 nanograms afterward. Pavlov had zero nanograms in the first blood draw, 11.5 post-toke. For the abstainers, the results were negative on both tests.

Though hardly definitive proof that a 5-nanogram blood limit would jeopardize the livelihoods of thousands of medicalmarijuana patients, Mobley insists that these results indicate that folks like Bigelow will have a tough time ever getting their blood levels down to a level that isn’t incriminating.

“In chronic, seasoned users there is virtually no compromise in their skills,” Mobley says.

“Neurologically, they are fine. They can pass a sobriety test with no problem. There are grave implications with this [initiative], not only for patients but individuals who hope to use cannabis recreationally as well—they just won’t be able to drive legally.”

Whether such fears amount to paranoia remains to be seen, as does the question of whether the 5-nanogram limit in I-502 will woo more voters than it scares away. At least according to Holcomb, the DUI compromise could be the key to Washington’s taking a giant leap forward in marijuana policy.

“The bottom line,” Holcomb says, “is if we want to pass legalization in 2012, we need to meet the voters where they are. Where they are right now is more scared of people driving high than worried that medical-marijuana patients will get arrested for DUI.” E khamilton@seattleweekly.com

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WED: FILM

So what if she didn’t win the Oscar for editing Martin Scorsese’s Hugo?

Thelma Schoonmaker already has three such awards for cutting his movies, in a partnership now extending past its third decade. Scorsese also introduced her to her late husband, English director Michael Powell (1905–1990), whose Peeping Tom she’ll introduce tonight. The 1960 horror-shocker is often considered, along with Psycho, the progenitor of the modern serial-killer flick. The movie follows a meek London photographer (Carl Boehm) as he endeavors to capture the face of fear on his victims. (Watch out for that pointy tripod!) Wildly decried upon its release, Peeping Tom is often credited with killing Powell’s career, though the truth is more complicated than that.

As part of her Q&A, Schoonmaker will tonight discuss her husband, how explicit violence was elided via

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BLOOD ON THE LENS

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Individual members change, but Ladysmith Black Mambazo endures.

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whole eBook thing and all that [podcast] stuff just became this weird necessity,” he says. “It somehow just came about after I got off of terrestrial radio and got onto the Internet. I never really had a history in that. I was more of a gearhead than a gadgethead, back in the day.” And yet, as also discovered by comics including Marc Maron (whose WTF interview podcasts have become huge), Carolla appreciates how the Internet offers a freedom and direct access to listeners denied by rigid TV and radio formats. (See iTunes and adamcarolla.com for The Adam Carolla Show.) The technical details he leaves to others, he says. “All I do is provide the content. I just talk into a microphone. The technological part—it doesn’t matter if it’s coming from an old AM Zenith radio or is coming from someone’s iPad.” Then there are the eBooks, like his Rich Man, Poor Man , which presents “fun facts about what rich and poor people share in common.” The illustrated satire is sold as a Kindle download, and Carolla chuckles at the irony that Amazon’s Jeff Bezos is one such rich dude. One example from the book?

“It’s like having outdoor appliances: Superrich guys have a washer-dryer next to their pool cabana, and poor guys have a washing machine on their front porch, with raccoons living in it. It’s like outdoor showers. If you’re taking outdoor showers, you’re either super-rich or super-poor. It’s not really a middle-class thing.” The Moore, 1932 Second Ave., 877-784-4849, stgpresents.org.$28–$48.

8 p.m. BRIAN MILLER

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editing in Peeping Tom, and probably dish a little dirt about the Oscars and Hollywood in general. (She also appears at Scarecrow Video at 2 p.m. today.) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $8–$10. 7:30 p.m. BRIAN MILLER

fri/3/9 COMEDY

Rich in Material

Adam Carolla never set out to be a tech maven, he explains by phone from L.A. “The

Four Decades of Harmony

Ladysmith Black Mambazo is probably the most

popular a cappella group on the planet. Their inclusion on Paul Simon’s massively successful 1986 Graceland—recently reissued for its 25th anniversary—catapulted them out of South Africa to secure a permanent place in our popular culture. Combining Christian gospel and Zulu singing, Ladysmith took what was a rough traditional music and gave it contemporary polish, much as Dr. John and Alison Krauss did for Cajun and Appalachian music, respectively.

Formed in 1974, the group has been insanely prolific, releasing 50-plus albums. (Last year’s Songs From a Zulu Farm was nominated for a Grammy.) With intricate rhythms, a seamless blend of vocal ranges, and a keen sense of pop melody, Ladysmith Black Mambazo may not offer the purest form of contemporary music from Africa, but they are nonetheless what we think of when we think of music from that continent. Meany Hall, UW campus, 543-4880, uwworldseries.org. $20–$36. 8 p.m. BRIAN J. BARR DANCE

Eight, Eight, and Eight

As a motto, HERE/NOW sounds like an admonition from Ram Dass, but as the title of this ongoing improvisation project run by Paige Barnes and Christopher Hydinger, it’s really just

Seattle weekly • M ARCH 7–13, 2012

RIALTO PICTURES

Peeping Tom was considered shocking for its time.

My friend Mary Louise is a Garrick Ohlsson groupie: not just an owns-all-his-recordings fan, but a plans-vacations-around-hisconcert-tours fan. Probably it’s the pianist’s fluent, bittersweet way with the music of Chopin, the most acclaimed subset of his huge repertory. Sadly, she can’t be in Seattle for his 13th Meany Hall appearance tonight, part of his season-long homage to the b-day of Franz Liszt (born Oct. 22, 1811). Ohlsson’s chosen his program to show off not only all sides of the composer, but of himself: the pastel poet (Feux-follets, Jeux d’eaux à la Villa d’Este), the orchestral dramatist (the rambunctious Mephisto Waltz no. 1), and the piano-eater (Busoni’s arrangement for piano of an immense organ work by Liszt, in which the pianist’s two hands have to do the work of the organist’s two hands and two feet). Meany Hall, UW campus, 543-4880, uwworldseries.org. $20–$42.

8 p.m. GAVIN BORCHERT

» CONTINUED ON PAGE 18 17

The Weekly Wire » FROM PAGE 17

MARCH 15 & 17

MORLOT CONDUCTS

DEBUSSY LUDOVIC MORLOT, conductor | XAVIER PHILLIPS, cello | SEATTLE SYMPHONY

Seattle weekly • M ARCH 7–13, 2012

Music Director Ludovic Morlot nods to his French roots with music by Debussy, Ravel and more.

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Not many memoirs of the Manhattan lit life include George Plimpton as a major character.

Yet Ben Ryder Howe was an editor at The Paris Review, run out of the late Plimpton’s brownstone, where cocktails and confessional chats seemed to have occupied the staff far more than, you know, putting out an actual magazine. But Howe had a second job that proved far more stressful and time-consuming: With his Korean-American wife and mother-in-law, he bought a Brooklyn bodega, as recounted in the entertaining My Korean Deli: Risking It All for a Convenience Store (Picador, $15).

Howe is initially wary of the project, which is largely intended to keep his “compulsive nonprocrastinator” of a mother-in-law occupied; she’s a Howe’s deli bootstrapping, chainexperiences have smoking workaholic been optioned by who earns a city fine Hollywood. for putting out the deli’s trash too early.

Casting himself as the WASP outsider, Howe is fully immersed in Korean-American immigrant culture, including the smelly food, the lack of privacy in a Staten Island home they all share, and the guilt and obligation felt by his wife (a corporate lawyer) toward her mother.

His secondary tale is that of the Paris Review’s (and Plimpton’s) somewhat sad decline during the early ’00s; slaving away at the deli becomes a welcome distraction, bordering on selfreinvention, for the author. He’s admittedly more a Plimptonesque dabbler than a sociologist, better with a phrase than with Barbara Ehrenreich–style analysis. The new deli provides an olfactory greeting that’s “a mélange of kitty litter, leaky air fresheners, pastrami, wood rot, and freon.” In gentrifying Boerum Hill, he dismisses a rival deli as being “full of people who look like they’re on their way to a Weezer concert.” And during a potentially scary blackout, fearing looters, Howe instead finds “an intimate interaction: you and this stranger whose face you will never see, walking handin-hand to the canned-vegetable aisle.” Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliott baybook.com. Free. 7 p.m. BRIAN MILLER PICADOR

&RAVEL

a description. Celebrating its third anniversary this month, the series matches eight dancers and eight musicians by audience suggestion— almost like drawing names out of a hat. The dancers are then given eight minutes to fill as they see fit. They’re here, and they’re dancing now, and then they’re done. Like all improvisation, it can be great or it can be grim, but it’s always worth the suggested price—eight bucks, naturally—to go and find out. Open Flight Studio, 4205 University Way N.E., 632-0067, openflightstudio.org. $8. 8 p.m. SANDRA KURTZ

arts»Opening Nights P ¡Caliente!

P Red

Mexico meets Moulin Rouge!. TZZ’s new production features a cast rowdier than a pack of college kids on spring break in Cancún.

The Latin-themed dinner show sounds like a potential disaster, but ¡Caliente! is an epic party well worth the steep cover charge.

The story is, well, plausible: A pair of bigwigs want to tear down a dinner tent and transform it into mixed-use development— with not one but two Trader Joe’s! But the determined kitchen staff refuses its pink slips and vows to change the entrepreneurs’ minds with, yes, a musical/cabaret extravaganza.

Leading the three-and-a-half-hour spectacle are Tres (Christine Deaver) and Cinco (Robert Lopez, aka El Vez ), an overeager sister/brother act intent on becoming become “the Mexican Donny and Marie.” To that end, they sing, dance, and harass the audience. (To wit, my date was forced to prove his manhood by chugging tequila and galloping in circles on a stick pony while rocking a sombrero and

In 1958, the moody, already-huge abstract painter Mark Rothko was commissioned to paint four large canvases for NYC’s new fat-cat culinary mecca The Four Seasons.

John Logan’s award-scooping 2010 play (Tony, Drama Desk, you name it) imagines Rothko (Denis Arndt) hiring an ambitious young helper (Connor Toms as Ken, a composite of various Rothko assistants), whose attitude shifts from reverence to ridicule as Pop Art begins to supplant modernism.

Though predictably Oedipal (the young man sharpens his own artistic vision on the grindstone of Rothko’s pompous hide), the arc is a satisfying one, especially as played out on Kent Dorsey’s studiously drab art studio set, where the breathtaking paintings are launched straight into your soul.

There’s something marvelously murderous about the image of Rothko working his reds like a blood-spattered butcher. (The artist would eventually butcher himself in 1970.)

As directed by Richard E.T. White, the usually stentorian Arndt modulates Rothko into a waning lion, lending pathos to such sanctimonious utterings as “To surmount the past, you must know the past.” Toms, meanwhile, radiates increasingly confident physicality, as though he's downed a power drink. Indeed, the pivotal scene of energy transfer involves the two of them racing to prime an oxblood-colored canvas, both putting their all into it, but Rothko winds up winded while Ken is kindled. Unfortunately, many scenes rely on verbal debate to convey this embattled torch-passing.

But throughout their sparring, the actors convincingly perform inherently interesting tasks of their trade: frame-building, canvasstretching, and priming. These absorbing details help the hackneyed arguments about the purpose of art go down more easily, as does the wry humor. While Rothko derides the “comic books and soup cans” of emergent Pop Art, Ken zings “So said the Cubist the second before you stomped him to death.”

Despite the many pleasurable aspects of this production, I remain skeptical that the enigmatic Rothko would have spent so much of his time pontificating to an employee. Logan, better known as a screenwriter (Gladiator, Hugo, Coriolanus), seems to be exploiting Rothko’s famous brand to attract an audience in precisely the way vacuous social climbers, whom the play’s Rothko criticizes, commodify his paintings.

Whether that’s a clever irony or a blind stumble is, like the interpretation of art, up to you. MARGARET FRIEDMAN E

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Deaver and Lopez as the Mexican Donny and Marie in ¡Caliente!

stage@seattleweekly.com

Seattle weekly • M ARCH 7–13, 2012

fake handlebar mustache.) Rounding out the comedy is a slew of international acts, many of them TZZ veterans: French acrobatic trio Les Petits Frères, Ukrainian hula-hoop artist Vita Radionova, and Chinese aerialist Ling Rui. But it’s Atlanta’s Mike Geier, in his first-ever TZZ gig, who appears the most foreign. At 6´8", he’s a beast of a man with a baritone voice reminiscent of Elton John’s. If those pipes sound familiar, it’s likely because you’ve heard him on the Cartoon Network and Adult Swim.

Appropriate to the Latin theme, the fivecourse meal includes several spicy options.

(I recommend the Guajillo New York Steak for an entrée.) While you’re at it, you might as well indulge in the tequila flight, too.

It’ll make your evening all the more festive, and—if Mexican Marie tries to hit on you— your embarrassment that much easier to swallow. ERIKA HOBART

19

arts»Performance

BY GAVIN BORCHERT

April 20 – May 20

Stage OPENINGS & EVENTS

BLOOD PUDDING AND HAGGIS A reading of Daniel

by Lee Hall

Inspired by a book by William Feaver Directed by Kurt Beattie Who is allowed to be an artist?

Find out in this transforming and true story of the power of art by the acclaimed writer of Billy Elliot.

Flint’s play: “The tragicomedy of the writing of Macbeth.”

Center House Theatre, Seattle Center, soundtheatre company.org. Donation. 7:30 p.m. Tues., March 13.

CROOKED Catherine Trieschmann’s new teenage-set dramatic comedy. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Pay what you can. 7 p.m. Fri., March 9, 9 p.m. Sat., March 10, 2 p.m. Sun., March 11.

THE DANCING PRINCESS A new Russia-set kids’ musical. Second Story Repertory Theatre, 16587 N.E. 74th St., Redmond, 425-881-6777, secondstoryrep.org. $5–$10. Opens March 9. 7 p.m. Fri., 1 & 4 p.m. Sat.–Sun. Ends March 25.

EMERALD CITY S.P. Miskowski’s new drama, premiered by Live Girls!

West of Lenin, 203 N. 36th St., 800-838-3006, lgtheater.org. $5–$18. Opens March 9. 8 p.m. Fri.–Sat., plus 2 p.m. Sat., March 17 and 8 p.m. Mon., March 19. Ends April 7.

FIRST DATE The premiere of a musical “about one date, two people, and all T H I S CO D E the voices in their heads.”

TO DOWNLOAD THE FREE ACT Theatre, 700 Union St., SEATTLE WEEKLY 292-7676, acttheatre.org. $15– IPHONE/ANDROID APP $69. Previews begin March FOR MORE EVENTS OR VISIT 10, opens March 29. Runs seattleweekly.com Tues.–Sun.; see website for exact schedule. Ends May 20.

THE FOREIGNER Larry Shue’s comedy about two Brits on vacation in the South. Center House Theatre, Seattle Center, 800-838-3006, soundtheatrecompany.org. $15–$20. Preview March 9, opens March 10. 7:30 p.m.

Thurs.–Sat., 2 p.m. Sun. Ends March 25.

FREE DESIREE Amontaine Aurore’s one-woman show about two sisters in the ’70s. Velocity Dance Center, 1621 12th Ave., 800-838-3006, tenauras.com. $12–$15.

Opens March 9. 8 p.m. Fri.–Sat. Ends March 17.

THE RISE AND FALL OF LITTLE VOICE Jim Cartwright’s play about big talent and big dreams, set in a workingclass northern England town. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. $10–$34.50. Opens March 7. 7:30 p.m. Wed.–Sat., 3 p.m. Sun. Ends March 31.

THE SCREWTAPE LETTERS In his solo show, based on the works of C.S. Lewis, Max McLean argues for the Devil. The Paramount, 911 Pine St., 877-784-4849, screwtapeonstage.com. $29–$59. 4 & 8 p.m. Sat., March 10.

TORSO Personal grief and a shocking crime color Keri Healey’s play, premiered by Printer’s Devil Theater.

Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, printersdevil.org. $15–$18. Preview March 8, opens March 9. 8 p.m. Thurs.–Sat. Ends March 31.

UW SOLO SHOWS Eight new solo works by MFA students. Jones Playhouse Theatre, 4045 University Way N.E., 543-4880, drama.washington.edu. $5–$10. 4 p.m.

Sat., March 10–Sun., March 11.

SCAN

First Date: A New Musical March 10 – May 20 Selling Fast

A Co-production with the 5th Avenue Theatre

Young Playwright Festival March 15 – 17 Tenth Annual Festival showcasing eight world premiere plays!

Seattle weekly • M ARCH 7–13, 2012

Construction Zone March 26

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A new play development workshop. This month features My Before And After, by Michael Louis Serafin-Wells.

The Twilight Zone: Live!

April 6 – 28

Three episodes from Rod Serling’s iconic television series brought to life by Theater Schmeater. In color!

See it all with an ACTPass! acttheatre.org | 206.292.7676 700 Union Street, Downtown Seattle

CURRENT RUNS

DINA MARTINA: AMPLE WATTAGE! An all-new show

from the supreme mistress of entretainment. Re-bar, 1114 Howell St., 800-838-3006. $20. 8 p.m. (most) Fri.–Sat., 2 p.m. (some) Sun.; see brownpapertickets.com for exact schedule. Ends April 22.

THE FOUR OF US Itamar Moses’ two-man comedy of literary frenemies. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublictheater.org. Pay what you can. 9 p.m. Fri., March 9, 2 & 7 p.m. Sat., March 10.

FREAK STORM Don Fleming’s Cascade-set comic adaptation of The Tempest. The Ballard Underground, 2220 N.W. Market St., 800-838-3006, ghostlighttheatricals.org. $12–$15. 7:30 p.m. Thurs.–Sat., plus 2 p.m. Sun., March 11. Ends March 11.

HAPPY DAYS Mary Ewald and Seanjohn Walsh take on Beckett’s eschatological comedy. New City Theater, 1404 18th Ave., 271-4430, newcitytheater.com. $15 Thurs., $20 Fri.–Sat. 8 p.m. Thurs.–Sat. Ends March 24.

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com See seattleweekly.com for full listings. = Recommended

•

• I AM MY OWN WIFE Charlotte, the transvestite at this

show’s nucleus, began cross-dressing under the Nazis, continued under the Commies, and never surrendered her identity. In this solo show, Nick Garrison provides a constellation of emotions and gestures and a truly elastic set of vocal cords. As flawed as Charlotte may be, Garrison’s performance is flawless and triumphant. KEVIN PHINNEY Seattle Repertory Theatre, Seattle Center, 4432224. $12–$59. Runs Wed.–Sun.; see seattlerep.org for exact schedule. Extended through March 10.

THE ODYSSEY The Carter Family Puppets recreate the Greek myth. Northwest Puppet Center, 9123 15th Ave. N.E., 800-838-3006, nwpuppet.org. $8.50–$10.50.

1 & 3 p.m. Sat.–Sun. Ends March 18.

PYGMALION As you know: Petulant linguist Henry Higgins bets that he can transform Cockney flower girl Eliza Doolittle into a genteel lady. What makes this tale worth telling yet again is director Jeff Steitzer’s mischief with the material; there’s a distinct Monty Python vibe.

There are so many ways that a show like Pygmalion can go wrong. This one gets them all right. KEVIN PHINNEY Intiman Theatre, Seattle Center, 733-8222. $15–$40. Runs Thurs.–Sat. plus some weekend matinees; see seattle shakespeare.org for exact schedule. Ends March 11.

RED SEE REVIEW, PAGE 19.

TEATRO ZINZANNI SEE REVIEW, PAGE 19.

WEB Charlotte’s Web is already dark, but when you throw in infanticide, insanity, child molestation, and a trial, it becomes downright creepy. Written and directed by Brendan Mack, Web imagines what later happens to Fern, heroine of the famed children’s novel. It also frankly borrows from the 1995 case of mommy/murderer Susan Smith. Web has a lot going on, perhaps too much; its many twists can seem gratuitous, simply added for shock value in a parable that’s by turns pedantic and gripping.

IRFAN SHARIFF Freehold Theatre, 2222 Second Ave., Suite 200, 800-838-3006, seattlestageright.org. $15. 8 p.m.

Fri.–Sat. Ends March 10.

THE YOUNG MAN FROM ATLANTA Horton Foote’s family-in-crisis drama. Stone Soup Theatre, 4035 Stone Way N.E., 633-1883, stonesouptheatre.org. $14–$22. 8 p.m.

Thurs.–Sat., plus 4 p.m. Sun., March 4. Ends March 10.

For many more Current Runs, see seattleweekly.com.

•

• •

Classical, Etc.

EUROPERAS 3 & 4 SEE EAR SUPPLY BELOW. • ORPHÉE ET EURYDICE Seattle Opera’s somber, stylized •

production of Gluck’s opera is uncluttered but telling and lovely. William Burden’s Orphée bears the largest, ahem, burden; he’s emotionally convincing throughout. McCaw Hall, Seattle Center, 389-7676, seattleopera.org. $25 and up. 7:30 p.m. Wed., March 7 & Sat., March 10.

EarSupply

• MARA GEARMAN This violist anchors a diverse group

of musicians playing chamber music from Mozart to Feldman. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 8 p.m. Thurs., March 8.

PARNASSUS PROJECT Chamber music for strings and harp in informal venues. Cafe Cesura, 1015 108th Ave. N.E., Bellevue, parnassusproject.com. 7 p.m. Fri., March 9.

PASCAL GALLOIS The bassoonist from the formidable Ensemble Intercontemporain performs works by UW students. Brechemin Auditorium, UW campus, 685-8384, music.washington.edu. $5. 7:30 p.m. Fri., March 9.

UW SYMPHONY Stravinsky’s dryly devout Symphony of Psalms. Meany Hall, UW campus, 543-4880, music. washington.edu. $10–$15. 7:30 p.m. Fri., March 9.

MONKTAIL CREATIVE MUSIC CONCERN New works by members. Chapel Performance Space, 4649 Sunnyside Ave. N., monktail.com. 8 p.m. Fri., March 9.

SEATTLE SYMPHONY Violist Susan Gulkis Assadi plays a transcription of Mozart’s Clarinet Concerto. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17–$74. 8 p.m. Fri., March 9–Sat., March 10.

LA MORRA Music from the court of Pope Leo X (1513–21) from this ensemble. Town Hall, 1119 Eighth Ave., earlymusicguild.org. $15–$40. 8 p.m. Sat., March 10.

THE ESOTERICS Choral works evoking the myth of the Sirens by director Eric Banks and others. At St. Joseph’s Catholic Church, 732 18th Ave. E., 8 p.m. Sat., March 10; and Holy Rosary Catholic Church, 4142 42nd Ave. S.W., 2 p.m. Sun., March 11. theesoterics.org. $10–$20.

SEATTLE PRO MUSICA Religious tales elicited Bach’s most dramatic music—like his St. John Passion. St. James Cathedral, 804 Ninth Ave., 781-2766, seattlepro musica.org. 8 p.m. Sat., March 10–Sun., March 11.

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• RAJAN KRISHNASWAMI & MARK SALMAN

This cellist and pianist celebrate a 20-year musical partnership with Franck, Ravel, and more. Town Hall, 1119 Eighth Ave., simplemeasures.org. $10–$50.

1:30 p.m. Sun., March 11.

EMANUEL AX From this pianist, Copland’s crunchy Piano Variations, plus Beethoven, Haydn, and Schumann. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17–$110. 2 p.m. Sun., March 11.

SEATTLE BACH CHOIR Bach’s “Christ lag in Todesbanden,” plus works by his musical ancestors and descendants. Trinity Episcopal Church, 609 Eighth Ave., seattlebachchoir.org. $15–$18. 3 p.m. Sun., March 11.

SEATTLE PHILHARMONIC Adam Stern conducts Sibelius and more. Meany Hall, UW campus, seattlephil. org. $10–$18. 3 p.m. Sun., March 11.

CHORAL ARTS Premiering Seattle composer John Muehleisen’s evening-length Pietà. Saint Mark’s Episcopal Cathedral, 1245 Tenth Ave. E., 877-404-2269, choral-arts.org. $18–$25. 8 p.m. Wed., March 14.

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combination, of the zillions possible, is pure uncontrollable happenstance.) Smaller in scale » by gavin borchert but similar in approach are Europera 3 and 4 (1990), which Cornish College of the Arts will stage this weekend. The third calls for six singers, two pianists, and six record players playing The first two of John Cage’s five Europeras, 78 rpm records, and the fourth for still fewer from 1987, came as close as any work ever has performers. The singers will select their own to the old ideal of the Gesamtkunstwerk—the arias, but when each musician starts and stops “total art work” that would is determined by chance. The combine all the others. They Europera cycle (“Europe” plus were staged as a huge “opera”—or if you prefer, “your collage: Fragments of vocal opera”) is intended as a deconand instrumental parts from struction, but not a destrucstandard-repertory operas and tion; Cage’s Zen embrace of bits of ballet were performed randomization, keeping his own alongside randomly deployed decision-making ego out of the sets, costumes, props, and process, lets in air and allows lighting cues and a prerecorded Nature to have at this venerbacking track, all arranged and able, baggage-laden art form, Cage: letting Nature timed according to throws of creating beauty and charm out make the decisions. the I Ching, the ancient system of surprise. Once asked if he of divination. Even the Dadaist minded people laughing at one “synopses” printed for the audience were made of his chance-driven performance-art pieces, up of snipped-and-recombined phrases from Cage famously replied, “I prefer laughter to opera-guidebook plot descriptions. (In a sense, tears.” Erickson Theatre Off Broadway, 1524 Harvard Ave., cornish.edu. $10–$20. 8 p.m. this is also as far as any work has gotten from Wed., March 7–Sat., March 10. that ideal: Every event remains isolated; every

Cage Match

CALDER QUARTET

“Superb.” The New York Times

McIntyre Hall, Mt. Vernon WA April 14-22, 2012 Program: Works by Mozart, Ades, and Beethoven.

Friday and Saturday evening performances at 7:30pm Sunday afternoon performances at 2:00pm March 14 8 PM

Meany Hall on the UW Campus

206-543-4880 uwworldseries.org

FREE YOUTH TICKET (ages 5-17 only) with the purchase of every Regular Price ticket. Call for info.

Seattle weekly • M ARCH 7–13, 2012

Kirkland Performance Center, WA March 24 - April 1, 2012

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arts»Visual Arts

Empire in Ruins

Taiwanese sculptor Li Chen presents history as if recently unearthed.

BY BRIAN MILLER

A

Seattle weekly • M ARCH 7–13, 2012

FRYE ART MUSEUM

rtists are usually poor Modern antiquity: advocates for their Li’s Earth Piercing Fire. work, and the dreaded museum walk-through with an artist only compounds the problem. Add to that, among the odds stacked against Li Chen in his first U.S. museum show, the fact that his polite remarks were being translated from Mandarin as we critics trailed him through the Frye last month. He didn’t look comfortable being his own booster, but a smiling delegation of officials was eagerly videotaping his every word.

It was a lot of worldly pressure on a quiet, unassuming guy whose work, he explained, expresses “the accumulation of time”—hardly compatible with a hasty sales spiel.

Born in Taiwan, Li seems to work in two distinct sculptural modes: the bright and shiny or the old and crumbly. In his Eternity and Commoner, we get to see the crumbly side of his work—pieces put together as if to decay, the clay cracked and moldering, cheap wooden lattices revealed within, pieces held together with old bits of wire and who, again, looks like he was dug out of the rope. The pudgy, cherub-faced outlines from ground. And his ceremonial retinue also looks his work have their basis in Buddhist temple the worse for wear. These minions and guardfigures, but here those faces have mostly rotians (plus even a dog?) are arrayed around him ted away (along with hands and feet). Four in “parade formation,” per Li, but the whole figures from his 2008 Soul Guardians series shabby group is something of a sham. This impeare highly distressed; they look like something rial power, though newly created expressly for from an archaeological dig. The pieces reflect the Frye, is already part of history. The formation what he termed “the natural cracking of the is meant to impress on one level, but Li renders it obsolete.

Earth . . . the penetrative forces of wind.” You could call that process erosion, only the ragged Nearby, resting in a glass case, is still another quartet has been carefully maintained and figure seemingly unearthed. The humble kept moist to preserve the appearance of decay. wooden skeleton of Commoner is intended There’s almost an aspect of assault, of to contrast with the crumbled grandeur of violence, to these guardians—as if the elements Eternity. For every single emperor, we know, are physically attacking them, reducing them there are millions of anonymous peasants. back to dirt, as it were. Their individual titles This one, representing the many, clutches a suggest as much: Sky Breaking Gale, Earth bit of wheat—another token of growth and Piercing Fire, Visual Perception, and Audio decay, of the historical seasons that sweep Perception. There’s the suggestion that light away one dynasty and bring new leaders waves and audio waves, how we see and to power. (Peasants, by implication, simply hear, are destructive processes. Or, in a more endure like grass trampled underfoot.)

Buddhist view: a transformative process, part Li’s work is conspicuously oriented to of the life cycle. “Whatever you see now may the past. And since he maintains a studio in not be the same through the passage of time,” Shanghai, too, any political reading of his work said Li. “Whatever we hear, whether true or is clearly canted to the pre-Communist era. false, will change over time.”

All regimes are subject to the grinding degradation of time, but it’s best not to address anyLost in translation may be a political subtext— thing following 1949. Though his four battered empires crumble, leaders change, history is guardians may appear ancient, we know that rewritten—that comes through more obviously their wounds are fresh. E in the large new Eternity tableau, which is something like a giant chess set. Occupying its bmiller@seattleweekly.com own gallery, the clay-and-wood installation has at its center a 12-root ruling figure clutching ETERNITY AND COMMONER diamonds (or some sparkly surrogate) in his Frye Art Museum, 704 Terry Ave., 622-9250, arms. He, clearly, is the leader—perhaps the fryemuseum.org. Free. 11 a.m.–7 p.m. Thurs., emperor of some forgotten or fictive dynasty 11 a.m.–5 p.m. Tues.–Wed. & Fri.–Sun. Ends April 8.

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ON SALE NOW!

TM

March 20-25 • The Paramount Theatre 877-STG-4TIX • STGPresents.org Tickets available at Tickets.com and select Ticketmaster locations Additional fees may apply. All sales final, no refunds. Prices, shows, dates, schedules, and artists are subject to change.

®

Directed by Ricardo Salinas of Culture Clash.

®

Seattle weekly • M ARCH 7–13, 2012

Starring El Vez and Christine Deaver in a whirlwind of circus, comedy and cabaret served with a five-course feast.

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arts»Visual Arts

TheFussyeye

BY KAT CHOW

Openings & Events • BALLARD ARTWALK Every second Saturday, •

•

•

Send events to visualarts@seattleweekly.com See seattleweekly.com for full listings = Recommended

•

Boxed In

Because Seattle is hosting this month’s big NCECA confab (that’s the National Council on Education for the Ceramic Arts, for you nonclay-heads), just about every gallery in town is showing something spun, fired, or glazed. That’s a lot of pottery, but Sarah Haven takes a different approach in the wall-mounted little houses in Just Because I’m a Girl. It’s agenda art, a postfeminist consideration of what the Ellensburg artist calls her “longings for domesticity.” About two dozen ceramic domiciles present the literal façades of domestic bliss. They have minor variations in form—windows, doors, and side walls bearing the XX chromosomes that make women women. But when you peer into some of the tiny windows, there are slogans and tokens of conflicted femininity. There’s a bra, a wedding ring, a vacuum cleaner, a speculum. “A woman’s work is never done,” reads one adage. “Sugar and spice,” says another. And “Damaged goods.” The little houses have a simple, slightly cartoonish line to their architecture, with only the features a little girl might think of when asked to draw an ideal home. (Chimneys, apparently, are a thing of the

• • •

Ongoing • AROUND THE BEND AND OVER THE EDGE

Featuring ceramics from Seattle, from 1964 to 1977.

•

Henry Art Gallery, 4100 15th Ave. N.E., 543-2280, henryart.org. $6–$10. Thurs.–Fri., 11 a.m.–9 p.m.; Wed., Sat.–Sun., 11 a.m.–4 p.m. Through May 6.

KARIN DAVIE & GUY TILLIM The Canadian-born Davie paints large, colorful works abstracted from the

Seattle weekly • M ARCH 7–13, 2012

The Future of Public Space: Evolution and Revolution

24

BRIAN MILLER

Ballard’s galleries stay open late for their monthly artwalk. Peek into venues including Ambach & Rice, 20Twenty, and many others. Various locations. Sat., March 10, 5–9 p.m.

BAMIGNITE In this after-hours party (free to BAM members), guests can enjoy music spun by our own Hannah Levin, enjoy the cash bar, and check out new exhibits including Mary Lee Hu’s jewelry and the ceramics of Push Play. Bellevue Arts Museum, 510 Bellevue Way N.E., 425-519-0770, bellevuearts.org. $10.

Fri., March 9, 8–11 p.m.

BLITZ! CAPITOL HILL ART WALK Check out the participating galleries and stores on Pike and Pine Streets, including Vermillion, Ltd. Gallery, True Love Art Gallery, and Photo Center NW, Fetherston Gallery, and Rosebud, which will extend their hours to feature art, music, and more. Various locations, blitzcapitolhill.com.

Thurs., March 8, 5–8 p.m.

CHIMERAS Eva Funderburgh curates this group show featuring the ceramics of Rachel Van Wagoner, Sandra Farmer, and other locals (it’s part of the National Council on Education for the Ceramic Arts gathering this month). Note opening reception 6–9 p.m. Thurs., March 8, part of the West Seattle art walk. Twilight Artist Collective, 4306 S.W. Alaska St., 933-2444, twilightart.net. Opens March 8. Mon., Wed.–Fri., 11 a.m.–7 p.m.; Sat.–Sun., 10 a.m.–6 p.m. Through April 6.

GEORGETOWN ART ATTACK: The March edition features “Real Comet Press: A Retrospective” at Fantagraphics, a salute to the fabled ’80s bar/ publisher of Lynda Barry, Michael Dougan, Art Chantry, Ruth Hayes, and other important local art-

» by brian miller

ists, illustrators, and cartoonists. Several artists will attend the opening reception. Also be sure to visit the usual Attack venues, including American Pie, Bella Vitale, Calamity Jane’s, the Georgetown Arts and Cultural Center, the Georgetown Trailer Park Mall, and Nautilus Studio. Afterward, you’re encouraged to continue the evening at any number of watering holes along Airport Way, including booze and music at the Georgetown Liquor Company, Jules Maes, 9 Lb. Hammer, and anyplace else you care to bend an elbow. T. BOND Various locations, georgetownart attack.com. Sat., March 10, 6–9 p.m.

STÉPHANE GUÉGAN The visiting Musée d’Orsay curator shares his thoughts on Paul Gauguin and Polynesia. Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $12–$15. Wed., March 7, 7 p.m.

HISTORY, ART, AND THE NOVEL Local author Indu Sundaresan will discuss how the structures and historical accounts of 17th-century India affected her writing. David Boling (Guernica) will explore the way history and art intertwined after the 1937 Nazi bombing of Guernica during the Spanish Civil War. Tacoma Art Museum, 1701 Pacific Ave., 253-272-4258, tacomaart museum.org. $10–$12. Sun., March 11, 2 p.m.

KIRKLAND ART WALK Howard/Mandville and other downtown galleries are represented at this free monthly event. Various locations, Sat., March 10, 6–9 p.m.

WALLINGFORD ART WALK Participating venues and galleries include Stu Stu Studios, Fuel Coffee, Julia’s Restaurant, and Oasis Art Gallery. See wallingford artwalk.org for full roster of attractions. Wed., March 7, 6–9 p.m.

WEST SEATTLE ART WALK Over 60 venues showcase local art every second Thursday, including Youngstown Cultural Arts Center, ArtsWest, and Twilight Artist Collective. Thurs., March 8, 6–9 p.m.

past.) They have the inviting aspect of dollhouses, only the doors and windows don’t open. They’re constrictive and—when presented as a group— slightly ominous, like the ticky-tacky suburban homes in the old Pete Seeger song “Little Boxes.”

If a woman chooses to enter one, Haven suggests, she may never escape. Punch Gallery, 119 Prefontaine Place S. (Tashiro Kaplan Building), 621-1945, punchgallery.org. Free. Noon–5 p.m.

Thurs.–Sat. Ends March 31.

human body. From South Africa, photographer Tillim’s Second Nature presents scenes from the fallen paradise of Polynesia. James Harris Gallery, 312 Second Ave. S., 903-6220, jamesharrisgallery.com. Thurs.–Sat., 11 a.m.–5 p.m. Through March 17.

Co-presented with AIA Seattle, Seattle Center and University of Washington College of Built Environments, SAM’s panel discussion focuses on the future of public space. Marcie Sillman, KUOW reporter, will moderate.

Panelists

Thursday, March 15 6:30–8 pm

Margaret O’Mara, Historian Department of History, University of Washington Julie Parrett, Landscape Architect Michael Seiwerath, Executive Director Capitol Hill Housing Foundation

Olympic Sculpture Park PACCAR Pavilion 2901 Western Avenue Free but registration required at seattleartmuseum.org/calendar.

Unclaimed reservations will be released 10 minutes before start time.

Media Sponsor:

seattleartmuseum.org

Support provided by Seattle Office of Arts & Cultural Affairs.

Love & Loss, 2005-2006, Roy McMakin, American, b. 1956, Seattle Art Museum, Olympic Sculpture Park Art Acquisition Fund and gift of Paul G. Allen Family Foundation, in honor of the 75th Anniversary of the Seattle Art Museum. © Roy McMakin. Photo: Benjamin Benschneider

film»This Week’s Attractions Friends With Kids OPENS FRI., MARCH 9 AT METRO AND OTHER THEATERS. RATED R. 108 MINUTES.

How to Make a Book With Steidl RUNS FRI., MARCH 9–THURS., MARCH 15 AT NORTHWEST FILM FORUM. NOT RATED. 88 MINUTES.

IFC FILMS

One of Bonello’s courtesans in House of Pleasures.

House of Pleasures RUNS FRI., MARCH 9–THURS., MARCH 15 AT GRAND ILLUSION. NOT RATED. 125 MINUTES.

Set in the months before and after 1900, Bertrand Bonello’s glamorously louche House of Pleasures projects nostalgia for the Paris bordello (as well as for those artists, Degas and Lautrec, who celebrated it). Bonello’s posh maison close is a realm of beautifully dressed (and undressed) whores, alternately languid or high-spirited, if sadly victimized. Their johns are rich, their madam (Noémie Lvovsky) affable, and their house so respectable that a 15-year-old country girl writes to apply for a position. Kids cavort in the parlor where a client’s tame panther lolls on a divan. Yet not everything is, as the subtitles memorably put it, simply “sperm and champagne.” All the

In Darkness OPENS FRI., MARCH 9 AT SEVEN GABLES. RATED R. 145 MINUTES.

Holocaust culture has proven to be essentially infinite—almost 70 years after the end of World War II, untold stories of decimation and survival are still hitting the mainstream. Agnieszka Holland’s new film opens a scab perhaps only familiar to Holocaust Museum devotees—the tale of a handful of Jewish families who lived in the Lviv sewers for more than a year during the Nazi liquidation, aided by a reluctant

Sound of Noise: The rogue percussionists … and a ticking bomb?

Polish crook/sewer worker named Leopold Socha. The film begins with Socha (Robert Wieckiewicz) looting an evacuated house, getting chased out by a young brownshirt, and passing a crowd of naked women being herded through the forest. Patiently, we watch the city’s occupation clamp down until an entire small community of Jews starts digging through the floor and into the tunnels underneath, where they happen onto Socha.

Always scheming, Socha offers to guide them to a safe corner in the sewer system and provide them with food at the cost of essentially every karbovanets in their pockets. Eventually the money runs out, but Socha keeps returning because, as he says, they’re “my Jews.” Holland does skirt the ethical entrapment of Schindler’s List (over-lionizing the Aryan rescuer) by contemplating the details of the sufferers, particularly the scalding fate of a newborn baby whose single cry could destroy everyone. But there is always the inescapable fact that every Holocaust movie, however hair-raising, essentially thrums the same self-sacrifice versus self-preservation chord. It’s not fair, but there it is: We’ve been here before. MICHAEL ATKINSON

Let the Bullets Fly OPENS FRI., MARCH 9 AT SIFF CINEMA AT THE UPTOWN. NOT RATED. 132 MINUTES.

With a title like Let the Bullets Fly and a star like Chow Yun-fat, it’s not unreasonable to expect more than a few scattered, semimemorable shoot-outs from Jiang Wen’s zany period piece. Fortunately, comedy, intrigue, and shifting allegiances more than compensate for the dearth of rousing action in this 1920s-set film—the highest-grossing Chinese movie of all time—in which bandit “Pocky” Zhang (played by director Jiang) seeks revenge against Goose Town crime boss Master Huang (Chow) for the death of his son. That plot involves Pocky

posing as the community’s new governor and, with the help of his colorful criminal mates and an unreliable counselor (Ge You), swindling Huang and redistributing his riches to the poor. Decked out in designer suits and constantly bellowing with evil laughter, Chow makes a regal baddie, and Jiang’s agile direction ably keeps pace with the cat-and-mouse story’s vigorous, rat-a-tat dialogue.

With Zhang driven by a desire to even the economic playing field, the film operates as an unsubtle but boisterous Robin Hood–style fable of socialist values—a political stance most strikingly conveyed by the sight of a true believer, wrongly accused of stealing and eating an extra bowl of jelly, then proving his innocence via selfdisembowelment. NICK SCHAGER

P Sound of Noise

RUNS FRI., MARCH 9–THURS., MARCH 15 AT VARSITY. RATED R. 102 MINUTES.

“I really dislike music,” says a cop ironically named Amadeus, and this ingenious Swedish comedy soon makes it clear why. His younger brother is a pompous, famous symphony conductor; his father is an overbearing musician, too; and poor Amadeus is tone-deaf. For him, the worst possible case to investigate would be a rogue gang of percussionists who make the whole city of Malmö a venue for performances that the authorities call terrorism. Sneaking into a hospital, they commandeer an OR, then use the oxygen machine, beeping heart monitor, surgical steel, and a patient’s bulbous gut to play a delightful conga. Taking their rhythmic anarchism even further, they steal road-construction machinery and perform a symphony for jackhammer and wrecking ball.

Though Sound of Noise is mainly a police procedural played for laughs, directors Ola Simonsson and Johannes Stjärne Nilsson open your ears to the incidental pulses and rhythms of the city—all the background “noise” that’s more interesting than the awful Muzak some stores (and municipalities) pipe into the streets. (In a car chase, the rumble strips and thick-painted lane dividers produce a lovely chunka-chunka/ brrrr pattern beneath the speeding tires.) You just have to be alert to such sonic textures, as the guerrilla musicians are. For poor Amadeus, however, even as he becomes smitten with the lone woman in the avant-garde gang, his ears are being both awakened and destroyed. (His gradual hearing loss is at odds with the rest of the story.) And for viewers, too, a metronome’s malevolent clicking takes on an entirely new meaning. BRIAN MILLER E film@seattleweekly.com

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“Books should smell good,” says Gerhard Steidl. That they do, when made by the famed German printer of art and photography books.

They also smell expensive. Creating a special edition of On the Road with images by Ed Ruscha, a price of $10,000 is casually mentioned. Documentary filmmakers Jörg Adolph and Gereon Wetzel ask nothing of their subject, omit his personal life entirely (childless, he’s been married 40 years), and simply follow him through a series of client meetings with major artists including Ruscha, Robert Frank, and—most closely—Joel Sternfeld. During production of the latter’s iDubai, mall photos taken covertly with an iPhone, Steidl emerges as a somewhat snippy and impatient perfectionist. He treats his publishing clients as near-equals, chatting companionably with Frank and even Karl Lagerfeld in German, ignoring the fashion models, obsessing over paper stocks and ink. The only time he seems flustered is when a blue pen explodes in the pocket of his pristine white smock—worn, he explains, because “the thing for me is more a laboratory than a press company.” If you love photography or have a fetish for coffee-table tomes, How to Make a Book is intermittently engrossing; simply to be granted access to Frank’s shabby SoHo loft and Nova Scotia summer home is quite the privilege. That said, business meetings are business meetings, and you might rather spend 88 minutes browsing through books you can’t afford, or pass the same time with the voluble Sternfeld instead of the unergründlich Herr Steidl. BRIAN MILLER

NILS BERGENDAL/MAGNOLIA PICTURES

Best friends since college, Jason (Adam Scott) and Julie (Jennifer Westfeldt) witness the misery that seems to dominate the lives of their wedded pals who have babies—Leslie and Alex (Maya Rudolph and Chris O’Dowd), and Missy and Ben (Kristen Wiig and Jon Hamm, Westfeldt’s longtime partner). So close that they call each other at 4 a.m. to compare notes on the one-night stands sleeping beside them, the two late-30ish chums, who live in the same rent-stabilized Upper West Side apartment building, decide to make a kid the old-fashioned way—a one-time-only act—and raise him together but remain uncoupled and pursuing other bedmates. This unconventional arrangement will resolve conventionally, of course, as per the immutable laws of romantic comedy, which regard single adults as scourges to be cured. But further hobbling the march to the inevitable that stunts Friends With Kids— Westfeldt’s directorial debut and her third film as writer/producer/star—is the frequently weak dialogue and forced character epiphanies. Even more to its detriment, Friends With Kids will remind you of the cast’s earlier efforts, namely Westfeldt’s uneven but still tart and precise Kissing Jessica Stein (2001) and Bridesmaids. The four battle-weary parents in Friends With Kids are played by actors from that broad studio comedy, which nonetheless conveyed hilarious insight into the horrors of parenting, living single, and settling down— qualities missing from Westfeldt’s small-scale, “indie-personal” film. MELISSA ANDERSON

girls are in debt and vulnerable to syphilis. One john tricks the house Algerian (Hafsia Herzi) into reading a tract on the stupidity of prostitutes, while another slashes one girl so that her face is frozen in a perpetual hideous grin.

Heaven or hell? Parisian brothels flourished in the ’20s and remained open through World War II, but Bonello presents the new century as their decline. As her rent goes up, Madam is reduced to hosting special soirées at which rich geeks paw her indentured freaks. The filmmaker gives full vent to his romanticism by staging an End-of-the-Epoch party, with tearful sex workers dancing to “Nights in White Satin,” then steps on the mood with yet another farewell fête, commemorating Bastille Day. The prisoners are free—to walk the streets. Ironic, no? J. HOBERMAN

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film»

BY BRIAN MILLER

Local Film • BATTLE ROYALE Veteran director Kinji Fukasaku is

on

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kind of like the Sam Peckinpah of Japan, only here we have ninth graders, not cowboys, battling to the death in 2000’s Battle Royale. The nutty premise that has these sweet-faced, uniformed schoolkids confined to an island until one survivor’s alive naturally recalls Lord of the Flies, but entertainment isn’t the point to this carnageridden spectacular. There are no cameras to relay the allegiances, betrayals, and gore to an imaginary viewing audience; instead, the blood sport is meant as a cautionary, punitive example against disobedient youngsters.

On hand as a gruff teacher is Takeshi Kitano, who jeers, “So today’s lesson is—you kill each other off!” (R) BRIAN MILLER Northwest Film Forum, $6-$10, Fridays, 11 p.m. Through March 30.

DREILEBEN TRILOGY This new German crime saga replays the same events (escaped sex criminal, rape, murder, small-town politics etc.) from three different perspectives, Rashomon-style. Three different directors helm each installment. (NR) Northwest Film Forum, $15-$25, March 9-11, 7 p.m.

EL CLASICO: MORE THAN A GAME This new sports doc follows the rivalry between Spanish football clubs Real Madrid & FC Barcelona. Look for Lionel Messi and Cristiano Ronaldo on the pitch. 21 and over. (NR) Kells Irish Restaurant & Pub, 1916 Post Alley, 728-1916, elclasico.org. $5, Sun., March 11, 6:30 p.m.

FERRIS BUELLER’S DAY OFF Recently referenced as a Super Bowl commercial, John Hughes’ oft-quoted 1986 teen comedy makes excellent use of Matthew Broderick’s slightly corrupt charm (and a certain 1961 Ferrari 250GT California). Without rising to the ’80sdefining level of Sixteen Candles, this is the thoroughly enjoyable Hughes flick that also made Ben Stein’s career. “Anyone? Anyone?” (PG-13) BRIAN MILLER SIFF Cinema at the Uptown, $5-$10, Tue., March 13, 7 p.m.

PEE-WEE’S BIG ADVENTURE Underrated by other critics because they haven’t had as many bicycles stolen as I have, Tim Burton’s 1985 road-trip movie Pee-Wee’s Big Adventure brought Paul Reubens’ cable-TV man-boy character to the big screen in all his adenoidal glory. Resolutely pre-sexual, Pee-Wee lusts only after his tasseled one-speed cruiser, pursuing his bike across the Southwest. The whole thing is a kind of goof on De Sica’s The Bicycle Thief, but it’s more surrealist than neorealist. (PG) SIFF Cinema at the Uptown, $4, Sat., Sun., noon. Ends March 11.

RAW FORCE From 1982, this Filipino action flick (aka Kung Fu Cannibals) involves a cadre of martial-arts students, cannibal monks, piranhas, zombies, and a Hitler lookalike. (NR) Grand Illusion, $5-$8, Sat., March 10, 11 p.m.

RUSHMORE If Jean-Luc Godard and Takeshi Kitano had collaborated on Revenge of the Nerds, they might have produced something like this. Directed by Wes Anderson, the 1999 Rushmore centers around high school student Max (Jason Schwartzman), who’s been placed on academic probation for his abysmal grades. When he falls in love with Miss Cross (Olivia Williams), he prepares to build an aquarium to impress her, with financial support from one of Rushmore’s benefactors, Mr. Blume (Bill Murray). Kindred spirits Blume and Max become good friends—until Blume too falls in love with Miss Cross.

(R) BRET FETZER SIFF Film Center, $5-$10, Fri., March 9, 9:30 p.m.

SATURDAY NIGHT FEVER Young and beautiful, John Travolta stars in the epochal disco movie of 1977, directed

by John Badham from a New York magazine article by Nik Cohn that the author later admitted was entirely fictional.

But so what? Travolta’s white-suited Tony Manero is an outer-borough hero for the ages, dancing eternally to The Bee-Gees and other titans of the bell-bottom decade.

“Don’t touch the hair!” Call for showtimes. (R) Central Cinema, $6-$8, March 9-11.

THELMA SCHOONMAKER SEE THE WIRE, PAGE 17.

SCI-FI SATURDAY SECRET MATINEES The Sprocket Society presents surprise features following episodes from 1939’s Buck Rogers serial, starring Buster Crabbe.

(NR) Grand Illusion, $15-56 (series), Saturdays, 2 p.m.

Through March 24.

TRUE ROMANCE Recently nominated for an Oscar for Tinker, Tailor, Soldier, Spy, Gary Oldman is nearly unrecognizable as a violent Rastafarian pimp in this 1993 crime tale, written by Quentin Tarantino and directed by Tony Scott. Christian Slater plays a hapless comic-book store clerk (not unlike QT’s prior day job) who falls for a

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hooker (Patricia Arquette) and gets involved in a complicated criminal stew that involves many colorful supporting roles. Look for Brad Pitt, Christopher Walken, Dennis Hopper, and Val Kilmer among them. (R) Egyptian, 805 E. Pine St., $8.25, Fri., March 9; Sat., March 10.

V FOR VENDETTA This 2006 adaptation of Alan Moore’s late-’80s English graphic novel tackles themes of fascism and genocide, usefully reminding us how history can repeat itself. The film and its masked hero (Hugo Weaving) make explicit reference to Guy Fawkes’ 1605 plot to blow up Parliament. V appears to reveal the government’s secrets and seek revenge on his old torturers. Natalie Portman falls unexpectedly into his hands after he saves her life, and she does a superb job of transforming herself from a meek and uncertain floater into an intense fighter. You can’t keep your eyes off her.

Call for showtimes. (R) KELLIE HWANG Central Cinema, $6-$8, March 9-14.

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 Bainbridge Cinemas, Bella Bottega Cinemas, Big Picture Redmond, Harvard Exit, Kirkland Parkplace, Lincoln Square, Majestic Bay, Thornton Place CHICO & RITA The life of Cuban pianist and composer Bebo Valdes seems to have been translated first into fairy tale and then through the filter of cinema before it wound up as a work of animation. The result has only a loose resemblance to Valdes’ story, but it’s a dazzling thing to behold. There’s an Old Hollywood feel to this storybook version of two jazz artists caught up in the Cuban boom then separated by circumstance, success, and a mean, cigar-chomping manager. Chico follows Rita to New York City from Havana when that manager promises to make her a star in 1948, but their paths diverge again and again. But when it returns to the music, which it does often, Chico & Rita cannot fail to move. (NR) Michelle Orange Metro THE DESCENDANTS George Clooney stars in this smart, affecting seriocomedy, directed by Alexander Payne. It’s a generous study in everyday catastrophes— death, infidelity, fractured families—that artfully acknowledges the obvious without wallowing in it. His wife in a coma (and about to be unplugged), attorney Matt King (Clooney) first cries in a long shot that Payne discreetly frames from behind. King’s two daughters, ages 10 and 17, are meanwhile acting out and talking trash; and his entire extended clan, which dates to colonial Hawaii, is greedily anticipating a huge windfall from the sale of ancestral property. This duly diligent lawyer prepares for the family vote to sell, until a prick of jealousy: Standing to profit from the deal is his wife’s lover, a petty real-estate broker. King wants to confront the guy, so he drags his daughters on a road trip—searching for one thing, finding another. (R) Brian Miller Admiral, Guild 45th, Kirkland Parkplace, Lincoln Square, Meridian, Thornton Place 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.

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I

f I had a farm dress, I’d wear it to The Sexton, the new Ballard bourbon haunt which evokes the glammed-up Southern rusticity of Dixie-proud movies like Fried Green Tomatoes so exquisitely that I feel guilty for showing up in tweeds.

The walls, done up in patterned ivory wallpaper and weathered two-by-fours, are hung with framed black-and-white photographs of owner Amber Sexton’s ancestors, looking appropriately hard-bitten. Clusters of mismatched Mason jars stand in for chandeliers.

And the wavy bar’s top is inlaid with tight rows of white cassette tapes, a design element that immediately registers as redneck swank.

Fortunately, my lack of matching attire hasn’t prevented me from having a few fine

Like a high-school quarterback in trig class, The Sexton loses its swagger when it transitions from the bar to the kitchen.

BY HANNA RASKIN Hush puppies should be made with buttermilk and bacon grease, but The Sexton gets a pass since it’s primarily a bar, not a museum of Southern cookery. What’s unforgivable is the dry, gritty texture of the cornmeal balls, which desperately need a splash of something wet added to their recipe. Fried to a deep oak brown, the firm hush puppies taste like something to slip on a fish hook. Should those unpleasant associations become overwhelming, an obscuring roasted-redpepper mayonnaise is served on the side.

Sogginess is an acceptable attribute in Southern food, but the hush puppies aren’t the only dish to suffer from The Sexton’s bias toward dryness. A twice-roasted chicken probably should have stopped roasting after the first round; the attractively blistered skin didn’t make up for the parched meat. Red beans and rice were woefully undercooked, with the rice grains especially stiff and hard to chew. Even the noodles in a popular macaroni and cheese, made rich by a stout bacon roux, danced on the firm side of the al dente line.

The Sexton does best when it abandons its Southern pretenses. Bourbon-braised ribs dissolved off the bone, an indicator of fat-filching parboiling, but the gingery sauce had a teriyaki appeal. Coleslaw gigged with horseradish was inoffensive, and a sweet, cinnamon-assisted applesauce was fairly delicious in its simplicity. Geographically neutral sliders smeared with housemade steak sauce and seated on eggy brioche buns, each no bigger than an average apricot, would have been tasty if the house-ground chuck weren’t marred by plugs of gristle.

There are myriad problems at The Sexton, but its formula isn’t one of them. Over in Belltown, in the space formerly occupied

by Marco’s Supper Club, another pub is proving it’s possible to make modest plates, smart cocktails, and a Disneyfied concept work for an audience that openly despises everything Disney, save perhaps a few scenes from Fantasia.

T

he theme at The Innkeeper, launched late last year by the Black Bottle crew, is the 17th century, in all its buccaneering glory. The tavern’s name is borrowed from Don Quixote, and a fuzzy portrait of Queen Elizabeth I keeps you company in the bathroom. The room isn’t overwhelmed by Age of

Exploration knickknacks, but Captain Kidd Innkeeper chef Brian Durbin would likely approve of the decor: The front cooks the high seas. windows and bar cabinets are arranged in shipshape squares, like gaol-cell doors or canvas sails, and the bare wooden tables are The Innkeeper’s very good at finger food, set with flickering candles and cigar boxes including Padrón peppers, which are grilled holding utensils and napkins. to a waxy, wilted consistency and heavily garChef Brian Durbin previously cooked at nished with sea salt that melts against the hot, Petit Byahaut, a five-bungalow resort on St. golf course-green peppers, creating a coating Vincent, and his most successful dishes echo reminiscent of the flavor powder atop a potato the high-seas respite ambience. If wayward chip. (That’s a good thing.) Chili-flecked, housepirates found an old island wench willsmoked chicken wings with leathery skins are ing to feed them, she might very well have immensely satisfying, especially paired with a produced a bowl of something like Durbin’s rum cocktail. The Innkeeper mixes Dark and terrific, insides-warming Stormys, Corn ’n’ Oils, and— chicken thighs, roasted since there’s plenty of ginger » PRICE GUIDE and tossed with starchy beer around—Moscow plantains, slow-cooked Mules in copper mugs, but THE SEXTON RIBS ................................................ $13 rice, pigeon peas, and a full doesn’t flinch at drinks withHUSH PUPPIES ............................$6 head of roasted garlic. The out a tropical pedigree.

HERB CHICKEN ........................... $11 RED BEANS AND RICE ............... $7 rustic dish wasn’t flawless, Both The Sexton and THE INNKEEPER though: The thighs were The Innkeeper are already GRILLED CHEESE ........................ $7 icy-cold at their centers, doing brisk business, and PADRÓN PEPPERS ......................$5 CHICKEN-THIGH BOWL ......... $15 suggesting the kitchen their customer counts will GREEN-CHILE CHEESEBURGER ..$9 might have prematurely no doubt rise proportionclanged the bell that ally to the mercury, since indicates a ticket’s up. both venues have enticing patios. But I wish Other elaborate dishes include pork Sexton and her partners could find a free tacos and goat curry, but most of the menu night to see what’s doing at The Innkeeper, is snackier. My servers were smitten with a where the trinity of casual food, drink, and “grilled Mexican cheese,” which sounds like theme translates into a lovely evening out. E a sandwich but turns out to be queso fresco hraskin@seattleweekly.com grilled in the saganaki sense. The fried cheese squares are paired with an aromatic green THE SEXTON chile, which is also served in cups, bowls, and 5327 Ballard Ave. N.W., 829-8645, aboard cheeseburgers for adventurers who’ve sextonseattle.com. 5 p.m.–2 a.m. Tues.–Sun. arrived at The Innkeeper via New Mexico.

The burger is beefy and moist, although a THE INNKEEPER thick brioche bun soaks up too much of the 2510 First Ave., 441-7817, meat’s juice. innkeeperseattle.com. 3 p.m.–2 a.m. daily.

Seattle weekly • M ARCH 7–13, 2012

drinks at The Sexton, including an exquisitely balanced Lion’s Tail that wagged my way when I asked for something tart and whiskeybased. The 1930s cocktail of bourbon, lime juice, and allspice liqueur fit the request, the weather, and the room’s vintage mood, which is all an acquiescing drinker really wants.

The Sexton enthusiastically promotes its bourbon selection, even though the list is narrow and misleading. When I asked how much a pour of hard-to-find Pappy Van Winkle cost, since prices aren’t printed on the menu, bartender Marley Tomic-Beard told me The Sexton’s never stocked it: Ocho got the last of the distillery-determined local allocation. Yet the bar program Tomic-Beard has developed is undeniably impressive, putting The Sexton in the strange position of being perhaps the only joint in town underselling its craft cocktails. If you can snag a stylish pigeon-toed stool, this is a fantastic place to drink.

At some point in your drinking session, you might get hungry, which is precisely where the situation at The Sexton gets stickier. Food isn’t a mere legal obligation at The Sexton: The venue is serious about what it feeds its patrons, although not quite serious enough to feel like a full-fledged restaurant. It’s compiled a thematically correct small-plates menu of collards, hush puppies, pork chops, and yam fries, dishes perfectly tuned to the frequency of corn whiskey drinkers’ palates.

I spotted food on every table both nights I visited The Sexton.

But like a high-school quarterback in trig class, The Sexton loses its swagger when it transitions from the bar to the kitchen. The sureness that flavors its cocktails is entirely absent from its food, a misbegotten mess that seems designed to bolster Yankee delusions of regional superiority.

Great cocktails abound at a pair of high-concept bars. But only one is really cooking.

JOSHUA HUSTON

Pub Grub

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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.

City of Seattle BALLARD

LOCKSPOT CAFE 3005 N.W. 54th St., 789-4865. This is

where you go on special occasions—Sunday morning, for instance. It’s about bacon and eggs and meat and potatoes, solid family fare with a view of the boys on the barstools cheering the televised game. Besides the overflowing breakfast platters, the restaurant is known for its crispy fish and chips.

Lockspot is located at . . . wait for it . . . the entrance to the Ballard Locks. $ SALMON BAY CAFE 5109 Shilshole Ave. W., 782-5539.

Great ambience if you like T H I S CO D E parking lots—there’s one out TO DOWNLOAD THE FREE every window. But there’s SEATTLE WEEKLY also a peekaboo vista of IPHONE/ANDROID APP working fishing boats and FOR MORE RESTAURANTS OR VISIT yachts passing on the canal. seattleweekly.com Lines form on weekends for the vittles: piles of eggs and meats, generous mounds of toast and fruit. Bypassing the eggs Benedict is treasonous. Be prepared: Dirty dishes are stacked in plain sight, and the noise level is like a quintuplets’ birthday party. $

SCAN

WILD MOUNTAIN CAFE 1408 N.W. 85th St., 297-9453.

This woman-owned restaurant was built with love and a social conscience, and is about as homey as it gets. All of its charmingly eclectic furniture, kitchen equipment, and dishes are secondhand, and all kitchen scraps and coffee grounds are composted. On top of being environmentally friendly, the home-style comfort food tastes great, too. Irresistible entrées include the honey-kissed, oven-fried chicken with roasted garlic mashed potatoes. $

BEACON HILL

EL QUETZAL 3209 Beacon Ave. S., 329-2970. You can

get all your favorite tacos and tostadas here—and they’ll be good and cheap. What distinguishes the Beacon Hill favorite, perhaps Seattle’s only taqueria specializing in Mexico City-style street food, are its overstuffed tortas (sandwiches) and the huarache gigante, a sort of Mexican pizza that all but defies explanation. The chicken quesadilla isn’t a greasy flour tortilla dripping with melted cheese, it’s a hoagiesized turnover stuffed with smoky chipotle-braised meat and a smattering of queso fresco. At this friendly, family-run place, kids are definitely welcome. $

BELLTOWN

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Dahlia’s coconut cream pie making grown men and women weep, it’s no surprise that the little bakery next door to Tom Douglas’ Dahlia Lounge is as popular as his restaurants. Foodies go gaga over seasonal breads such as a wheat loaf studded with corn kernels, and the prewrapped sandwiches of the day (say, fried eggplant with chunky tomato relish and fresh mozzarella) are far, far better than anything you could pick up at Kress or Whole Foods. Should you happen to need dessert after breakfast or lunch—hey, it happens, we understand—go for the coconut cream puffs. $-$$

FirstCall

break into the scene when you’re new in town.

I actually started here working on the kitchen » by julien perry side, tossing pies and doing prep and all that kind of stuff. I’ve done pretty much everything here since we opened.”

The Drink: “Today, I made a margarita, and The Watering Hole: Big Mario’s, 1009 E. Pike the reason why is because it’s Tequila Tuesday,” St., 922-3875, CAPITOL HILL Mungo announces. “A lot of people come in—a lot The Atmosphere: Big Mario’s, equal parts of students—and they’ll do a little Tequila Tuesday pizza parlor and bar, attracts mostly students action. It’s not that we even have a particular speand other industry people cial or anything, it’s just that around Capitol Hill. It looks it’s Tequila Tuesday.” like a dive bar that’s been There’s nothing earthin Seattle since the ’80s, shattering about the recipe: but it’s not even two years tequila and a mix of simple old. The place really gets syrup and lime (Big Mario’s hopping on Friday and makes their own sour) Saturday nights when Big topped with a splash of OJ Mario’s serves pizza by the and soda. It’s a little fancier slice out a window until than what Mungo likes to 4 a.m., and during weekdrink. “I’m easy. [I prefer] days when they dole out something like whiskey— dollar beers from 3 to 4 p.m. probably Jameson. I’ll do a The place is also home to PBR or some other cheap the world’s cutest dog, a beer. The simpler it is, the puggle named Jackson better.”

The Verdict: The drink that belongs to the bar The world’s cutest dog. was really good, but what manager, Melissa.

Or Capitol Hill’s, anyway.

The Barkeep: Lisa I remember most was Mungo. She’s been barhow much it made me tending at Big Mario’s for appreciate Big Mario’s, as about six months. Before she moved to Seattle if it were a little bit of sunshine that parted the three and a half years ago, she tended bar in clouds during a dark and gloomy afternoon—like Portland. “One of the reasons I moved to Capitol when you’ve had a shitty day at work, and your Hill is because there are so many great venues low expectations when you enter an unfamiliar around here for music,” says Mungo, a member bar are exceeded tenfold. Lisa and her margarita of a doom-metal band called He Whose Ox Is (and her pink shirt) definitely brightened the day. I Gored. Her role? “I scream.” found a new favorite in a bar I didn’t think I’d like.

Mungo works the 11 a.m.–7 p.m. shift Monday, And a dog I want to steal. E jperry@seattleweekly.com Tuesday, and Thursday. “Sometimes it’s hard to

30

JULIEN PERRY

Seattle weekly • M ARCH 7–13, 2012

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Seattle weekly • M ARCH 7–13, 2012

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BottomFeedeR » by mike seely

Pizza & Beer

SoDo Pizza, which just celebrated its 12th birthday, does not make phenomenal pie. But pizza doesn’t have to be phenomenal; it just needs to taste awesome when you’re drinking. And more than any other pizzeria in town, SoDo Pizza is focused on making sure its crust is the one you bite into when you’re hunkered down at a neighborhood watering hole.

The interior of SoDo Pizza’s headquarters amounts to a couple chairs and a takeout window next to an old green refrigerator filled with cans of pop. The entire operation is housed in a narrow, windowless trailer, but there are a handful of picnic tables backed up against a neighboring brick building outside. A fence topped by razor wire separates the outdoor dining area from a pothole-laden parking lot, and the rest of the neighborhood comprises factories and lumber suppliers. In a sense, SoDo Pizza’s location is as ingenious as it is unorthodox: It has little competition in an area rife with hungry laborers, discounting the one-in-a-million human who likes to consume splinters of wood for lunch.

Eaten sober, SoDo Pizza’s pie isn’t bad— better than Pizza Hut’s, for sure, but not as good as Pagliacci’s and the like. Yet while scarfing down a hot SoDo pie with a cold can of root

beer on a sunny summer day is an ultrapleasant way to while away one’s lunch hour, the real test of SoDo’s mettle is after a dozen Pabsts at Darrell’s or Al’s Taverns.

Aside from the industrial location that gives SoDo Pizza a virtual monopoly on the neighborhood, owner Neil Heiman has been shrewd enough to make his pies the exclusive offering of more than a dozen workaday bars around the city (as well as in Shoreline, where Darrell’s is located).

At nearby Two Beers or Hooverville, they’re taken

COZELL WILSON

RESTAURANT

food&drink»Featured Eats

It looks even better when you’re hammered.

and baked, which diminishes the flavor a bit as compared to the source. But to evoke a tired analogy that’s nonetheless pertinent enough to recycle yet again, drunken pizza is a lot like drunken sex: It’s fantastic, even when it’s not. E mseely@seattleweekly.com SODO PIZZA 3667 First Ave. S., 467-4466, sodopizza.com, SODO

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Fifths of Fury

It’s still not clear whether restaurants and bars will save any money by buying directly from distillers and distributors, as is now allowed under I-1183. But the law has resulted in short-term savings for consumers of blueberry vodka and a dozen more alcoholic oddities.

Since the new law requires the state to deplete its liquor inventory by June 1, the Liquor Control Board has arranged buyback agreements with most spirits manufacturers. Control Board spokesman Brian Smith estimates that such agreements cover 99 percent of the state’s inventory. Those agreements will keep products on the shelves of state liquor stores until they’re forced out of business, he says. “The remaining one percent is at-risk inventory,” he says. “We have to get rid of it.”

Spirits from distilleries too small to coordinate buybacks will be substantially discounted.

“You can get pretty good deals,” Smith says.

“Some up to 50 percent. The idea is to sell this stuff out.”

The state last month started discounting wine, and plans to continue its promotional pricing until every bottle’s sold. Not every store stocks every spirit on the discount list, so Smith suggests paying a visit to a local liquor store to learn what’s available.

While few consumers are likely to be significantly affected by the fire sale, the entry of distributors and distillers into the liquor market marks a “huge change” for Washington, Smith says. For the time being, however, “We anticipate people are going to keep buying from us,” says Smith. “We’ve heard restaurants haven’t seen price lists yet.” E hraskin@seattleweekly.com

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Seattle weekly • M ARCH 7–13, 2012

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music» »ALPHABET AEROBICS

Bonaduce: From A to Z

He still can’t shake The Partridge Family, but he’s never leaving Seattle (unless it’s for Wichita).

BY MA’CHELL DUMA LAVASSAR

I

“What I said that I regret on the R radio is: [co-host] Sarah was

n his 40-plus years in the entertainment industry, Danny Bonaduce has delved into stand-up, reality and scripted television, and some fabulously forgettable films. But his most successful gig has always been drive-time DJ, a talent that has brought him to mornings (5:45–9 a.m. weekdays) on Seattle’s 102.5 KZOK. Fast-talking, frenetic, and highly quotable, Mr. Bonaduce—aka “Danny Partridge”—was more than willing to give us the goods on a variety of topics, including his favorite, himself.

So here’s your chance to get to know the man behind the mike in his own words, alphabetically—with a little history included.

Radio regrets

talking about the bus . . . and I couldn’t tell if she was talking about the bus with the electric line or what other bus.

So what I said was, ‘You mean the bus? That thing where you give them money and they take you places?’ Did that come out right that I’ve never ridden the bus? . . . Well, I did ride on a bus . . . [on The Partridge Family] for four years.”

“In radio, it’s known. You don’t buy a S house until your contract is up.

Seattle

You find out how you’re doing.

I had two years left on my contract. Only reason I’m buying a house is because I’m not leaving. I’m never leaving Seattle no matter what they say.”

“All my e-mail starts with ‘I thought I A was going to hate you, but . . . ’ ” Asshole

The instrument Bonaduce B “played” as a member of The

“People do get me wrong and someT times . . . it’s like Mike Tyson Tysonesque

traveling around with bodyguards because people want to try him. People want to try the guy they heard is crazy.”

Partridge Family, the ABC sitcom that ran from 1970–74.

C

ERNIE SAPIRO

Bass guitar

Cheating “I cheated

“Uncle” Dave Madden

on my ex-wife every chance I possibly could get. This was a big thing with my [current] wife. I told her how I would cheat and how I would lie before because I didn’t want it to be like that now.”

flipped-out that I’ve never been anywhere near pot since. Not that I’m against it— I think all drugs should be legalized and taxed, then they wouldn’t be such a crime problem.”

“The guy creeps me out completely,” Bonaduce says of D his Partridge co-star. “I will work for David

’70s boobie movie featuring Bonaduce, both in the film and on the H soundtrack.

David Cassidy

“You have 800 words to interview me? I don’t say hello in 800 E words. 800 words? You are so fucked.”

Eight hundred

F (see above) “I turned six months’ probation into seven years . . . the fact is, during G the seven years you can beat any drug except Fucked Ganja

pot . . . So I thought for all seven years, the day I am off probation, I will smoke. Seven years went by, and I smoked a joint, and it was so potent and toxic it was almost a hallucinogen, and made me so paranoid and

H.O.T.S.

I Bonaduce produced. VH1 reality show The former is one of the trinity—with Philip Morris J and Juan Valdez—to whom Bonaduce I Know My Kid’s a Star

Jose, Cuervo and Canseco

dedicated his autobiography, Random Acts of Badness; the latter is a former sparring partner. “When I tell you I fought Jose Canseco . . . I fought a guy 6-foot-6-and-ahalf. I’m 5-foot-6-and-a-half. And he weighed 265 pounds and I weighed 165 pounds. He’s a retired professional and was on tons of ’roids and I think he hit me twice. Luckily, it’s on videotape and everybody saw it.”

Mr. B sports a souvenir human tooth around his K neck. “Actually . . . all of his teeth came out.

Knock-out necklace

This is the only one I got.”

“The only thing I do with any consistency is never, ever, ever under any L circumstances lie to the listeners. But I don’t do Lying

that out of honesty. I lie to my wife just to keep in practice. I lie to people all the time. The reason I don’t lie to listeners is because I don’t tell jokes. If I told jokes, I could lie all day.”

“I was going through a pirate phase . . . I M used to have them [rings] on all my fingers Masturbation & man jewelry

and bracelets and everything . . . I had a skull bracelet, and individuals, but they rattle when you masturbate . . . There was a time, because I am old enough, people of my wife’s generation think it’s a joke that you used to be able to do it to the Sears Catalog bra section.

Totally viable.”

a young Danny under his wing teaching the tween to play cards, drive a car . . . and smoke.

Bonaduce’s #10 . . . if you count the Olsen twins as V a single entity.

VH1’s 100 Greatest Kid Stars

“So, in, like, Wichita, the fact that I used to have a television series W and a couple of reality shows—that would Wichita

make me a bigger deal than it would in a city as big as Seattle. I didn’t have any stereotypes about Seattle. ‘Is it really cold and gray? Is it really the suicide capital of the world?’ Which it’s not . . . [it’s] Las Vegas. They go there to have the outrageous night of their lives with 87 hookers and a bunch of blow and then jump out the window, but they lived in Wichita. By the way, I’ve mentioned Wichita twice, and I don’t think I’ve ever been there. It’s just I’m pretty sure that’s where I’m going to end my life—in Wichita.”

Seattle weekly • M ARCH 7–13, 2012

Cassidy for enough money. But I will shoot David Cassidy from a distance for enough money. There’s nothing—dude, you are talking to a real whore. There’s just not much I won’t do for money.”

U The guy who played Reuben Kincaid on The Partridge Family took

N coach. Bonaduce’s martial-arts Male version of The View 2001–03.

O Danny co-hosted, Danny’s former radio station in Philly.

Bonaduce’s Y P been all three.

Seattle station Bonaduce now calls home.

Bonaduce’s former DetroitZ Q based morning show.

35 Norris, Chuck

The Other Half

wYsp

Partridge, parolee, parent

kZok

Q-Crew

E

music@seattleweekly.com

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Seattle weekly • M ARCH 7–13, 2012

music»Reverb »

DISPATCHES FROM OUR MUSIC BLOG AT SEATTLEWEEKLY.COM.REVERB

»SEATTLE SOUNDS

»THROUGH @ 2

Be Your Own BFF

Mighty! Not Whitey!

Speed of Darkness

Andrew W.K.’s message to disaffected youth.

Ryan Granger and Whitney Petty go balls-to-the-wall.

BY CHRIS KORNELIS

BY ERIN K. THOMPSON

T

BY DUFF MCKAGAN

his column is dedicated to the memory of Lynn D. “Buck” Compton. I first read about Buck and his World War II exploits with Easy Company in Stephen Ambrose’s Band of Brothers. Buck Compton died last week at age 90, at his home in Burlington, Wash.

If you were a tot during the Vietnam War like I was, perhaps you too have some of those black-andwhite TV images still seared into your mind’s eye. Ever since I was a kid—and maybe it was those images that did it—the subject of war has had a hold on me.

These days, war and violence are readily

THE SITUATION I’m at Capitol Hill’s Moe Bar with

local blues-rock duo The Grizzled Mighty—guitarist/ vocalist Ryan Granger and drummer Whitney Petty, both 26, both draining hot toddies to fight off a shared cold (they’re also roommates). The pair’s headed to see Atlas Sound at Neumos tonight. Petty wears a skull ring, speaks in a slow Southern drawl, and uses the phrase “balls to the wall” a lot. She grew up in the same Atlanta suburb as Atlas frontman Bradford Cox, and used to play guitar with Cox’s day job, Deerhunter.

HOW THEY GOT HERE Granger and Petty have both lived lives of peculiar adventures. Petty dropped out of college in Georgia to work as a trail-builder in Oregon— she tosses around words like “pulaski,” “hazel hoe,” and “chainsaw” like she’s listing members of her family.

She moved to Seattle to work for a cruise line as a deckhand, and offers to teach me some sailor’s knots.

“We’re good live.

Most of the time. Unless we have too many hot toddies.”

Granger thought about moving to L.A., but changed his mind after getting mugged and held hostage at gunpoint by a raving lunatic/faux pot dealer down there. Now he makes his living with flowers as an orchid importer for Ballard’s Emerald City Orchids.

The pair met two years ago, when Petty answered Granger’s Craigslist ad. “I think the title was ‘You gotta rock it before you roll it,’ ” she says.

SHOP TALK “I’ve always been a classic-rock-head,” says Petty. “I loved playing with [Deerhunter] in the sense that they’re a really tight band . . . But I never felt like I had much of a creative voice, because I’d want to put in a blues solo, and there’s no room for that in Deerhunter songs! That’s basically why I drifted out of

shown on the news 24 hours a day, and I fear we have become numb to war’s atrocities. This kind of thing happens. It’s like when a boxer gets used to getting hit in the head; they just don’t really feel it anymore because they are so conditioned to it.

Growing up in the Vietnam era was to grow up with the first-ever “TV war.” Every night at 6 p.m. we all would gather around the TV to see what Walter Cronkite had for us. What happened today over there?

Having two brothers in Vietnam also heightened my awareness. I remember asking my mom why my brother Mark had to go to war, and the answer she gave me then still holds true. She told me that “Two men who are leaders can’t seem to agree on something, so they then go gather all of their young men to settle their differences in a big field . . . with guns and bombs.”

All these early inputs in my life have made me a somewhat ardent student of war, both

Deerhunter, because our styles didn’t match up.”

The Grizzled Mighty’s first release, a self-titled fulllength, came out last December; its savage, guttural style suits Petty perfectly. “There’s no other band I’d want to be in,” she says. “It’s just balls-to-the-walls rock and roll all the time.”

“We make a lot of noise for two people,” agrees Granger.

BTW: The White Stripes comparisons are getting old. “At first it was kind of flattering,” says Granger, “because the White Stripes are awesome—” “It’s flattering for you, it’s shitty for me!” Petty cuts in. They acknowledge the reference is hard to deny (they even make it themselves in their bio), but ultimately they’re just thrilled about playing their own brand of blues rock, not imitating Jack White’s.

“We’re good live,” Granger promises. “Most of the time. Unless we have too many hot toddies.” E ethompson@seattleweekly.com THE GRIZZLED MIGHTY With Pony Time, Lovesick Empire, Danny the Street. Comet Tavern, 922 E. Pike St., 322-9272. $7. 9 p.m. Thurs., March 8.

historically and current. I just finished Sebastian Junger’s latest book, War, an account of his time spent at a forward firebase, Restrepo, in Afghanistan. War fills in the reader about what it’s like to be on the front line as a 19-year-old with no human affection except from your fellow soldiers. Junger surmises that a gun, danger, and violence can —and does—supplant sex in this arena, and when there is a lull in the fighting, aggression toward one another will take its place.

Infidel, by Tim Hetherington, is the still-photo companion to War, made so much more poignant as it was released just as Hetherington himself was killed by a mortar in Libya while covering the conflict there.

The subject of war may be too old, boring, violent, or repetitive for some. But with a closer look, the human story inside the bigger arena has always had me hooked. E Duff McKagan is the founding bassist of Guns N’ Roses. His column runs every Thursday on Reverb. askduff@seattleweekly.com

SW: Speed of Darkness was recorded in an old church. Does this make the album holier than the rest of your releases?

Casey: Absolutely not [laughs]. Our producer, Ryan Hewitt, had recorded the Avett Brothers there, and he recommended the place. When we got there, we thought it would be completely soundproofed like most studios, but they left up all the stained glass, so it did feel a little funny to be recording with Jesus in the background. But the light that would emanate into it created a really nice vibe.

This record seems like your biggest leap, both in terms of production and of songs stretching into new places—Springsteen territory, for example. Was this evolution or intent?

We’ve been doing this since 1997, and you can’t be a band that long and that tours 200 nights a year and not be a different band than 10 years ago. You’re not even the same person.

I defy you to find anybody who is not different in 14 years, whether physically or mentally.

I think the same thing happens with a band musically. You get inspired by different things.

We essentially try to make a record of the band at that point in time. And by record, I don’t mean a thing that turns on a turntable but a document of that time, like an audio photograph.

Where did the title come from?

The title came from a friend of [frontman Dave King], who’s a Croatian, and when he was growing up he was in the middle of the Balkan wars. He had a quote from a book that goes, “I was taught as a young man in school what the speed of light is, but I want to know what the speed of darkness is.” And that just resonated with Dave.

Folk and punk seem to thrive in tough times. With Dave writing the album in Detroit, a city long plagued by hardship, do you think Flogging Molly could exist in a more prosperous era?

A good song is a good song, and if you look at our music, not all of it is about one thing.

There are songs about losing someone, songs about war, losing your home, love. Dave knows how to bring a song from the heart which can touch people in any circumstance. E music@seattleweekly.com FLOGGING MOLLY With Suedehead, Sean Wheeler & Zander Schloss. The Paramount, 911 Pine St., 877-784-4849, stgpresents.org. $29.25.

All ages. 7:30 p.m. Tues., March 13.

Seattle weekly • M ARCH 7–13, 2012

Horror Stories

BY DAVE LAKE

ALL EYES MEDIA

ckornelis@seattleweekly.com

Flogging Molly guitarist Dennis Casey on making a record with Jesus.

JAKE CLIFFORD

Josh Kerns and I recorded an interview with party rocker Andrew W.K. for our KIRO 97.3 show Seattle Sounds just days after the tragic school shooting in Chardon, Ohio.

Not only an incendiary rock-and-roll frontman, Andrew W.K. is also a motivational speaker. So we asked him for advice: What would your message be to kids around the country who are feeling lost and not like they have a place in the world?

W.K.: Really, your best friend has got to be you. And you got to find that satisfaction, that strength, and that joy within yourself. ’Cause if you’re looking in other people or in circumstances or ways that you can live your life, that’s never going to give you that feeling. You’ve gotta be at home within yourself. And then you can go on these adventures and always be secure.

Did you struggle with that as a teenager?

For sure, yeah. And that was actually a big motivation for signing up for doing Andrew W.K. and do this adventure, is I wanted to find something that cheered me up.

I suffered a lot—and still have struggled— with all kinds of bad feelings and angers and depressions and things like that, like anybody.

But I also always believed that there was some way to address them, and that you don’t have to take them to heart. You can heal them. E Seattle Sounds is a partnership between Seattle Weekly and KIRO 97.3. It airs at 3 p.m. every Sunday.

»TELL ME ABOUT THAT ALBUM

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music»TheShortList SXSW Send-Off THURSDAY, MARCH 8

When one thinks of Seattle stereotypes, cheery, up-tempo electropop generally isn’t the first thing to come to mind. So what better bands to represent our fair city at this year’s SXSW and rattle those old notions than those pop-culture cliché-crushers with an ear for a hook, Brite Futures, and that expert in catchy/cool songs, Eric Elbogen of Say Hi? The Weekly couldn’t be more thrilled to support these bands with a preshow happy hour (5–8 p.m.) showcasing the badass DJ skills of our own Erin K. Thompson and Brite Futures frontman Luke Smith. All the proceeds of tonight’s show will go toward sending these unexpected acts southward.

With Elk and Boar. The Crocodile back bar, 2200 Second Ave., 441-4618. $10. 8 p.m.

MA’CHELL DUMA LAVASSAR

FRIDAY, MARCH 9

Back in December, local laser-eyed hip-hop crew Fresh Espresso was set to ring in the new year at Chop Suey, headlining an ace bill of local talent. And then the party-starters

DANIEL SILBERT

*

EDITOR’S PICK

BLAKE SHELTON & DIA FRAMPTON

FRIDAY, MARCH 9

With Justin Moore. KeyArena, 305 Harrison St., 684-7200. 7:30 p.m. $25– $49.75. All ages. ERIN K. THOMPSON

quietly backed out of the biggest party night of the year. Rumors abounded, but all that was known was that the group’s prodigious producer/rapper P Smoov had suddenly decamped to Michigan for an extended holiday with his family, and possibly to clear his head out. P Smoov and Fresh Espresso (rounded out by MC Rik Rude and DJ Terry Radjaw) are back—for now—and back on a bill with excitable punk-rap hellions Don’t Talk to the Cops! Sometimes with great power comes great volatility, or as a wise man once said: “Back up, because the laser beams is so hot.” With White China Gold, DJ 100Proof. Neumos, 925 E. Pike St., 709-9647. 8 p.m. $10. ERIC GRANDY

Trus’Me FRIDAY, MARCH 9

down with a new Islands record, the first since 2009’s much-raved-about Vapours.

Thorburn has described A Sleep & A Forgetting, released last month, as a white Canadian man’s version of soul music; the record chronicles a devastating Valentine’s Day split with a longtime lover last year. The result is the most touching and starkly emotional collection of songs Thorburn’s yet written. It’s impossible not to feel his pain on standouts like the stripped-down “This Is Not a Song” and “Can’t Feel My Face,” which deceptively plays as an upbeat pop number but mourns “I miss my wife/I miss my best friend/Every night.” With Idiot Glee. Vera Project, 305 Harrison St., 956-8372. 7:30 p.m. $11. All ages. ERIN K. THOMPSON

Judas Queen

Now on its third month, Decibel Festival’s monthly night at Re-bar still has no name other than the unofficial placeholder “Decibel Festival Monthly.” Frankly, a night that brings such top-grade electronic talent as Max Cooper, Omar-S, and now UK nu-disco dude Trus’Me deserves better, no? Or maybe they should just get that ungainly “Festival” out of the middle there? In any case, tonight’s installment promises to be as quality a dance night as ever, with Trus’Me’s subtly grooving re-edits and originals rubbing up against a sure-to-be-enlivening 4x4 set from local DJs Pezzner & Hanssen (of Jacob London) and Justice + Treasure (formerly of SunTzu Sound), whose collective tastes range from oddball house to futurist funk and beyond.

Expect a festive night out, by any name.

Chasers, Ton 80. Sunset Tavern, 5443 Ballard Ave. N.W., 784-4880. 10 p.m. $7. MIKE SEELY

Re-bar, 1114 Howell St., 233-9873. 10 p.m. $13 adv./$15 DOS. ERIC GRANDY

Woody Guthrie Project

Islands SATURDAY, MARCH 10

After spending most of last year playing with the stomping, “doom-wop,” Sub Pop–signed indie supergroup Mister Heavenly, the chameleonic Nick Thorburn quieted things

SATURDAY, MARCH 10

Freddie Mercury and Rob Halford totally fucking rock. They also are (were, in Mercury’s case) totally fucking gay. In fact, no two motherfuckers have done fucking more to tear a fucking hole in the stereotype that all gay musicians sound like George Fucking Michael or a Glee cast album. Tonight, several musicians will play the music of Queen and Judas Priest—the bands Mercury and Halford front(ed), respectively—at a benefit for 826 Seattle. It’s all part of the annual Attack of the March Babies showcase, but this year is special, because it’s organizer Sean Bates’ 40th birthday. Fuckin’ ring it in with him. Fuck yeah. Featuring HalloQueen, Kurt Bloch, the

SATURDAY, MARCH 10

The unfinished lyrical canon of American folk singer Woody Guthrie is so vast (more than 3,000 handwritten lyrics) and universally revered that it seems as if every few years or so someone comes along to interpret it through music of their own. Upon the

SW and the Crocodile are sending Brite Futures off to SXSW.

invitation of Guthrie’s daughter Nora, Billy Bragg and Jeff Tweedy produced Mermaid Avenue in 1998 and a follow-up in 2000; a similar recent invitation to Jay Farrar (Son Volt, Uncle Tupelo), Yim Yames (My Morning Jacket), Will Johnson (Centro-matic, South San Gabriel), and Anders Parker (Varnaline, Gob Iron) has brought about New Multitudes, an album commemorating what would have been Guthrie’s 100th birthday. Focusing on his early songwriting years in California, the group breathes new life into Guthrie’s words through a stylistic rendering more faithful to Guthrie’s own than other tributes have been.

For enthusiasts of the folksinging bard and his legacy, this is another captivating installment. With Sarah Jaffe. Showbox at the Market, 1426 First Ave., 628-3151. 8 p.m. $25. All ages. GWENDOLYN ELLIOTT

Release the Sunbird TUESDAY, MARCH 13

Do the same thing long enough, no matter how good you are at it or how rewarding it may be, and there’s a decent chance you’ll need to step away from it for the sake of keeping a fresh perspective. As the frontman of Oakland’s Rogue Wave, Zach Rogue spent most of the past decade steadily churning out expansive, eclectic, classically tinged indie pop. With his new project, Release the Sunbird, Rogue’s vision is more streamlined, focusing less on chewing scenery with layers of sound and more on simple arrangements that work to make every note count. This direct approach makes the sunshine of Rogue and bandmate Caitlin Gutenberger’s vivid harmonies pop that much more, while letting the gravity of his lyrics keep the songs firmly anchored to the ground. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 8 p.m. $12.

GREGORY FRANKLIN

Seattle weekly • M ARCH 7–13, 2012

Blake Shelton is one of the biggest names in mainstream country right now, but I know little about his music career other than that he has an awesome video called “Hillbilly Bone” in which he rabblerouses and gets trashed in a fancy restaurant with Trace Adkins. Like many other TV-loving Americans, I instead know Shelton as the nicest coach on NBC’s The Voice. In last year’s season, the show’s first, he culled from the talent lineup 24-year-old Dia Frampton, who awed audiences with her stunningly poignant piano version of Kanye West’s “Heartless.” Frampton finished as runner-up but still landed a deal with Universal, who released her LP Red in December, a record that includes big-name collaborations with Foster the People and Kid Cudi. Frampton’s now opening her former coach’s arena tour; coincidentally, her Voice defeater Javier Colon is also in town this week, playing Neumos to about 16,000 fewer people than Frampton will.

ANGEL CEBALLOS

Fresh Espresso

39

CONCERT SERIES

seven»nights

TUE MAR 13 • MARKET 7PM DOORS • 21+

THIS SATURDAY!

MARCH 10 • MARKET

WOODY GUTHRIE PROJECT feat.

JAY FARRAR, WILL JOHNSON, ANDERS PARKER AND YIM YAMES with SARAH JAFFE

BALKAN BEAT BOX

SAT MAR 17 • MARKET

7PM DOORS • 21+

GEORGE CLINTON

& PARLIAMENT

DRIVE-BY TRUCKERS with

ROBERT ELLIS FUNKADELIC JUST ADDED

VANESSA HEINS

TUE MAR 20 • MARKET

8PM DOORS • 21+

Concerts This Week FRIDAY, MARCH 9

BLAKE SHELTON & DIA FRAMPTON: SEE SHORT

LIST, P. 39.

STEVE AOKI: With Datsik All ages., 8 p.m., $25-$35.

The Paramount, 911 Pine St., Seattle, 877-784-4849.

FRI APR 6 • SODO 7PM DOORS • ALL AGES

SUNDAY, MARCH 11

TONI BRAXTON: 7 p.m., $75-$150. Snoqualmie Casino,

37500 S.E. N. Bend Way, Snoqualmie, 425-888-1234.

MONDAY, MARCH 12

AWOLNATIONMUSIC.COM

GUSTER: All ages., 8 p.m., $28. The Neptune, 1303 NE 45th

St., Seattle, 877-784-4849.

TUESDAY, MARCH 13

FLOGGING MOLLY: All ages., 7:30 p.m., $29.25. The

Paramount, 911 Pine St., Seattle, 877-784-4849.

SUN APR 8 • SODO

Club Listings

7PM DOORS • ALL AGES

SLEIGH BELLS

Wednesday 7

Seattle weekly • M ARCH 7–13, 2012

8PM DOORS • ALL AGES

40

with THOR BRINSFIELD, SPECIAL EXPLOSION UP AND COMING:

MCGINN FOR MAYOR FUNDRAISER | MAR 9 | MARKET • FEED ME W/ TEETH |

FRI 20 • ALL AGES| MAR 17 | SODO • UMPHREY’S MCGEE | MAR 22 | MARKET • KAISER CHIEFS MAR 12 JAN | MARKET • J BOOG SAT23JAN 21 • 21+ | MAR | MARKET • GALACTIC | MAR 23 | SODO • OF MONTREAL | MAR 24 | MARKET • OF MONSTERS

SCAN T H I S CO D E

TO DOWNLOAD THE FREE

SEATTLE WEEKLY

IPHONE/ANDROID APP

SHOWBOXONLINE.COM

TRACTOR TAVERN: 5213 Ballard Ave. N.W., Seattle,

789-3599. Country Lips, with Palatine Ave, The Horse Thieves., 9 p.m., $6.

JAZZ/BLUES

DIMITRIOU’S JAZZ ALLEY: 2033 Sixth Ave., Seattle,

441-9729. Mindi Abair, March 8-10, 7:30 & 9:30 p.m.; Sun., March 11, 7:30 p.m., $25.50.

Friday 9 ROCK/POP/INDIE

CAIRO: 507 E. Mercer St., Seattle. Pleasure Beauties, with

Lazer Zeppelin, Secret Colors All ages., 8 p.m., $5.

COMET TAVERN: 922 E. Pike St., Seattle, 322-9272. Kinski,

with Unnatural Helpers, Sugar Sugar Sugar., 9 p.m., $7.

SHOWBOX SODO: 1700 First Ave. S., Seattle, 652-0444.

FOR MORE CONCERTS OR VISIT

SHOWBOX SODO 1700 1ST AVENUE S.

COUNTRY/FOLK/ROOTS

The Quill, with Birch Hill Dam,Skullbot, Stone Soul Foundation All ages., 7:30 p.m., $8 adv./$10 DOS. FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Tatarus, with Trashcan Wizard, The Absent Light, Severhead., 9:30 p.m., $5.

NEUMOS: 925 E. Pike St., Seattle, 709-9467. Javier Colon, with Reed Waddle All ages., 7 p.m., $25.

SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 784-4880. Slow Club, with Signals., 9:30 p.m., $10.

AND MEN | MAR 26 | SODO • SAY ANYTHING | MAR 27 | MARKET • THE TING TINGS | MAR 28 | MARKET

SHOWBOX AT THE MARKET 1426 1ST AVENUE

441-5823. The Song Show XIV, with Noah Gundersen, Fatal Lucciauno, Robert Deeble., 8 p.m., $5.

STUDIO SEVEN: 110 S. Horton St., Seattle, 286-1312.

Onset The Shores, with Defenstrator, Bastard Son All ages., 7 p.m., $7 adv./$9 DOS.

THE CROCODILE: 2200 Second Ave., Seattle, 441-7416.

• MINDLESS SELF INDULGENCE | MAR 28 | SODO • DARK STAR ORCHESTRA | MAR 29 & 30 | MARKET • NIT GRIT & TWO FRESH | MAR 30 | NEUMOS • CAROLINA CHOCOLATE DROPS | MAR 31 | MARKET

THE CROCODILE: SXSW Send Off: SEE SHORT LIST, P. 39.

JEWELBOX/RENDEZVOUS: 2322 Second Ave., Seattle,

ROCK/POP/INDIE

EL CORAZON: 109 Eastlake Ave. E., Seattle, 381-3094.

FRI APR 27 • MARKET

Memoryhouse plays the Crocodile on Friday, March 9.

HIP-HOP/R&B THE CROCODILE: 2200

Second Ave., Seattle, 441-7416. Nneka, 8 p.m., $13.

COUNTRY/ FOLK/ROOTS TRACTOR TAVERN: 5213

Ballard Ave. N.W., Seattle, 789-3599. Love Me Some Townes Van Zandt, with Kasey Anderson, Lindsay Fuller, Jeff Fielder, Kevin Murphy, Star Anna, Justin Davis, Ian Moore., 7:30 p.m., $12 adv./$15 DOS. seattleweekly.com

Thursday 8 ROCK/POP/INDIE

COMET TAVERN: The Grizzled Mighty: SEE THROUGH @

2: P. 37.

Memoryhouse, with Seapony., 9 p.m., $10 adv./$12 DOS. The Double Cross Committee, with Tanks Of Zen, StoneBender, Trace., 8 p.m., $10.50 adv./$13 DOS.

HIP-HOP/R&B

NEUMOS: Fresh Espresso: SEE SHORT LIST, P. 39.

DANCE/DJ/ELECTRONIC

CHOP SUEY: 1325 E. Madison St., Seattle, 324-8000.

Martyparty, with Pressha, HZ Donut., 9 p.m., $10-$15.

RE-BAR: Trus’Me: SEE SHORT LIST, P. 39.

Saturday 10 ROCK/POP/INDIE

EL CORAZON: 109 Eastlake Ave. E., Seattle, 381-3094.

Hugh Cornwell, with Glen Matlock, Red Jacket Mine, Toxic Kid., 9 p.m., $15 adv./$17 DOS. FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Strong Killings, with Blood Orange Paradise, Smooth Sailing, Grimace, Junkyard Amy Lee., 9 p.m., $10.

HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. Ships, with Tomten, Ambulance., 9:30 p.m., $7.

SUNSET TAVERN: Judas Queen: SEE SHORT LIST, P. 39.

TRACTOR TAVERN: 5213 Ballard Ave. N.W., Seattle, 789-3599. The Twilight Sad, with Micah P. Hinson, Isis and the Ghost., 9:30 p.m., $12.

THE VERA PROJECT: Islands: SEE SHORT LIST, P. 39.

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

8th annual green 17 tour

RESPECT HIS LEGACY. DRINK SAILOR JERRY RESPONSIBLY. ©2012 Sailor Jerry Rum, 46% Alc./Vol. William Grant & Sons, Inc. New York, NY.

Seattle weekly • M ARCH 7–13, 2012

sailorjerry.com floggingmolly.com

41

presents at

seven»nights

DIMITRIOU’S

HIP-HOP/R&B

JEWELBOX/RENDEZVOUS: 2322 Second Ave., Seattle,

441-5823. Black Stax, 10 p.m., $10.

MUSICQUARIUM LOUNGE: 216 Union St., Seattle,

838-4333. Theoretics, 9:30 p.m., NC.

2033 6th Avenue (206) 441-9729 j a z z a l l e y. c o m

COUNTRY/FOLK/ROOTS

CONOR BYRNE: 5140 Ballard Ave. N.W., Seattle, 784-3640.

Spoonshine Duo, 9 p.m.

SHOWBOX AT THE MARKET: Woody Guthrie Project:

SEE SHORT LIST, P. 39.

JAZZ/BLUES

Oz Noy Trio featuring Keith Carlock and Darryl Jones

NEUMOS: 925 E. Pike St., Seattle, 709-9467. Zubatto

Syndicate, 8 p.m., $8.

THE WHITE RABBIT: 513 N. 36th St., Seattle, 588-0155.

Swing Night, with The Careless Lovers, The Fremont Playboys., 9:30 p.m., $5 adv./$7 DOS.

Guitar wizard joined by the most in-demand groove rhythm players including the drummer for Steely Dan!

Sunday 11

March 7

ROCK/POP/INDIE

FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400.

the world is fun invites you to join our fourth annual celebration of seattle’s best facial hair.

With 150 contestants at over 36 local businesses get ready for a month of fun filled festivities. Gather your friends, bring your pocket change, and together we will change the lives of foster kids through the power of facial hair!

Mindi Abair

Contemporary Pop-Jazz Trend Setting Saxophonist March 8 - 11

COUNTRY/FOLK/ROOTS

Lynne Arriale Trio

CHOP SUEY: 1325 E. Madison St., Seattle, 324-8000. Sons

of Warren Oates, with Alicia in the River, Lotte Kestner., 8 p.m., $6.

COLUMBIA CITY THEATER: 4918 Rainier Ave. S., Seattle, 723-0088. The Bad Things, with Eliza Rickman, Toy Box Trio., 8 p.m., $10.

Jazz piano trio combining intelligence and technical ability with a welcoming sensibility March 13 - 14

JAZZ/BLUES Monty Alexander: Uplift featuring Robert Thomas, Jr. & Hassan Shakur with Opener – Marta Topferova

Genre-Bending Piano Trio with World-Renowned Freestyle Percussionist March 15 – 18

838-4333. The Ted Vaughn Blues Band, 8 p.m., NC.

THE ROYAL ROOM: 5000 Rainier Ave. S., Seattle,

906-9920. Scrape, with Washington Middle School Fiddle Group., 6:30 p.m., $5-$15 suggested donation.

Monday 12 ROCK/POP/INDIE

COMET TAVERN: 922 E. Pike St., Seattle, 322-9272. Psycho FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Crimany,

with The Acid Helps, Apedog., 9:30 p.m., $5.

DANCE/DJ/ELECTRONIC

SHOWBOX AT THE MARKET: 1426 First Ave., Seattle,

628-3151. Feed Me, with Teeth All ages., 7 p.m., $22.50 adv./$25 DOS.

March 19

Chuck Loeb presents ‘Plain n’ Simple Live’

Seattle weekly • M ARCH 7–13, 2012

MUSICQUARIUM LOUNGE: 216 Union St., Seattle,

78, with Sir Coyler., 9 p.m., $5.

Eighth Annual Seattle-Kobe Female Jazz Vocalist Audition

42

3rd & Battery, with Bully the Kid, Disco For Deer., 9:30 p.m., $5.

HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. Monkeys In Space, with Morning Glory Revival, Something in the Trees., 8 p.m., NC. JEWELBOX/RENDEZVOUS: 2322 Second Ave., Seattle, 441-5823. The Wild, with Tribes, Tex, Swingset Showdown., 9 p.m., $8.

featuring Mitchell Forman & Lionel Cordew w/special guest Eric Marienthal March 20 - 21

ON SALE NOW En Vogue March 22 – 25

Kenny G April 26 – 29

Spectrum Road

featuring Jack Bruce, Vernon Reid, John Medeski & Cindy Blackman June 21 – 24

Tuesday 13 ROCK/POP/INDIE

FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Ed

Schrader’s Music Beat, with Battle Stations, So Pitted., 9:30 p.m., $7.

SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 784-4880. Whitney Ballen, with The Cat From Hue, Winnebago., 9:30 p.m., $6.

TRACTOR TAVERN: Release The Sunbird: SEE SHORT LIST, P. 39.

HIP-HOP/R&B

NEUMOS: 925 E. Pike St., Seattle, 709-9467. Saul Williams,

with CX Kidtronik., 8 p.m., $15.

JAZZ/BLUES

DIMITRIOU’S JAZZ ALLEY: 2033 Sixth Ave., Seattle,

441-9729. Lynne Arriale Trio, Tue., March 13, 7:30 p.m.; Wed., March 14, 7:30 p.m., $22.50.

Walk-ins Always Welcome!

AFROPOP/REGGAE/WORLD

All Ages • Free Parking • Gift Certificates

632-2020. Dynasty Records Birthday Bash 2012, with Blessed Coast Sound System, Zions Gate Sound., 9 p.m., NC. SHOWBOX AT THE MARKET: 1426 First Ave., Seattle, 628-3151. Balkan Beat Box, 7 p.m., $20 adv./ $25 DOS.

Military, Senior and Student Discounts

NECTAR LOUNGE: 412 N. 36th St., Seattle,

NEXT WEEK!

Seattle weekly • M ARCH 7–13, 2012

43

B.E.N.T.

ST. PATRICK’S DAY 3/17 DRAG SHOW @ 9 PM Drag Kings and Queens Performing DRINK SPECIALS ALL NIGHT

dinner & show

music»Karaoke Karaoke Listings ATLANTIC CROSSING 6508 Roosevelt Way N.E.,

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

DJ Mike Yoda

BLARNEY STONE 1909 Third Ave., 448-8439,

Spinning at 9 PM

blarneystoneseattle.com. NC. Saturdays, 9 p.m.

BOGART’S AIRPORT WAY 3924 Airport Way S.,

622-1119, bogartsairportway.com. 9 p.m. Mondays, Wednesdays–Saturdays.

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

THU/MARCH 8 & FRI/MARCH 9 • 8PM

BUSH GARDEN

leroy bell and his only friends

SCAN T H I S CO D E

TO DOWNLOAD THE FREE

SEATTLE WEEKLY

SAT/MARCH 10 • 8PM

dudley manlove quartet

“edge of seventeen” anniversary celebration SUN/MARCH 11 • 7PM NU BLACK ARTS WEST THEATRE PRESENTS

dark divas

IPHONE/ANDROID APP FOR MORE CLUBS OR VISIT

seattleweekly.com

MONDAY REGGAE NIGHT AT VIBE No cover $3 Heinekens / $5 Rum Punch DJ Ziggy at 9pm

Vibe Bar and Grill

Seattle weekly • M ARCH 7–13, 2012

next • 3/15 - 3/17 mark siano presents modern luv • 3/18 william fitzsimmons w/ denison witmer • 3/22 michael gira – of swans! w/ sir richard bishop • 3/23 darrell scott cd release • 3/24 girlyman w/ adrianne • 3/25 & 3/26 an evening with paul kelly “a to z” • 3/28 blame sally & rebecca pronsky w/ blvd park • 3/30 roy rogers & the delta rhythm kings • 3/31 ian mcferon band w/ kate lynn logan

44

PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW ALL-AGES (BEFORE 9:30PM)

thetripledoor.net 216 UNION STREET, SEATTLE 206.838.4333

CRESCENT LOUNGE

1413 E. Olive Way, 324-5358. Free. Daily, 9 p.m.

DANTE’S 5300 Roosevelt Way N.E., 525-1300, dantesseattle.com. Free. Mondays, 9 p.m.

DUBLINER PUB 3517 Fremont Ave. N., 548-1508, dublinerseattle.com. NC. Mondays–Tuesdays, 9 p.m.

EL NORTE 13717 Lake City Way N.E., 954-1349. NC. Thursdays, 9 p.m.

Send events to karaoke@seattleweekly.com

» by jeff roman

Un.cSIomC Tw.RlittYlerM LIVE COUN he ed ww THURSDAY MARCH 8

WES9PMJONES BAND - $3 COVER FRIDAY & SATURDAY MARCH 9 & 10

SAMMY STEELE BAND 9PM - $5 COVER JUKEHOUSE HOUNDS 9PM - $3 COVER

TO ENSURE THE BEST EXPERIENCE

2103 N. 45th St., 545-8363, changesinwallingford. com. NC. Wednesdays, Thursdays, Sundays, 9 p.m.

CITRUS 1001 Fairview Ave. N., 402-6364, citrus lakeunion.com. NC. Mondays, 10 p.m.

fourseasrestaurant.com. NC. Thursdays–Saturdays, 9 p.m.

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

HIDEOUT 1005 Boren Ave., 903-8480, hideoutseattle. com. NC. First Sunday of every month, 9 p.m.

HIGHLINER PUB AND GRILL 3909 18th Ave. W., 283-2233. NC. Fridays, 8 p.m.

MOLLY MAGUIRE’S 610 N.W. 65th St., 789-9643, seattleirishpubs.com/mollys/index.htm. NC. Thursdays, 9 p.m.

MONKEY PUB 5305 Roosevelt Way N.E., 523-6457, myspace.com/monkeypub. Sundays, 6:30 p.m.

ROCK BOX 1603 Nagle Pl., 302-7625, rockboxseattle. com. $7 per person per hour ($4 per person per hour during happy hour), Daily, 4 p.m.–2 a.m.

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

SCARLET TREE 801 N.E. 65th St. C, 523-8888, scarlet-tree.com. NC. Tuesdays, 9:30 p.m.

SPECTATOR 529 Queen Anne Ave. N., 599-4263, thespectatorsports.com. NC. Thursdays–Saturdays, 9:30 p.m.

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

NC. Thursdays, 8 p.m.

TIM’S TAVERN 602 N. 105th St., 789-9005, NC. Tuesdays–Thursdays, 9 p.m.

TONY’S BAR & GRILLE 14417 124th Ave. N.E., Kirkland, 425-825-8669. NC. Mondays–Saturdays, 9 p.m.

TUG INN 2216 S.W. Orchard St., 768-8852, tuginn.com.

NC. 8 p.m. Sundays, Wednesdays.

VENUS KARAOKE 601 S. King St., 264-1779. Daily, 2:30 p.m.–2 a.m.

WATERWHEEL LOUNGE 7034 15th Ave. N.W., 784-5701, thewaterwheellounge.com. NC. Tuesdays, Fridays, Saturdays, 8:30 p.m.

WHITE RABBIT 513 N. 36th St., 588-0155, fremont whiterabbit.com. NC. Wednesdays, 9 p.m.

KaraoKeKorrespondent

SUNDAY MARCH 11

• 3/7 sung park • 3/8 sam marshall trio • 3/9 owuor arunga quartet / 20 riverside • 3/10 theoretics • 3/11 the ted vaughn blues band • 3/12 free funk union • 3/13 trivia + industry night! • 3/14 kane mathis

CHANGES BAR & GRILL

226 1st Ave S - Kent www.thevibebarandgrill.com

WED/MARCH 14 • 7:30PM 91.3 KBCS WELCOMES

lucy wainwright roche

614 Maynard Ave. S., 682-6830, bushgarden. net. NC. Sundays, 5 p.m.; Mondays–Thursdays, Saturdays, 9:30 p.m.

FOUR SEAS RESTAURANT 714 S. King St., 682-4900,

4PM - OPEN MIC NIGHT W/ BILLY BODACIOUS TUESDAY MARCH 13

T&D REVUE 9PM

EVERY MONDAY AND WEDNESDAY

KARAOKE WITH DJ FORREST GUMP 9:00PM • NO COVER

FREE COUNTRY DANCE LESSONS WITH OUR HOST MARYANN AT 8PM; SUN, MON, TUES

HAPPY HOUR 9AM-NOON & 4-7 PM

WELL DRINKS & DOMESTIC BOTTLED BEER $2 16 OZ. MICROS $3.50 DINNER: 5-10PM EVERYDAY BREAKFAST & LUNCH: SAT 8AM-2PM / SUN 9AM-2PM 7115 WOODLAWN AVENUE NE 522-1168

Uncool as Ice

During my time writing this column, no karaoke company has kept me busier than Absolute Karaoke. They’re everywhere. After two and a half years of combing the greater Seattle area for fresh audiences to impress, I’m pretty certain no one has contributed more to the growth of karaoke here.

Whenever Absolute announces a new venue, my first inclination is to hit that spot immediately.

But I’ve learned (through attending some dead opening nights) that it takes about a month to get the word out and build a solid crowd. Last Saturday night, I hit up the Fremont Dock, a place where Absolute has hosted a karaoke show both Fridays and Saturdays since the beginning of the year.

I walked in at 11:30 p.m. It was far from a full house, but the singer ticker that rolled at the bottom of all the TVs showed a steady rotation of names. A decent amount of people were present, but there wasn’t enough of a concentration of bodies surrounding the stage area to feel like a cohesive audience. This place is primed to be taken over by big groups.

The host, Andrew—aka “KJ Upstairs”—is the newest member of Absolute’s stable of dynamic KJs. I found him to be very cheerful and approachable. He also played great cuts

between singers and kept the rotation moving quickly. I wasn’t able to get a great sense of his vocal ability (Absolute’s hosts usually have the best pipes in the room), but he did deliver a very entertaining rendition of Nelly’s “Ride Wit Me,” a number I’d always wanted to see someone try.

The rest of the singers sounded pretty drunk. The biggest group that night was dressed in formal wear, so they obviously had come from a wedding reception. They sang a lot of duets and group numbers. I jumped in with Erasure’s “A Little Respect,” and definitely caught some vibes from a couple of the bridesmaids.

My friend Nick performed “Ice Ice Baby,” and I messed up by telling him that song was on my list of 13 playedout numbers that require me to take a shot to help endure the pain of listening to it again. I tried to play it off by explaining it wasn’t the worst number on the list, but it was too late: I’d already embarrassed him.

I felt bad. Everybody’s got the right to sing whatever they want without having some asshole who thinks he knows everything about karaoke tell them what they’re singing isn’t cool. I mean, at least not to their face. E karaoke@seattleweekly.com THE FREMONT DOCK 1102 N. 34th St., 633-4300, FREMONT

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The Sweet Smell of Skunk T he Green Skunk, a new medical-

marijuana collective in north Seattle, had only been open a week when I visited on a recent Sunday. The friendly welcome and good cannabis I got there more than made up for a few minor kinks which hadn’t been worked out in the early stages of this shop’s operation—be advised that, based on my own experience, if you’re buying more than a quarter-ounce of flowers, it would be a good idea to carry your own baggies or bud jars.

In the bud room, two glass counters make a right angle. On my right were the medibles, with baked goods, candies, and suckers (about a dozen different items in all). On my left were the cannabis flowers and concentrates.

That counter held about 20 varietals, along with Rick Simpson Oil ($40/gram), blonde press kief ($20/gram), and pressed hashish ($20/gram). The flowers came in at donation points of $8 (just one strain), $10 (10 strains), $12 (11 strains), and $15 per gram (five strains).

I’m no fan of donating $15 a gram, but if any weed in town is worth that much, this would be it.

After having budtender Erez get out numerous strains for eyeballing and smelling, I decided on Midnight Kush, which was on sale for just $6 a gram the day I visited; two $12 strains, Blueberry (a hybrid) and Hash Plant (an indica); and one top-shelf $15 strain, Crackberry (a sativa dominant which crosses Green Crack and Blackberry).

I was pleasantly surprised by the potency of the cheap Midnight Kush. It had a loose trim which left on a few sugar leaves, but I don’t

MONTHLY RAFFLES

mind those at all—I disagree with some aficionados who claim leaving on those tiny, trichomeencrusted leaflets make the flowers taste harsher when toked. (I had to laugh when one would-be “expert” made the pronouncement—from Vegas, no less, after having seen only a photo of the weed in question—that it was “not medicine,” particularly since at the time I was quite medicated on those very flowers.)

The two $12 strains highlighted the wonderful fact that cannabis can have great variability when it comes to terpenes (the ingredient responsible for the smell), yet still get you effectively medicated. One of them, Blueberry, had the sweet smell and taste of its namesake, particularly on the first few tokes. It resulted in a sativa-dominant high with a zinging mental energy and strong munchies. The other, Hash Plant, had chunky, funky, and very skunky flowers which offered strong indica potency with pronounced couchlock and pain relief.

Then there was the top-shelf Crackberry.

I’m no fan of donating $15 a gram, but if any weed in town is worth that much, this would be it. It’s an energetic sativa-dominant, so if you need to medicate but have tasks such as housework to accomplish, Crackberry is a great match for you, and will effectively dispatch your nausea in the bargain.

The Green Skunk is at 11231 Roosevelt Way N.E., 417-1973, thegreenskunk.com, e-mail thegreenskunk206@gmail.com. It’s open 11 a.m. to 8 p.m. seven days a week. E Steve Elliott edits Toke of the Town, Village Voice Media’s site of cannabis news, views, rumor, and humor.

For Cannabis Culture News and Views, visit Seattle Weekly Partner Site TOKE OF THE TOWN.COM

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WE ACCEPT

The breaking of hearts is a serious business, so you’re right to treat it with gravitas. Which is not to say you have to schlep all the way back to your hometown to do it in person. You’re in a long-distance relationship, so doing the deed via phone or Skype is perfectly fine.* If you’re using Skype, though, do him a favor and dress down.

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I think I’m just going to go home with a friend (a girl!) who lives around here to avoid the confrontation. Is it OK to break up with him over the phone, or do I have to go home and do it in person? We’ve been together for a year, if that makes any difference.

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Systems Analyst Amgen Inc. has an opportunity for Sr. Assoc. IS Business Systems Analyst. Reqs: MS & coursework/exp w/ bio-engineering and/or medical instrumentation; developing operating procedures & technical documentation; quality assurance & failure analysis; solution design & testing; bio-scientific terminology; SW architecture & creating distributed apps; adv tech writing; leadership; Organic Chem. Job site: Seattle, WA. Reference # 7Q4NNH & submit resume to Global Mobility, Amgen Inc., One Amgen Center Drive, MS B36-2-C, Thousand Oaks, CA 91320. No phone calls or emails. Must be legally authorized to work in the U.S. w/o sponsorship. EOE

102 Architecture/Engineering ENGINEERING Philips Oral Healthcare, Inc. has the following job opportunity available in Bothell, WA: Sr. Function Creation Process Engineer (SFCPE-WA) - Drive development and verification of functional embodiments against functional requirements using mechanical (et al.) engineering knowledge, conceive devices for cleaning teeth. Submit resume by mail to: Philips People Services, International Mobility, 200 Minuteman Rd, MS 5303, Andover, MA 01810. Must reference job title and job code SFCPE-WA.

Technical Cisco Systems, Inc. is accepting resumes for the following position in Seattle, WA: Software Engineer (Ref# SEA1): Responsible for the definition, design, development, test, debugging, release, enhancement or maintenance of networking software. Please mail resumes with reference number to Cisco Systems, Inc., Attn: J51W, 170 W. Tasman Drive, Mail Stop: SJC 5/1/4, San Jose, CA 95134. No phone calls please. Must be legally authorized to work in the U.S. without sponsorship. EOE. www.cisco.com

Employers

We can take your employment ads via email classifieds@seattleweekly.com

TOKE OF THE TOWN.COM For Cannabis Culture News and Views, visit Seattle Weekly Partner Site Housekeeping Job Fair ARAMARK @ SAFECO FIELD

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No exp necessary.

Training Courses Available.

1-800-965-6520 x 309.

185 Miscellaneous $$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 www.easyworkjobs.com (AAN CAN) EXCELLENT WEEKLY INCOME processing our mail! FREE Supplies! Bonuses! Helping Home-Workers since 1992!

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193 Employment Information MYSTERY SHOPPERS Get Paid To Shop! Retail/Dining Establishments Need Undercover Clients To Judge Quality/ Customer Service. Earn Up to $150 A Day. Call 877-737-7559

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300 Rentals 305 307 310 315 320 330 340 350

355 Roommates 360 Rooms for Rent 363 Roommate Services Apartment/Condo/Townhome 365 370 House/Duplexes for Rent Short Term/Corporate Housing 380 Manufactured Home Rentals 390 Vacation

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Cellco Partnership and its controlled affiliates doing business as Verizon Wireless is proposing to replace an existing 85-foot light pole with a new 98-foot monopole, located at 16201 24th Street, Bellevue, Wa. Ancillary ground equipment will be placed just west of the new tower. Any interested party wishing to submit comments regarding the effect the proposed facility may have on any historic property may do so by sending such comments to Tetra Tech, Inc. c/o Paul Bean at 19803 North Creek Parkway, Bothell, Washington 98011.

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SHORELINE $950 Large 2 bedroom, 2 bath, walk in closets, and deck. Swimming Pool on site, walking distance to Salt Water Park and Puget Sound beach. Close to everything and yet in a quiet community. Richmond Beach Rd. at 15th N.W., 98177 (206) 353-5516

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350 Vacation Two Ocean Front Homes 20% OFF DISCOUNT* Newport Oregon Area Fully Furnished. Private beach access. Pets OK. Sleep 9-14 $225/Night Mid Week Discounts Available. (*Excludes Holidays). 503-678-1144

ASTHMA STUDY University of Washington researchers are seeking volunteers to participate in a study about the causes of asthma. There will be up to seven visits at the medical center involving diagnostic tests for asthma, 3 exercise tests and 2 medical procedures called a bronchoscopy. Compensation will be provided for time and inconvenience. To qualify, you must be 18-59 yrs old, be available on a Tues. or Thurs., have a physician diagnosis of asthma, be in good physical condition, be a non-smoker, able to exercise vigorously on a treadmill and have no other major health problems. For more information contact the study coordinator at (206) 221-6393 or uwasthma@u.washington.edu (The confidentiality of email cannot be guaranteed) University of Washington MAPP Research Study Do you experience pain, pressure or discomfort related to your bladder and/or pelvic region? Do you feel pain as your bladder fills?Are you a female over 18 years old? Have you had these symptoms for less than 2 years? If so, you may be eligible to participate in the UW study of pelvic pain! Contact the research coordinator at mapprc@uw.edu or 206.616.4497 for more information. Note we cannot guarantee the confidentiality of any information sent via email. Look up our study at www.ClinicalTrials.gov (search for NCT01098279).

Volunteers Needed for HPV Research Researchers at the UW are performing a study to learn more about a person’s immune response to HPV. If you have received the HPV vaccine in the past year, you may be eligible.

Participation includes a clinic visit and blood draw. If you are interested, please call the UW Virology Research Clinic at 206-520-4340 and mention the “HPV study”

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595 Volunteers

527 Legal Notices

Housekeeping Job Fair • Detail Workers • Event Worker • Post Event Workers • PT Housekeeping Positions

BELLTOWN Studio Avail Now $700 2 blocks to Pike Place Market & Westlake Center.

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Seattle Weekly

3/12 from 9am - 12pm Come to the NE VIP located on the north side of the stadium.

Out of Town Storage Boat/Dockage Comm Rentals Rentals Wanted Miscellaneous Rental Services

Greenlake/West Seattle $400 & up Utilities included! busline, some with private bathrooms a Please call Anna between 10am & 8pm a 206-790-5342

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Seattle weekly • M ARCH 7–13, 2012

Tues March 13th from 10:00 am - 1:00 pm Wed March 14th from 10:00 am - 1:00 pm Ellis Pavillion located on 1st Ave. next to the Mariner’s Home Plate Entrance.

Seasonal PT Housekeeping Positions EOE

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51

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Fantagraphics, Elysian and Charles Burns Serve Up 12 Beers of the Apocalypse In a year-long wind-up to the end of all time (according to

the Mayan calendar), Elysian Brewing Company and Fantagraphics Books, are planning a series of twelve beers, issued on the 21st of each month in 2012 and featuring label artwork by Charles Burns. Taken from Burns's weirdly apocalyptic work Black Hole, the labels will adorn Elysian's "Twelve Beers of the Apocalypse," featuring the creativity and unusual ingredients for which its brewing team is known. See Fantagraphics.com for more details.

REMEMBER: THE END IS BEER.

Asthma Study Volunteers needed to participate in a study about the causes of asthma. There will be up to seven visits to the University of Washington Medical Center. You will undergo diagnostic breathing tests for asthma. A total of 3 maximum effort exercise tests, 2 sputum induction tests and 2 medical procedures called bronchoscopy, where a physician uses a lighted tube to look directly at the air passages of the lungs and takes small airway samples. Compensation will be provided for time and inconvenience. You must be: • • • • • • •

18 - 59 years old Have a physician diagnosis of asthma With or without exercise induced symptoms Be in good physical condition Be a non-smoker No other major health problems Be available on Tuesdays or Thursdays

11231 Roosevelt Way NE / Seattle, WA 98125

*some restrictions apply on all strains except private reserve label

TheGreenSkunk206@gmail.com www.thegreenskunk.com In compliance with RCW 69.15A

For more information contact the study coordinator at 206-221-6393 or email uwasthma@u.washington.edu.

(The confidentiality of email communication cannot be guaranteed)