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HOW THEY MET. PAGE 6

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inside» February 22-28, 2012 VOLUME 37 | NUMBER 8 » SEATTLEWEEKLY.COM

»16

»8

up front 6

NEWS

THE DAILY WEEKLY | Celebrating

Washington’s same-sex-marriage victory with snapshots of romance.

FEATURE

BY JOSHUA FRANK | In a follow-up to our October cover story, more scientists are discovering dangerous situations at Hanford—and fearing for their jobs.

in back Tragic love at Seattle Opera, Mark Rothko at the Rep, and film noir at SIFF.

16 ARTS

16 | VISUAL ARTS | Lust for life:

Gauguin at SAM. 19 | THE FUSSY EYE | Four seasons

in one room.

28 | FIRST CALL | Until mezcal arrives,

here’s a perfect margarita. 31 | A LITTLE RASKIN | 826 Seattle

cultivates tomorrow’s foodies.

33 MUSIC

33 | LOCAL LABELS | Creative control,

artisanal vinyl, and no middlemen. 35 | SOFT HILLS | Looking overseas for

label representation paid off. 37 | REVERB | Home refinancing and gay marriage: the metal perspective. Plus, a singer/songwriter goes legal, and more. 38 | THE SHORT LIST | The Darkness, Blue Sky Black Death, and other cheery harbingers of spring.

Choices...

other stuff

Seat tle weekly • Febru ary 22–28, 2012

15 THE WEEKLY WIRE

»27

20 | EAR SUPPLY | Gems of many lands.

21 FILM

THIS WEEK’S ATTRACTIONS

Paul Rudd and Jennifer Aniston are terrorized by nudist hippie vegans!

27 FOOD

27 | ANTHONY’S | At Alderwood Mall, life beyond Sbarro’s. Way beyond.

»cover credits

PHOTOS BY: STEVEN MILLER

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How They Met

Our cover subjects answer the question eventually asked of every couple.

By CaleB Hannan

he law legalizing same-sex marriage which Governor Chris Gregoire signed last week is almost certainly going to be challenged on the ballot in November. But forget for a second about the headaches brought on by the democratic process, and focus instead on the nine couples sucking face on our cover. Married couples come in all shapes, sizes, and—now with the blessing of Washington’s legislature—chromosomal configurations. That we share the same hopes and fears should by now be obvious. But if it isn’t, we decided to ask each of our cover subjects a question that’s universal for all pairs: How’d you meet? We didn’t do this by e-mail. And we didn’t do it individually. To ensure the most When Harry Met Sally–like responses, we made sure that both representatives were on the line, whether by conference call or speaker, so that all their couple-specific quirks could be recorded for posterity. Small edits were made for space, and not all interviews made it to print (for the rest, see seattleweekly.com). But what you’ll read here is as faithful a representation as we could get of how these very committed folk actually talk to one another. When, of course, they’re not using their lips for something else.

1. Parker Travis, 50, financial accountant at Seattle Weekly (on the right in the cover photo): We met through a hiking group. I was a member for some time, and just kind of showed up at our meeting place, and Paul was there with a good friend of ours. We flirted over the course of many weeks on different hikes. And then at the end of August we went on our first date. Paul Hill ii, 46, paralegal (on the left):

We actually flirted for several months.

Seattle weekly • February 22–28, 2012

A couple months.

It’s an outdoor adventure group called Outventures. This was in 2005. I think I was the pursuer.

I was interested. He’s kind of a subtle pursuer. I didn’t really realize it at first. It wasn’t until we were on a camping trip with a big group of people and he and I ended up by a river. By ourselves.

By ourselves, talking and looking at the stars. And then one thing led to another. Then I kissed him. That’s what he means.

[And the name of that river?] The Bumping River. [laughter]

2. ramie suTTer, 39, EMT (right): I was

having coffee, sitting by myself at Vivace. This beautiful lady, as she was leaving, she popped a note on my table. And . . . Dana WallenTine, 31, full-time student

at the University of Washington’s Foster School of Business (left): And that’s what I did. I said you are beautiful, please give me a call, maybe we can have coffee together sometime. And gave her my number!

And we did. Four years ago.

Oh, and I got her to move to Seattle. She never went home to Palm Springs. I wasn’t living here at the time. So basically I stayed for her.

And braved the cold and wet, like a champ. Most of the time. Our heat is on 80 degrees constantly. It’s not very often that the pretty girl chases me. I usually have to use a lot of humor and charm.

Have you seen our picture? She was on a stool the entire time! I’m often on my tiptoes. But my calves look amazing.

3. Carlos GarCia, 41, product

merchandiser at Nordstrom (right): Jim and I met because we were both doing volunteer work for an arts group in San Francisco called Visual Aid. I was 23 at the time. James Harris, 50, owner of James Harris Gallery in Pioneer Square (left): And I was 33.

We were going to hang up artwork made by artists who had AIDS in high schools for World AIDS Day. Jim picked me up in his little white pickup, wearing his little white T-shirt. Jim, you go ahead and interrupt me if I get any of this wrong. Jim kept on talking about his boyfriend—basically telling me, “Don’t be interested in me because I have a boyfriend.” I was like, “Fine, I don’t care. You’re old.” Fast-forward to March. I was leaving my job to go to a meeting for [Visual Aid]. But I guess I got the time wrong, because when I showed up, the whole group was like, “OK, that was a great meeting, we’ll talk to you guys later.” I used to bike around San Francisco, and this guy comes up afterward and says, “Hey, nice to see you. I see you’ve got your bike. Need a ride home?” So I say “Oh, great, thanks, that’d be awesome!”—the whole time thinking “Who the hell are you?”

At one point he put his card with his name on [my truck’s windshield], saying “Call me sometimes.” That was after we’d already met! I thought you were cute by then.

We started going out around May, and that’s why we call our official anniversary May 6. Is it May 6? I thought it was May 3rd.

No, it’s May 6 [audibly disappointed]. It’s the day after Cinco de Mayo. You still have that business card I left you, don’t you?

I probably do, yeah. And 17 years later we’re still together!

4. leslie BoWer, 33, practices Chinese medicine (left), and JessiCa ronGiTsCH, 40, primary-care doctor (right): see seattleweekly.com. 5. JosH roHr, 36, physician’s assistant

(left), and Jeff maGGioli, 42, first-year nursing student at the UW (right): see seattleweekly.com.

6. Stephenie Landry, 34, runs

Amazon’s baby division and is very pregnant (right): We met in high school. aLiSon BiLLingS, 37, manages T-Mobile’s mobile payments business (left): We did not meet in high school. That has a whole different connotation. Stephenie was a friend of my brother’s. OK. I probably first met Alison while playing with her brother at the age of 13 at their parents’ house. Her brother and I were really good friends.

That’s the first time we met. The second time we met I was living in California. Alison and I were both living in San Francisco, but we didn’t know that. A mutual friend invites us out for dim sum, and when I arrive Alison is sitting right there. I was like, “Hey, you’re Brian Billings’ sister!” But I was thinking “And you’re gay!” I was pretty excited.

And then we hung out again. Stephenie was moving into a . . . Oh, come on. I asked Alison out on a date right away, and Alison wouldn’t go out with me because I was her brother’s friend. All the other stuff is not that interesting.

She was a friend of my brother’s! [laughter] My mother made a very distinct point that Stephenie was Brian’s friend and I was not

when Mark was there . . . were you MC that night or were you just a guest?

I was just a drunk. A guest, I mean. I played “I’ll Be the Fool for You” by Dr. Buzzard’s Original Savannah Band. Within the first hour of our meeting, he had declared that I was his new boyfriend. Like a child will say “That’s hot” or “That’s red.” I was his boyfriend, and he was going to make it stick. And he did.

My version of the story was way more succinct. Caleb is a professional! He can edit them down into one version!

8. aLicia Berger, 48, writer/visual artist

(left): Jodi was a barista at Vivace and I was a customer. I had just broken up with somebody and had lost a lot of weight, so I went to Vivace and got a mocha with whipped cream, which wasn’t what I normally ordered. I thought she was cute— she always remembered me as “mocha with whipped cream,” and because she was cute I would get that. Jodi JaecKS, 46, private chef (right): She was trying to gain weight because of her breakup. Every time I would be working, I’d see her at the end of the line and say “Oh,

E L A S E T U C nual

Steven Miller

5th An

to go out with her. Which also spoke a great deal to my mother’s confidence in my dating ability.

That was 11-and-a-half years ago. Alison probably knows the exact date too. You know the date, honey?

November 25th.

7. Kurt reighLey, 44, KEXP’s DJ El

Toro (right): The flashpoint for me is Dr.

Buzzard’s Original Savannah Band. MarK MitcheLL, 49, costume designer

(left): That was the song he was playing when we officially met at an underground nightclub downtown. He was DJing when I walked in. I threw myself at him. And I kept throwing myself at him until he caught me. That’s pretty much the gist of it. We are both friends with Paula [a burlesque performer known as The Swedish Housewife]. In 2002 I was DJing different parties for her at a place that was then known as the Catwalk. One night

I asked her one day what was up, because she didn’t look like she was having a good day. She said she had just broken up with her girlfriend, and I said “I’m so sorry,” but walked out thinking “Yes!” So I made her a breakup mixtape. You might not want to print that.

She forgets the part where I said “So when are we going to have lunch?” We’ve been together now for eight-and-ahalf years. In case you can’t tell from the photograph, last year she had breast cancer.

He probably just thought I was really butch.

25%

OFF

She’s very good with numbers.

cute girl is here.” She says she asked me out, but I think we asked each other out.

EVERYTHING! FEBRUARY 23--29

9. chriS caLiz, 32, Microsoft program manager (left), and nathan FiSh, 32, Microsoft program manager (right): see

seattleweekly.com. E channan@seattleweekly.com

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Seat tle weekly • Febru ary 22–28, 2012

Dating Alison strengthened my relationship with her brother, too, which is fun because I’ve known her family since I was a little kid.

Mitchell (left) and Reighley locking lips. Hear the song that brought them together at seattleweekly.com.

Toxic Avengers O

Seattle weekly • February 22–28, 2012

Donna Busche, who has been employed by contractor URS (originally known as United Research Services) as acting Manager of Environmental and Nuclear Safety at Hanford’s Waste Treatment Plant (WTP) since 2009, is among the latest of these senior managers to speak out about what she sees as the silencing of those who raise concerns about possibly lethal safety issues. Last November, Busche filed a complaint of discrimination under the federal whistle-blower protection statutes with the U.S. Department of Labor, alleging retaliation against her for reporting problems at the WTP, which one day will turn Hanford’s 56 million gallons of highly hazardous radioactive waste into storable glass rods through a process known as vitrification. Climbing the corporate ladder in the maledominated engineering world was no easy feat. But Busche, as numerous co-workers say, is tough, politically savvy, and scientifically skilled. After attending graduate school at Texas A&M and before arriving at Hanford, Busche was the Chief Nuclear Engineer and Manager of Nuclear Safety at the DOE’s Waste Isolation Pilot Plant in Carlsbad, New Mexico. Busche’s job at Hanford is to ensure that the site’s contractors produce adequate documentation to support the contractor’s compliance with federal environmental and nuclear-safety laws, meaning that virtually no aspect of construction can take place at the WTP until Busche says it is safe to do so. “I’m where the nuclear-safety buck stops,” says Busche. If Busche says “Stop,” the work must stop. But saying “Stop” to the wrong guys, Busche claims, has gotten her in a heap of trouble with Hanford higher-ups. Among her grievances, Busche claims that she has been sexually harassed by URS manager Bill Gay. In Busche’s official complaint, she explains that Gay made inappropriate and sexist comments to her in an unscheduled

PETER RYAN

nce home to the nation’s largest plutonium-making facility, Hanford, Washington, is now one of the most toxic nuclear-waste sites in the world. The U.S. Department of Energy (DOE) is currently spending $2 billion a year to clean up the 586-square-mile reservation. However, not all is well on Washington’s dusty southeastern edge: Whistle-blowers are stepping forward, claiming that taxpayer money is being spent recklessly on a project riddled with potentially deadly design defects.

More scientists claim the Department of Energy and its contractors are suppressing potentially deadly flaws at Hanford. BY JOSHUA FRANK meeting, “including comments that women react emotionally while men use logical thinking.” Gay also allegedly told Busche that, as an attractive woman, she should use her “feminine wiles” to better communicate with her male cohorts. Gay apparently also said that if Busche were single, “he would pursue a romantic relationship with her.” Busche notified Human Resources shortly after Gay made

these remarks, at which point he reportedly apologized. Gay would not comment on the allegation. Perhaps even more damaging are Busche’s claims that, beginning in 2010, the lead contractor at Hanford, Bechtel National Inc., shirked safety compliance, signing off on shoddy work in order to meet deadlines that would earn the contractor large financial

incentives. For example, radioactive-waste stirrers called pulse jet mixers have had numerous design problems, such as erosion and potential leaking. Despite these concerns, Bechtel pushed through testing saying they were sound. Their timing was impeccable: It was late June 2010, and by having their plans finalized by the end of the month, the company would receive a $5 million bonus for reaching cost and schedule goals. Busche says that during this time she was viewed as a roadblock to meeting these goals. As a result, Busche’s concerns were suppressed and Bechtel managers allegedly sought ways to retaliate against her. But management at Bechtel and the DOE didn’t know whom they were dealing with. In October 2010, Busche took her concerns to the Defense Nuclear Facilities Safety Board (DNFSB), an independent governmental organization that oversees health and safety issues at the DOE’s nuclear facilities. After her comments were made during a public hearing with DNFSB on October 7, Busche says she was “openly admonished by former DOE Assistant Secretary Inés Triay for her testimony.” In her Department of Labor complaint, Busche alleges that after her testimony, Triay told her “If [your] intent was to piss people off [with your testimony, you] did a very good job.” (Triay, now a Visiting Scholar at Florida International University, did not respond for comment after multiple phone calls and e-mail requests.) When Busche showed up for a second day of hearings, she claims she was approached by Frank Russo, who runs the WTP project for Bechtel; Bill Gay; and Leo Sain, a senior URS vice president. They all urged her to recant her earlier testimony when she met with the DNFSB. She replied that she would not. Even worse, when Busche returned to work after the hearings, she alleges WTP management kept her isolated and out of meetings that she was both authorized to and required to attend. She also says that since Bechtel “controls the work and supervision of persons assigned to [her],” that the company has “actively sabotaged her work since [Bechtel] employees go around her, defy her efforts to supervise them . . . all without consequence.” She is currently awaiting a response from the Department of Labor about her complaint. Busche’s story—when coupled with that of the DOE’s Dr. Don Alexander, as outlined in Seattle Weekly last fall (“The Nuclear Option,” October 19)—provides ample evidence that management at both Bechtel and the DOE are at best ignoring, and at worst actively retaliating against, experts with inconvenient opinions. And because it’s nuclear waste that’s being dealt with, their alleged negligence could ultimately prove deadly.

he government’s manufacturing of plutonium to fuel the atom bomb was a scientific feat unlike any that came before it. At the nucleus of this gargantuan undertaking was Hanford. The roaring Columbia River provided the much-needed water to help keep its reactors consistently cool, and Hanford’s remoteness allowed the facility to operate with scant international attention. Today Hanford no longer produces plutonium for nuclear weapons. Instead, the scientific and engineering minds employed there are tasked with an equally, if not more, daunting endeavor: cleaning up one of the largest radioactive nuclear-waste sites in North America. The DOE manages the Hanford project for the federal government, but contractors such as Bechtel and URS act as the design and contract specialists for the site’s most important undertaking, the construction of the WTP. Once the glass rods roll out of the WTP, which will be a first-of-its-kind operation, they are to be stored in a safe place where a radioactive leak is far less likely than it is today—Hanford’s waste currently remains in old, underground tanks that are decades past their lifespan. While Bechtel holds the primary contract with the DOE to build the WTP, URS acts as their subcontractor, and the companies split all fees 50/50. URS also holds another contract for managing Hanford’s Tank Farms, where the 56 million gallons of radioactive waste are held. Over the duration of the WTP contract, from 2001 to today, Bechtel has raised their proposed budget from $4.3 billion to $12.263 billion, with more increases likely to come: In late August the DOE’s Construction Project Review team estimated an extra $800 to $900 million would likely be needed to finish the job. Watchdog groups, like the Seattle-based Hanford Challenge, say the final cost could top $20 billion.

This incident wasn’t unique: A 2007 SIGIR report found that fewer than half of Bechtel’s projects had met their original objectives. Additionally, the majority of Bechtel’s Iraq projects were canceled, reduced in scope, or never completed at all. Now a number of engineers and scientists, like Don Alexander, are wondering why Bechtel isn’t coming under the same kind of congressional scrutiny for its even larger contract to build the WTP.

high-ranking DOE scientist at Hanford, Alexander first spoke out in this publication to express his concerns with managerial and operational aspects of his work at the WTP, as well as the plant specifications that had been carelessly accepted as safe and sound. In one instance, Alexander pointed out the DOE’s and Bechtel’s refusal to re-evaluate their so-called pulse jet mixer design, which is supposed to keep the radioactive waste at the WTP constantly moving, after his own studies showed that the containers that held the mixers would erode, potentially causing a lethal radioactive leak. Alexander says that following the article, the DOE is now paying close attention to the issue, and has assigned one expert from the Massachusetts Institute of Technology, nine full-time staffers, and 11 Bechtel employees to resolve these design problems. But new evidence has emerged in a lawsuit, filed last May in Washington state court by Dr. Walter Tamosaitis of URS, that implicates high-level DOE employees in the silencing of Tamosaitis, who was removed from his management position at the WTP after he raised concerns about the plant’s faulty design. In a deposition taken in this lawsuit in July, Bechtel’s Frank Russo verified the names of DOE officials with whom he had discussed Tamosaitis: Dale Knutson, federal project director for the DOE

Feb 28th through March 3rd 10am - 6pm

The majority of Bechtel’s Iraq projects were canceled, reduced in scope, or never completed at all. at Hanford; DOE Deputy Secretary Daniel Poneman; and Inés Triay, who served as Assistant Secretary for Environmental Management under Secretary of Energy Stephen Chu until July 2011. Triay and Poneman were Obama appointees. In the deposition, Tamosaitis’ lawyer, Jack Sheridan, asked Russo whether or not he had, via e-mail, told his boss, Bechtel President David Walker, that Triay, Poneman, and Knutson all “understood the reason for Walt’s departure” and that “DOE can’t be seen as involved.” Russo confirmed this, admitting to telling Walker that he had briefed Triay and Poneman on the issue. In early November 2011, Tamosaitis filed a second lawsuit against Bechtel and the DOE in federal court. Among other things, Tamosaitis’ suit alleges that Bechtel management and DOE brass were concerned that the issues Tamosaitis was raising could put an additional $50 million of WTP funding in jeopardy.

» Continued on page 11

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Either Bechtel drastically underestimated the cost to build the WTP, or they blatantly misled DOE when they said they could complete the project for $4.3 billion. This is not the first time Bechtel has increased a government contract and failed to deliver: In March 2006, the Special Inspector General for Iraq Reconstruction (SIGIR), an oversight group set up by Congress to keep an eye on government contracts in Iraq, found that Bechtel was mismanaging a hospital project that was way over budget. In mid-October 2004, Bechtel scored the contract to build an Iraqi children’s cancer hospital for $50 million, promising to complete the construction by late December 2005. However, SIGIR’s report found that Bechtel likely wouldn’t finish work on the hospital until at least July 2007, with a final price tag of $169.5 million. After SIGIR’s report on Bechtel’s gross mismanagement, the government canceled the company’s contract for the hospital. Another contractor later completed the hospital construction in 2010.

Seattle weekly • February 22–28, 2012

Toxic Avengers » FROM PAGE 9 The DOE has filed a motion to delay certain evidentiary aspects of Tamosaitis’ case from being allowed in future court proceedings. On Monday, February 20, the DOE asked the court to dismiss the suit. The court trial is tentatively set for June 2013, nearly three years after Tamosaitis’ termination by Bechtel from the WTP. Additionally, in early December, Tamosaitis testified in front of the U.S. Senate’s Homeland Security and Governmental Affairs Subcommittee. At the hearing, he explained how he was removed from his job and forced to work in an offsite windowless basement office as a warning of sorts to others who were contemplating speaking out. The panel is currently considering legislation that would extend whistle-blower protections to employees of government contractors. The DOE says they do not comment on issues related to pending litigation, such as that levied by Tamosaitis. But now, for the first time, two veteran Hanford scientists are adding their experiences to this unfolding saga by blowing the whistle on what they see as blatant corruption and mismanagement at Hanford’s WTP. With these endeavors, the new whistle-blowers claim, DOE management is not only complicit, but taking direct actions to hide glaring technical problems from the public—problems that could lead to a catastrophic nuclear accident.

Solution option. DOE, however, ended up opting for Thorson and Bruce’s design. Tamosaitis, then serving as URS management advisor for the precipitation study teams, says, “Murray [Thorson] and Dave [Bruce] had the undisputed answer to the problem. Everyone knew it, but despite this fact, Bechtel management did not want to accrue the costs of the fix. So they picked the cheaper, less adequate solution. “Bechtel knew darn well DOE would [not pick the Operating Solution], and would go with the Equipment Option,” Tamosaitis continues. “But they pursued this approach anyway, so that DOE would ultimately cover the cost”—because, according to their contract, if the DOE picks a more expensive solution to a problem, they, rather than Bechtel, have to cover the costs by adding funds to Bechtel’s [baseline] budget. “Bechtel is the best at playing the game of getting the most taxpayer money to address technical issues that are their responsibility,” says Tamosaitis. “They wait for DOE to give them more money. This maximizes their profits at taxpayer expense. If they don’t get the money, they just move on. It’s the only business where not doing it well leads to more profits—all of which is taxpayer money.” Bechtel spokesperson Suzanne Heaston defends her company via e-mail, stating, “The Operations option fully met all technical requirements and had a lower installed cost.” “Bechtel was not very excited about our approach,”

and claimed the resin was fine as it was. The DOE thought otherwise, and the agency’s federal director at the time, John Eschenberg, authorized the group Thorson was working in to move ahead with the new resin development, agreeing to cover the research costs, which were added to Bechtel’s WTP budget. After several years of research and testing, Thorson’s efforts paid off, and his resin was demonstrated to be a tremendous success. The new resin was substantially less expensive than the original resin. When all is said and done, Thorson’s resin will save taxpayers at least $3 billion.

hortly after the DOE chose Thorson and Bruce’s Equipment Option, Thorson wanted out. He did not feel his work was being adequately appreciated at the WTP, though he’d saved the project billions of dollars. When an opening arose at Hanford’s Tank Farm, which handles the underground storage containers that hold the toxic site’s remaining nuclear waste, Thorson went after it, even though it carried a lesser title. “I want to be clear: Bechtel did not force me to leave my job at WTP,” says Thorson. “But the environment they created there, where good work isn’t recognized, was one that I could no longer [work in]. I wanted WTP to operate properly, and believed my new job would continue in these efforts.” Thorson’s new job was to work on an oversight group called CLIN 3.2,

“This sucker is not going to run as currently designed, plain and simple, and a heck of a lot of people around here know it but are too afraid to speak up.” ing nuclear waste into glass, would cause the columns to plug or fail to function, jeopardizing the operability of the entire WTP facility. Starting in 2007, Bruce and Thorson had reached out to management with their concerns. But after being repeatedly ignored, they met with the DOE to outline the serious technical flaws in Bechtel’s proposed design. Only then did Bechtel agree to do something about it. An ad hoc group was then formed, with Bruce and Thorson on one team and another set of engineers from Bechtel and URS on another. The two pursued a fix for the buildup of precipitation, which became known as the Equipment Option, while the other group developed an alternative Operating Solution. The Equipment Option was projected to take five fewer years to process Hanford’s nuclear waste into glass. At an operating cost of roughly $1 billion per year, that’s a $5 billion savings for taxpayers. The Operating Solution, on the other hand, might temporarily fix the issue, but would provide less reliability and less flexibility and increase the amount of time needed to process the nuclear waste. More important to Bechtel, however: The Operating Solution would have cost less in construction dollars to implement. Bechtel took both options to the DOE, stating their recommendation of the Operating

Bruce says with a chuckle before turning serious. “Murray Thorson is a brilliant engineer, one of the best I’ve ever worked with, and the fact that Bechtel didn’t even really want to hear what we had to say on the issue was very disheartening, to say the least.” Thorson’s other accomplishments at the WTP are well-documented. From 2002 to 2008 he led a highly successful effort that resulted in changing the type of resin used in the WTP’s ion-exchange columns. This resin acts as a sponge to separate radioactive cesium from the waste, helping to decontaminate Hanford’s radioactive material before it is processed into glass. Bechtel was not supportive of Thorson’s efforts, however, because more than $11 million worth of research and testing was required to develop and qualify the resin, despite its potential long-term savings of billions of dollars. Another resin already existed, and despite all its problems and associated high cost, Bechtel contended it was acceptable, and told Thorson to stop the development effort. All indications were that the original resin was not going to work—it gummed up, potentially plugging and causing the system to fail. Even so, URS and Bechtel management disagreed with staff recommendations

responsible for looking at long-term operability issues at the WTP. Though technically still a URS employee, Thorson would be working for a company called Washington River Protection Solutions (WRPS), which led CLIN 3.2’s evaluations. WRPS is a joint company accountable under their contract to URS. CLIN 3.2 stands for Contract Line Item Number 3.2, which was included in Hanford’s Tank Farm contract between the DOE and URS, the company put in charge of Tank Farm operations. The Tank Farm contract is separate from the WTP contract. Bechtel is not involved in the Tank Farm contract, but URS acts as its lead contractor, responsible for safely retrieving, treating, storing, and disposing of Hanford’s Tank Farm waste, which currently sits in 177 underground concrete tanks that are grouped into 18 “farms.” The Tank Farm contract is worth $7.1 billion. Waste from the Tank Farms will one day move to the WTP through piping and different treatment facilities. The final phase of this process will turn this processed waste into glass. So the Tank Farm and the WTP are to work in conjunction to ensure optimum success. In the Tank Farm contract, CLIN 3.2 called for the establishment of biannual

Seat tle weekly • Febru ary 22–28, 2012

t 78, longtime Hanford nuclear chemical process engineer David Bruce says his enthusiasm to do his job right is as great as ever. Many of his co-workers past and present see Bruce, who has worked for various Hanford contractors for more than 46 years, as a mentor of sorts—a man whose words are worth heeding. “The pursuit to stay on schedule has crippled the entire operation,” Bruce says of the WTP. “This sucker is not going to run as currently designed, plain and simple, and a heck of a lot of people around here know it but are too afraid to speak up.” Last December, Bruce decided he’d had enough. He was aware of glaring technical flaws, such as problems in the mixing design that could lead to lethal leaks at the WTP and prevent it from ever running properly. These problems had not yet been addressed, and in a meeting with top management, including Russo, Bruce stood up and made his points. “After that meeting, [Frank] Russo came up to me and asked to meet with me later to discuss the issues that I raised,” Bruce says. He was a bit surprised; it was the first time anyone that high up in Bechtel management had seemed concerned with the issues he was raising. While he thought the meeting went well and felt that Russo heard him out, he still has very serious doubts about whether necessary changes will ever be made. Russo and Bechtel would not comment directly on the claim that management continues to override technical staff, but the company insists that “[Bechtel’s] responsibility to the American taxpayer is to ensure that balance in designing and building a plant that will safely and effectively operate to protect people and the environment from the hazards of and risks from the radioactive waste.” Yet on January 13, the DOE’s Office of Health, Safety and Security (HSS), which is tasked with overseeing work carried out at the DOE’s

nuclear sites, released what some—including a DOE employee who did not want his name to appear in this piece for fear of reprisal—have called the most scathing review of Hanford ever to come out of the independent oversight committee. The document was direct in its criticism of the culture that permeates Hanford’s work environment, finding that “only 30% of all survey respondents feel that they can openly challenge decisions made by management.” The report goes on to state, “There is a strong perception that you will be labeled or red-flagged, and some individuals indicated that they were transferred to another area by their supervision after having raised concerns.” Russo responded to the HSS report by telling his employees in a letter, “I want to re-emphasize how important it is for everyone to have a questioning attitude, to stop and ask questions if something doesn’t seem right, and if there is a concern, to raise it so it can be addressed.” Getting Russo to acknowledge even this much had proven an arduous slog. In late September 2009, frustration with their supervisors’ failure to address ineffective designs had grown so high that Bruce and URS Senior Advisory Engineer Murray Thorson, both devout Christians, retreated to their work cafeteria to pray together. Their request to their Lord was simple: They asked Him, if their perceptions were correct, to expose what they saw as waste and corruption within the DOE and contractor management. During the previous six months, the two had worked diligently to come up with a design to eliminate precipitation in the ionexchange system at the WTP. Buildup of precipitation in the feed to the ion-exchange columns, integral parts of the process of turn-

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Toxic Avengers » from pAge 11 independent evaluations to ensure the WTP would run properly. “This isn’t your typical project design,” says Thorson, referring to areas in the WTP called black cells that hold piping and equipment. Once sealed, these cells will be off-limits to maintenance. If something like erosion causes a radioactive leak in these vessels, nothing can be done. One of the primary tasks assigned to the CLIN 3.2 evaluation group was to ensure everything inside these black cells would function as designed. Two sources, who worked as managers and engineers at Hanford and are familiar with the contract, say that CLIN 3.2 was a “top objective” of the Tank Farm contract, which would help ensure that Bechtel was kept honest since they would have a stake in both the Tank Farm and the WTP contracts. The first CLIN 3.2 report was issued in September 2010 and found numerous risks, including problems with reliability, operability, maintainability and throughput, hydrogen-vent control, precipitation of solids that could plug equipment, control-system documentation, and contamination control. After the report was issued, Bechtel said they would not answer design questions or support any reviews, asserts Thorson. “Since DOE did not require them to do so—which Bechtel argued was not required by their contract—it really knocked the wind out of us.” Though

“Why wouldn’t they want it in the hands of [DNFSB]?” says Tamosaitis. “Because it would bring a big spotlight to the whole WTP operation.” Asked about the delay in releasing the September report, DOE spokesperson Carrie Meyer did not directly address the allegation, saying “The report will be checked for factual accuracy, and released in the spring.” “[Bechtel and DOE] do not want to look at long-term operability of WTP,” Thorson adds. “They’d rather build the thing and let the problems be fixed later. But you can’t do that in the black cells. This is not a normal construction job, it’s a first-of-a-kind with a lot of unforeseen issues if it doesn’t work right.” Seattle Weekly has obtained a copy of the September report. It is the same as the version now classified as “official use only,” a DOE source notes. The report’s authors identify numerous vulnerabilities, including the potential for hydrogen buildup due to faulty venting that could lead to a shutdown of the WTP—or worse, an explosion. Despite such potential calamities, at the end of 2011 the DOE verbally requested in a meeting that all CLIN 3.2 evaluations of the WTP in the form of annual reports be stopped for the indefinite future. Thorson says that he and others were also instructed by management to halt work on CLIN 3.2. Additionally, a draft alteration to WRPS’s contract with the DOE has been circulated outlining this change in CLIN 3.2’s work scope.

Seattle weekly • February 22–28, 2012

“Since Bechtel doesn’t believe a factual accuracy check is in their contract, there is no mechanism to ever release the report or get the issues addressed.”

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the reviews would benefit the WTP’s potential success, Bechtel claimed they had no money to do reviews unless the DOE handed over more funds. Essentially, CLIN 3.2 was an elite technical review board without any real teeth. The DOE would not comment on Thorson’s claim that they did not require Bechtel to address the issues raised in CLIN 3.2’s first report. But, says Thorson, “It was clear that Bechtel was not pleased with the long-term operability issues we had raised [regarding the WTP]. DOE was simply not supportive of [CLIN] 3.2’s original scope.” WRPS soon reduced CLIN 3.2 from a 12-person operation to half that. Even with the significant downsize, Thorson and others continued to work to put together an annual report—the “Annual Waste Treatment and Immobilization Plant (WTP) Operational Support Report (For Fiscal Year 2011),” released last September. Once again, the evaluation found serious vulnerabilities with the WTP that would likely require design changes and testing to remedy. The results of the report were briefed to the DOE. At that point, however, the report’s classification was revised, then reissued as “business sensitive” and for “official use only,” rather than being released publicly as intended. “The stated reason from the DOE at the meeting was to keep it out of the hands of potential critical reviewers such as the [DNFSB],” says Thorson.

No immediate justification was given by the DOE, but Meyer states that the DOE is now going to implement a “one-system integrated approach” that does not eliminate the CLIN 3.2 analysis, but rather combines work and safety reviews of the Tank Farm with those taking place at the WTP. “Despite what they say, they aren’t going to allow us to do any more long-term operability analysis at all,” Thorson responds. “Since Bechtel doesn’t believe a factual accuracy check is in their contract, there is no mechanism to ever release the report or get the issues addressed—apart from DOE direction.”

ne reason the DOE may be supporting Bechtel’s decision to largely ignore CLIN 3.2’s work could have to do with a March 2011 paper titled the 2020 Vision. Seattle Weekly has obtained an internal copy of the 2020 Vision plan, which was primarily put together by WRPS, DOE, and Bechtel personnel who, as the documents state, were “tasked with identifying the optimum approach to startup, commissioning, and turnover of WTP facilities for operations.” The plan, marked “Business Sensitive and Proprietary,” reads in part “An important feature of our proposed approach is acceleration of the transition” of activities “from the WTP

line item to operating expense.” The goal, the 2020 Vision notes, is to ensure that the WTP cost is capped at $12.263 billion. With this, the 2020 Vision lays out a plan for Bechtel to stay within their proposed budget. What this means is that the WTP will be shifting some of their research work to the Tank Farms, says a URS employee who wishes to stay anonymous for fear of retribution. Unlike Bechtel’s WTP contract, the URS Tank Farm contract is not nearly as strapped for cash. By moving some work to the Tank Farm contract, Bechtel and the DOE can publicly contend that they have kept their WTP costs lower than they actually are. Giving the appearance that the WTP budget is not growing provides cover for the project, protecting against interrogation

“If Bechtel won’t listen to the issues I am raising, I’m going to make a big, big stink.” from outside watchdog groups and organizations like the Government Accountability Office and DNFSB, says Tamosaitis. “[Bechtel] management here turns over every three years, and guys like me stay around to see the damage they’ve caused,” claims an engineer who has worked for Bechtel for well over a decade and wishes to remain anonymous for fear of being fired for

speaking out. “The Bechtel mantra is ‘Build Something, Be Paid, Be Gone,’ ” adds Tamosaitis. Turnover at Bechtel typically occurs within management. For example, Bechtel has changed out project presidents on four separate occasions since they took over the WTP contract in 2000, most recently installing Russo as director just over two

years ago. The anonymous Bechtel engineer says this is a clear sign that they don’t have the project under control, and the DOE’s Alexander admits his agency does not have enough technical staff to oversee the WTP project. With the CLIN 3.2 oversight group’s objective essentially being dismantled, Murray Thorson is once again frustrated. As is David Bruce. “If Bechtel won’t listen to the issues I am raising, I’m going to make a big, big stink,” he promises, saying that if he isn’t given a fair hearing, he’ll identify many more design flaws. “[Management’s] shenanigans have gone on for far too long.” E news@seattleweekly.com

Research support for this story was provided by the Investigative Fund of the Nation Institute.

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Seattle weekly • February 22–28, 2012

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the»weekly»wire fri/2/24 FILM

Opening his weeklong Noir City film/lecture series is one of Eddie Muller ’s personal favorites: the 1949 Thieves’ Highway, directed by Jules Dassin. Says Muller, “It’s set in downtown San Francisco, my hometown; takes place entirely in the dead of night; and suggests that life will always be a struggle against the worst aspects of human nature.” Those aspects are embodied primarily by corrupt produce broker Lee J. Cobb, but the farmers and truckers seeking to get their wares to market are also tainted by the system. Thieves’ Highway presents a microcosm of ruthless postwar capitalism. A young war veteran (Richard Conte) can hardly find a decent job (sound familiar?), so he drives 400 sleepless miles to San Fran with a load of apples to sell. He needs the windfall to marry his tepid girlfriend, and also to avenge his father—who was cheated and crippled by Cobb’s character. Everyone’s looking for an angle, a cut of the precious cargo above or below what Conte furiously decries as “Four bits a box!” Much as he hates being hustled or swindled, he becomes part of the vile racket. Shot mostly on location in the Embarcadero, Thieves’ Highway provides a star turn for Dassin’s Italian girlfriend, Valentina Cortese, as a hooker who mocks her would-be rescuer with winsome sarcasm: “Go ahead, lover! Tell me what a bad girl I am! I’m lost unless you save me!” All 14 titles in the series are being screened as double features; following at 9:30 p.m. in The House on Telegraph Hill, Cortese plays a Holocaust-haunted woman who steals

TWENTIETH CENTURY FOX

Poisoned Apples

another’s identity to reach San Francisco. There, as you’d expect, more troubles await. SIFF Cinema at the Uptown, 511 Queen Anne Ave. N., 324-9996, siff.net. $7–$12 (individual), $35–$60 (series). 7 p.m. BRIAN MILLER STAGE

The Crimson Howl

“Look at these pictures,” says painter Mark Rothko in the Tony-winning Red , “Look at them! You see the dark rectangle, like a doorway, an aperture, yes, but it’s also a gaping mouth letting out a silent howl of something feral and foul and primal and real.” In John Logan’s engrossing play, we

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World War II was looming and nigh inevitable when Alfred Hitchcock directed The Lady Vanishes (1938). Beginning on a London-bound train from the nation of “Mandrika,” the story starts small, as a young debutante (Margaret Lockwood) notices when a chatty fellow passenger (May Whitty) goes missing. Little old Miss Froy, as she’s called, is the MacGuffin in the movie: Searching for her mere person, with the debonair assistance of Michael Redgrave, leads to the discovery of a much larger, Europethreatening web of espionage and secret codes. On the train and in their snowbound inn, the travelers form a constellation of types: plucky Brits against Teutonic villains (enter Herr Doktor Egon Hartz!), surrounded by various Continental clowns. The mood is light, no matter how many storm clouds are gathering. Soon before leaving for Hollywood, Hitchcock has here perfected his comedy-thriller style—one that also neatly resolves into a marriage plot. Even so, history was outpacing the train: In another year, screen villains could simply be called Nazis, and there was no need for Mandrika when Germany was the avowed enemy. (Through Thurs.) Grand Illusion, 1403 N.E. 50th St., 523-3935, Redgrave and Lockwood. grandillusioncinema.org. $5–$8. 7 & 9 p.m. BRIAN MILLER

sat/2/25 OPERA

Keep It Simple, Stupid

If you were an opera fan around the middle of the 18th century, you probably would have

“I’d pick you up anytime for free,” Cortese tells Conte in Thieves’ Highway.

been a partisan of one of the prevailing styles. Italian opera was all about vocal display; no one much cared what you were singing about. The unvarying aria forms that were ideal vehicles for showing off were also Procrustean beds on which attempts at narrative were stretched into irrelevance. French opera offered lots of dance and lavish instrumental color, but could also be stilted and stuffy. In reaction, Jean-Jacques Rousseau, a composer as well as a philosopher, wrote the ostentatiously uncomplicated The Village Soothsayer, in which simple folk sing simple tunes about simple emotions. (It was a hit—and 250 years later the equation of unsophistication with authenticity is still a pop/rock article of faith.) At last came Christoph Gluck, who in 1762 synthesized all this—melody, spectacle, directness—while prioritizing literary and dramatic quality, choosing for his experiment in reform the oldest musical tale of all, Orpheus and Eurydice. As he wrote later, “I have striven to restrict music to its true office of serving poetry by means of expression and by following the situations of the story, without interrupting the action.” It sounds logical now, but it was controversial, even avant-garde, then. Yet it’s his operas that have survived, not his rivals’. Seattle Opera’s production stars tenor William Burden as the musician who tries to rescue his love (Davinia Rodriguez) from death. And since tragic endings were not yet de rigueur in serious operas (that required yet another operatic reform, decades later), he succeeds. (Through March 10.) McCaw Hall, Seattle Center, 389-7676, seattleopera.org. $25 and up. 7:30 p.m. GAVIN BORCHERT

Seat tle weekly • Febru ary 22–28, 2012

*Strangeness on a Train

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spend 90 minutes with the now-iconic abstract expressionist as he emits an extended, not-so-silent howl about art, integrity, and other weighty concerns while preparing an enormous commission for the Four Seasons restaurant in the late 1950s. His only company onstage is a young assistant named Ken (a fictional character), who refuses to blend quietly into Rothko’s routine. Director Richard E.T. White found apt actors to help him reveal what he calls a “wonderful sensuality about the textures of the play, the choosing of the colors, the ingredients that go into making something as simple as the three-letter word: red.” Longtime Seattle favorite Denis Arndt, a commanding performer, takes on Rothko. (I still cherish his masterful turn years ago as George, another kind of prideful yet despairing man, in Intiman’s Who’s Afraid of Virginia Woolf ?.) Conor Toms, whose dewy demeanor belies a core of strength (recall his Homer in Book-It’s adaptation of The Cider House Rules), should be an appropriate foil as Ken. (Previews begin tonight; opens Feb. 29; runs through March 18.) Seattle Repertory Theatre, 155 Mercer St. (Seattle Center), 443-2222, seattlerep.org. $12–$49. 7:30 p.m. STEVE WIECKING

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Seattle weekly • February 22–28, 2012

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“W

omen? I like ’em fat and vicious and none too smart! Nothing too spiritual, either!” So says Paul Gauguin—or rather, the Paul Gauguin played by Oscar-winning Anthony Quinn in the 1956 van Gogh biopic Lust for Life. In a bar scene between the two painters, van Gogh (Kirk Douglas) is the shy, sensitive, troubled genius seeking love and acclaim. Gauguin is his boorish opposite, van Gogh’s “lusty brawling friend . . . for whom no woman was too good, or too bad,” according to the film’s breathless trailer. After their intense nine weeks together in Arles, Gauguin would sail off to Tahiti to paint, spread syphilis among the native girls, and—the movie implies—win the renown that van Gogh would only achieve, and surpass, following his death. (Some consolation for Douglas, who lost in the Best Actor category to Yul Brynner for The King and I.) That’s Hollywood, not art history, but the day has passed when a museum show can ignore the celebrity image—however distorted—of an iconic artist. The fact is that Quinn’s rather Zorba-esque Gauguin is part of his cultural legacy, one that Irving Stone’s 1934 novel Lust for Life helped cement. Again, a novel, but hardly more a work of fiction than Gauguin’s Noa Noa (posthumously published in 1919). Though that illustrated journal is based on his two trips to Polynesia, with some amazing prints seen here at SAM, it’s also an advertisement for the man, an act of self-mythologization that cribs from other accounts and confabulates whatever would help his cause—i.e., to fund more travels and sell more paintings. And beyond those beautiful paintings, Gauguin is today the Parisian stockbroker who renounced his bourgeois life, abandoned his family, and remade himself as an island-dwelling

The 1897 idyll The Bathers.

bohemian. In this regard, while SAM’s show is soberly called “Gauguin & Polynesia: An Elusive Paradise,” last year’s big exhibit at the National Gallery of Art had a more appropriate title: “Gauguin: Maker of Myth.” More than a century after his death, the tropical hues and fecund shock of Gauguin’s famous canvases have been thoroughly absorbed into our visual vernacular. Native girls lounging on beaches, the ripe fruit and palm trees—these images are postcard-familiar to us now, and SAM’s dedicated gift shop (Scarves! Jewelry! Handbags! A coffee-table catalog!) only reinforces the mercantile context of the art. Like everywhere else on the globe not occupied by white Europeans in the 19th century, Polynesia was a place to exploit. Whether seeking whales (like Melville), naval stations, or women, these visitors came, took, and then romanticized the ransacked islands. After a palette-busting prelude in the Caribbean (with examples seen here), Gauguin left his wife and their five kids and shipped out to Tahiti in 1891, initially intending to illustrate a popular novel of the day—The Marriage of Loti, about a French naval officer who falls for a native girl. (Hmmm.) There was a commercial impetus for this exotic voyage, yet one that unleashed an astonishingly rich and productive period of painting. Without it, Picasso and the rest of 20th-century art wouldn’t look the same. Even then, Gauguin (1848–1903) realized he’d arrived too late in the South Pacific, writing that “It was the Tahiti of former times that I loved.” Just as Pierre Loti’s autobiographical novel looked back to 1872, imagining a virgin Polynesia uncorrupted by the West, Gauguin would paint paradise as he wanted to see it. There would be no steamships or missionaries or venereal diseases. Europe and all its grimy, smokestack traces would be removed from his palette.

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UW World Series

The first painting he sent back to market— which didn’t sell until after his death—was the 1891 Vahine no te Tiare (Tahitian Woman With a Flower), whose subject is rather timidly and conventionally posed in a borrowed dress. What blasts through are the primary colors: red, yellow, and blue, which set off her startlingly non-Caucasian skin tone. It’s a transitional work, painted in the Tahitian now, not the idyllic past. You could imagine a Breton peasant woman in the same pose, were it not for the tropical face and flowers. By the time of The Bathers (1897), Gauguin has given himself over to his Polynesian imagination—a river scene of four half-dressed nymphs, garlanded with flowers, guarded by snoozing dogs, a vision of Eden in which the painter himself is the only Adam. There’s not much personality and certainly no realism to these women; their features have been flattened and subordinated to the bold colors. His models have interesting textures, like Tahiti itself. Foreground isn’t prioritized over background. Color, fertility, and organic essence are

NY CARLSBERG GLYPTOTEK, COPENHAGEN, DENMARK

what’s important. The skin tones aren’t brown but nearly green—almost part of the jungle. Garments are being shed and, reading from left to right, there’s an almost chronological regression at work—a reversion to the proud, frontal female nude of the Polynesian past. Strongly vertical trees divide the scene into a triptych, like chapters in a history book. The primitive represents an idealized past. And Gauguin’s transformation as an artist isn’t only marked by his discovery of Polynesia; it’s an explicit rejection of industrial Europe (except for the money, booze, and morphine). And while there are ugly aspects of sex tourism in Gauguin’s escapades in Polynesia (where he fathered several children), he’s no colonialist monster. He may have engaged in artistic “poaching and pillaging,” as Pissarro criticized, but he saved his real abuse for his fellow Europeans—especially the missionaries. (See the anticlerical wooden

bmiller@seattleweekly.com GAUGUIN & POLYNESIA: AN ELUSIVE PARADISE Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $12–$15. 10 a.m.–9 p.m. Thurs.–Fri., 10 a.m.–5 p.m. Wed., Sat., Sun. Ends April 22.

65TH ANNIVERSARY CELEBRATION

Program includes special preview of new work by Grupo Corpo choreographer Rodrigo Pederneiras. (March 1 and 2 only.)

MARCH 1-3

ALL-LISZT PROGRAM. FREE YOUTH TICKET (ages 5-17) to Piano and Chamber Music events with the purchase of every Regular Price ticket. Call for info.

Meany Hall @ UW Campus

MARCH 7

206-543-4880 • uwworldseries.org

Seat tle weekly • Febru ary 22–28, 2012

First contact: 1891’s Vahine no te Tiare (Tahitian Woman With a Flower).

idol figure called Père Paillard [Father Lechery], made to goad a local priest.) To complement Gauguin’s work (about 60 pieces in total), SAM presents an equal number of Polynesian artifacts rendered in wood, stone, feathers, bone, etc., none of which, unlike Gauguin’s prolific output, were meant for gallery walls or sale. The problem with setting these alien-eyed Tiki icons and coconut bowls in an art museum is that they’re not really art. They’re examples, fascinating anthropological specimens from a time before Gauguin. The great Polynesian triangle—New Zealand to Easter Island to Hawaii—was a stone-age culture that existed for nearly 3,000 years before Captain Cook reached Tahiti in 1769. Within the following century, it was largely decimated by imported diseases, guns, and alcohol. French Catholic missionaries then prohibited native carving, tattooing, and religious practices; the women were wearing clothing and praying to Christ when Gauguin arrived—one reason he hated the clerics so much. Sad to say, while striving for balance, these Polynesian artifacts don’t add much value to the SAM show. Some of them Gauguin might’ve seen during a New Zealand museum visit before his second and final voyage. Similar objects were displayed at the 1889 World’s Fair in Paris, which made a great impression on the artist. You’d rather know more about his time at the fair (yes, the one that gave us the Eiffel Tower), which also included performances by the hugely popular “Buffalo Bill’s Wild West” show, then on its second European tour. With its restaged cowboys-versus-Indians battles, that show and the Polynesian exhibition had much in common. Both presented traces of the “noble savage” vanquished by the white man; both romanticized what was by then a nearly extinct culture. Buffalo Bill Cody was a self-made showman, a buckskin entrepreneur and rival of P.T. Barnum, who died rich and worldrenowned. And it is his mythology of the Old West—inseparable from his name—that we remember today. Likewise, the very concept of “Polynesia” is a French invention that we now can’t distinguish from Gauguin’s controversial self-reinvention. As with SAM’s previous big French blockbuster show (2010’s Picasso: Masterpieces From the Musée National Picasso, Paris), that’s the personal background you really want. But when you borrow expensive paintings from other museums, you’re not supposed to question the artist. Gauguin wrote in 1890, “I am going soon to Tahiti, a small island in Oceania, where the material necessities of life can be had without money . . . the Tahitian has only to lift his hands to gather his food; and in addition he never works. Where in Europe men and women survive only after increasing labor . . . the Tahitians . . . know only sweetness of life.” All of which would sound more impressive spoken by Anthony Quinn. E

Kirkland Performance Center, WA March 24 - April 1, 2012 McIntyre Hall, Mt. Vernon WA April 14-22, 2012

Seattle weekly • February 22–28, 2012

Friday and Saturday evening performances at 7:30pm Sunday afternoon performances at 2:00pm

ALL BOUTS AT

arts»Visual Arts BY KAT CHOW

TheFussyeye CONTAINED This group show, with Michelle Anderst,

Zack Bent, and others, is meant to look at the ways that containers function within our lives—and we within them. Kirkland Arts Center, 620 Market St., Kirkland, 425-822-7161, kirklandartscenter.org. Mon.–Fri., 11 a.m.–6 p.m.; Sat., 11 a.m.–5 p.m. Through March 22.

Ongoing GAYLE BARD “Mystery” is the theme of her new land-

BEYOND JAPAN: INTERNATIONAL TAKES ON MOKU HANGA Traditional woodblock prints and

scrolls are exhibited by Åsa Andersson, Daniel Heyman, and others. Cullom Gallery, 603 S. Main St., 919-8278, cullomgallery.com. Wed.–Sat., 10 a.m.–5 p.m. Through Feb. 24. CHRISTOPHER BOFFOLI In the large photos of Big Appetites, he combines miniature hand-painted little figurines from Germany with dioramas of food and drink. Winston Wachter Fine Art, 203 Dexter Ave. N., 652-5855, winstonwachter.com. Mon.–Sat., 10 a.m.– 5 p.m. Through Feb. 23. PETER BOOME Salish Connections will showcase paintings and prints of Native American design. Duwamish Longhouse & Cultural Center, 4750 W. Marginal Way S.W., 431-1582, duwamishtribe.org. Mon.–Sat., 11 a.m.– 5 p.m. Through May 26. DIANNE BRADLEY AND JIM MADARA: Things We Don’t Know showcases new work by both artists, featuring Bradley’s cut-paper collages and Madara’s concrete sculpture. Columbia City Gallery, 4864 Rainier Ave. S., 760-9834, columbiacitygallery.com. Wed.–Fri., noon– 8 p.m.; Sat.–Sun., 10 a.m.–6 p.m. Through March 11. CONSTRUCTED GEOGRAPHIES This group show features the multimedia work of Alan Abdulkader, Debbie Bianchi, and others. ArtsWest, 4711 California Ave. S.W., 938-0339, artswest.org. Tues.–Sat., noon–7 p.m. Through March 10. Send events to visualarts@seattleweekly.com See seattleweekly.com for full listings = Recommended

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CONTENTS: LOVE, ANXIETY, HAPPINESS & EVERYTHING ELSE, CRITICAL MASS 2011 This

group show features photographs by Jane Fulton Alt, Mark Lyon, and others. Photographic Center Northwest, 900 12th Ave., 720-7222, pcnw.org. Fri.,–Sat., noon– 8 p.m.; Mon.–Thurs., 11 a.m.–10 p.m. Through Feb. 23. KARIN DAVIE & GUY TILLIM The Canadian-born Davie paints large, colorful works abstracted from the 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. COOPER EDENS DRAGER Linearia presents some two decades of work from the noted illustrator (some previously featured in children’s books). Also on view: bright, animal-themed etchings by Chicago artist Tony Fitzpatrick. Davidson Galleries, 313 Occidental Ave. S., 624-1324, davidsongalleries.com/home.php. Tues.–Sat., 10 a.m.–5:30 p.m. Through Feb. 25. CURTIS ERLINGER After Another is an installation composed of three-dimensional “lightning stools” and drawings of Erlinger’s inspiration: an ingenious safety device used by fire lookout rangers to avoid electrocution from lightning strike. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296-7580, 4culture.org. Mon.–Fri., 9 a.m.–5 p.m. Through Feb. 24.

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Cultivating a Subject

Tucked in the dark back gallery at the group show Devouring Time is a four-panel video installation in which a friendly Englishwoman chats about gardening—more particularly, the cultivation of Hippeastrum flower bulbs, 900 of which fill her home. Her discourse is hushed to a murmur, and four monologues overlap, so it’s hard to make out exactly what she’s talking about. Growth? Death? Decay? Rebirth? You can shift your perspective around the room and walk among the screens, arrayed like a box with broken edges in the center of the gallery. There are benches, too, so you can pause a while and try to follow The Four Seasons of Veronica Read, a 2002 piece by Turkish-born artist Kutlu Ataman. Read looks different on each of the panels, and you worry if she’s ill, if this is one of those chronicle-of-disease videos. But we all look different from season to season, and Ataman

BRIAN MILLER

scape and abstract paintings. Linda Hodges Gallery, 316 First Ave. S., 624-3034, lindahodgesgallery.com. Tues.–Fri., 10:30 a.m.–5 p.m.; Sat., 11 a.m.–5 p.m. Through Feb. 25.

» by brian miller

filmed Read at separate intervals during spring, summer, fall, and winter. Each interview— ranging from 39 to 54 minutes—gave her a chance to say something different about her precious Hippeastrums, and she has a lot to say on the subject. Ataman says they “met because we collected the same kind of flower,” but flowers aren’t really the subject of his videos. Rather, it’s Read’s unvarying but seasonally inflected devotion that fascinates—her faith that these little kernels of life will, with enough tending and time, eventually bloom. Western Bridge, 3412 Fourth Ave. S., 838-7444, westernbridge.org. Free. Noon–6 p.m. Thurs.–Sat. Ends April 7.

• FUNNY VALENTINES: A TRIBUTE TO JACK DAVIS Peter Bagge, Art Chantry, and other artists show work influenced by Davis, a veteran of both MAD magazine and EC Comics. Fantagraphics Bookstore & Gallery, 1201 S. Vale St., 658-0110, fantagraphics.com. Mon.– Fri., 9 a.m.–5 p.m. Through March 7.

GALLERY 110 ANNUAL JURIED EXHIBITION

Nearly two dozen pieces have been selected by Nora Atkinson. Call for regular hours. Gallery 110, 110 Third Ave. S., 624-9336, gallery110.com. Through Feb. 25.

GIRLS GONE WILD Patricia Ariel, Lea Barozzi, and Hera

Won are among the artists represented. Tasty, 7513 Greenwood Ave. N., 706-3020. Through March 8. MATTHEW CLIFFORD GREEN Excitable Boy mixes performance art with painting. Lawrimore Project, 117 S. Main St., 501-1231, lawrimoreproject.com. Tues.– Sat., 10 a.m.–5:30 p.m. Through Feb. 25.

YANN NOVAK Novak’s audio-video installation Blue

Hour reflects the colors found during “l’heure bleue,” a twilight time when it’s neither day or night. Photos and sound recordings from Joshua Tree National Park are included. Jack Straw New Media Gallery, 4261 Roosevelt Way N.E., 634-0919, jackstraw.org. Mon.–Fri., 9 a.m.–5 p.m. Through March 20.

BEFORE PICASSO... BEFORE MATISSE...

an e lu S iv e Pa r a d i S e February 9–April 29, 2012

Get your ticketS online now seattleartmuseum.org/gauguin An exhibition organized by the Art Centre Basel, Basel, in collaboration with the Ny Carlsberg Glyptotek, Copenhagen, and the Seattle Art Museum, Seattle, Washington. Sponsors

image: Three Tahitians (detail), Paul Gauguin, French, National Gallery of Scotland.

Seat tle weekly • Febru ary 22–28, 2012

GauGuin PolyneSia

arts»Performance BY GAVIN BORCHERT

Stage OPENINGS & EVENTS

MARCH 6 AT BENAROyA HALL

The American Beauty Project

Ollabelle Jim Lauderdale vocals & guitar

Catherine Russell vocals

DAVID MANSFIELD

An all-star lineup celebrates two of the Grateful Dead’s groundbreaking albums — Workingman’s Dead and American Beauty. Performance does not include the Seattle Symphony ...or the Grateful Dead.

TICKET:S FROM

$35

206.215.4747

SEATTLESYMPHONY.ORG

MacLachlan’s drama, winner of ACT’s 2012 New Play Award; like his film Junebug, it’s also North Carolina-set. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. Free. 7:30 p.m. Sat., Feb. 25, 2 p.m. Sun., Feb. 26. CULT Wing-It’s new show invents a weird religion, based on audience suggestions. Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. 10:30 p.m. Thurs., Feb. 23. FREAK STORM Don Fleming’s Cascade-set comic adaptation of The Tempest. The Ballard Underground, 2220 N.W. Market St., 800-8383006, ghostlighttheatricals. org. $12–$15. Opens Feb. 24. 7:30 p.m. Thurs.–Sat., plus T H I S CO D E 7:30 p.m. Mon., March 5 and TO DOWNLOAD THE FREE 2 p.m. Sun., March 11. Ends SEATTLE WEEKLY March 11. IPHONE/ANDROID APP PYGMALION Shaw’s comFOR MORE EVENTS OR VISIT edy about one-on-one social seattleweekly.com engineering, later transmuted into My Fair Lady. Intiman Theatre, Seattle Center, 733-8222. $15–$40. Preview Feb. 23, opens Feb. 24. Runs Thurs.–Sat. plus some weekend matinees; see seattleshakespeare.org for exact schedule. Ends March 11. RED SEE THE WIRE, PAGE 15. A SINGLE SHARD The tale of Tree Ear and Crane Man, told through Korean dance and puppetry. Seattle Children’s Theatre, Seattle Center, 441-3322. $20–$36. Preview Feb. 23, opens Feb. 24. Runs Thurs.–Sun.; see sct.org for exact schedule. Ends March 18. VAGINOMICON See “undead babes, demons from the pit of hell, and sexy-psychotic killers” in this sendup. JewelBox/Rendezvous, 2322 Second Ave., jewelboxtheater.com. $5. 7:30 p.m. Fri., Feb. 24.

SCAN

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CURRENT RUNS

• 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’s performance is flawless and triumphant. KEVIN PHINNEY Seattle Repertory Theatre, Seattle Center, 443-2224. $12–$59. Runs Wed.–Sun.; see seattlerep.org for exact schedule. Extended through March 10. OKLAHOMA! A controversial production of Rodgers and Hammerstein’s classic. N.B. Attend public talks on the show’s casting of Jud at 5 p.m. Sat., Feb. 25, 4:30 p.m. Sun., Feb. 26, and 7 p.m. Mon., March 5. 5th Avenue Theatre, 1308 Fifth Ave., 625-1418. $29–$119. Runs Tues.– Sun.; see 5thavenue.org for schedule. Ends March 4. WEB Charlotte’s Web is already dark, but when you throw in infanticide, insanity, child molestation, and a courtroom trial, it becomes downright creepy. Written and directed by STAGEright artistic director 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. Now an adult, Fern is being tried for smothering her infant son to death, and we the audience are her jury. Despite this breaking of the proscenium, there’s still some theatrical distance between us and the action on stage. Fern (Nicole Merat) is defended by Will Barnett (Paul Hobson, who doubles as her childhood pet, Wilbur the pig). Flashbacks to the farm require that most of the cast also play members of E.B. White’s menagerie—except for Merat, whose Fern arouses sympathy while delving into delusions of the past. In this fantasia, Hobson drops to all fours to become the whiny, adorable piglet Fern tries to save. Charlotte (Andi Norris) is both the courtroom judge and the magnanimous spider. And the set evokes both courtroom and barn—replete with cobwebs cleverly rendered with plastic cling wrap. Web has a lot going on, perhaps too much; its many twists can seem gratuitous, simply added for shock value. Past and present plot lines are cutely tied together, but it’s hard to determine the point of this mashup. Mack seems to be rehashing Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com = Recommended

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Dance

CORNISH BFA DANCE CONCERTS Work by Cornish

students and by guest artists. Broadway Performance Hall, 1625 Broadway. Free, but reserve tickets at cornish. edu. 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat. Ends Feb. 25.

•CENTURY BALLROOM 15TH ANNIVERSARY GALA Hallie Kuperman founded the Century Ballroom 15 years ago on the brink of a renewed interest in social dancing, and she’s been in the thick of it ever since: teaching everyone who comes through the door, from rank beginners to gifted professionals; offering a beautiful venue for dancers, gay, straight, and in-between. The Ballroom is celebrating with a weekend of dancing from salsa to swing, from country twang to tango. Friday is a familystyle banquet. Saturday is “The Prom” (with all that implies). Sunday features a free all-ages screening of The Rocky Horror Picture Show (with live stage show). All three events naturally lead to an evening of dancing. SANDRA KURTZ Century Ballroom & Cafe, 915 E. Pine St., 324-7263, centuryballroom.com. $5–$60. A MOVING CONVERSATION You can not only watch new work by six choreographers, but meet them afterward too in this community-building performance. Fremont Abbey, 4272 Fremont Ave. N., 297-6221, fremont abbey.org. $12–$17. 8 p.m. Fri., Feb. 24–Sat., Feb. 25. BQDANZA Two new works: Carla Barragán’s Nincompoopiana for dance and puppetry, and Diana Garcia-Snyder’s solo Lola. Velocity Dance Center, 1621 12th Ave., 931-5787, bqdanza.com. $7–$18. 7 p.m. Sat., Feb. 25.

Classical, Etc.

SEATTLE SYMPHONY Vivaldi, Mozart, and Beethoven,

led by violinist Itzhak Perlman. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $45–$157. 7:30 p.m. Wed., Feb. 22–Thurs., Feb. 23.

UW SYMPHONY Winners of the music department’s

Concerto Competition. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Thurs., Feb. 23. SEATTLE SYMPHONY Gershwin, Tchaikovsky, a pipa soloist, and a new work by UW faculty trumpeter Cuong Vu. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17–$74. 7:30 p.m. Fri., Feb. 24. CRYSTAL BETH A solo performance by multiinstrumentalist (voice, clarinet, loops, effects, etc.) Beth Fleenor. Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.blogspot.com. $5–$15. 8 p.m. Fri., Feb. 24. METROPOLITAN OPERA AT THE MOVIES Verdi’s gutsy if implausible Ernani, starring Centralia-born Angela Meade. (Encored March 14.) See fathomevents. com for theaters. $18–$22. 10 a.m. Sat., Feb. 25. GALLERY CONCERTS Bach from the Dutch Masters, a flute/cello/harpsichord trio. Queen Anne Christian Church, 1316 Third Ave. W., 726-6088, galleryconcerts. org. $15–$35. 7:30 p.m. Sat., Feb. 25, 3 p.m. Sun., Feb. 26. SEATTLE OPERA SEE THE WIRE, PAGE 15. THE TUDOR CHOIR Music by William Byrd. Blessed Sacrament Church, 5041 Ninth Ave. N.E., 323-9415, tudorchoir.org. $20–$25. 7:30 p.m. Sat., Feb. 25. ILIA RADOSLAVOV Mussorgsky’s massive and colorful Pictures at an Exhibition, plus Beethoven and Vladigerov, from this pianist. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 8 p.m. Sat., Feb. 25. SEATTLE CHAMBER PLAYERS SEE EAR SUPPLY. ADAM TENDLER John Cage’s delicate, slightly goofy Sonatas and Interludes. Chapel Performance Space, 4649 Sunnyside Ave. N., waywardmusic.blogspot.com. $5–$15. 8 p.m. Sat., Feb. 25. JOHN PATITUCCI This bassist is fluent in both jazz and classical. Brechemin Auditorium, UW campus, 685-8384, music.washington.edu. $15. 2 p.m. Sun., Feb. 26. SEATTLE YOUTH SYMPHONY Violin concertos by Beethoven and Walton, with student soloists, plus Elgar and Strauss. Benaroya Hall, 200 University St., 362-2300, syso.org. $15–$40. 3 p.m. Sun., Feb. 26. OPERA ON TAP “That Crazy Little Thing Called Love!” traces the emotions of a relationship, from infatuation to rage and beyond, through operatic arias and ensembles. In the Red Wine Bar & Cafe, 6510 Phinney Ave. N., operaontap.org/seattle. $5. 8 p.m. Sun., Feb. 26.

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EarSupply

» by gavin borchert

The Jeweler

For composer Luciano Berio (1925–2003), the music of the past was not anything either to be emulated or dismissed. Instead he liked to treat fragments of it as found objects, elements in a collage, surrounded by other harmonizing, contrasting, or totally unrelated sounds. In the thrilling orchestral chaos of his Sinfonia, for example, he sprays musical graffiti all over a Mahler scherzo; his Rendering (which the Seattle Symphony played last weekend) sends bits of Schubert into outer space. And his 1964 Folk Songs, for soprano and six instruments, transforms a collection of traditional melodies from various cultures. Sometimes Berio just adds an easy, strumming harp accompaniment; elsewhere, it’s as though he’s set a tune as the biggest and shiniest stone in some kind of elaborate piece of art jewelry. The two most familiar songs in the cycle of 11, probably, will be the American ones. In “Black Is the Color of My True’s Love’s Hair,” a viola does a sort of melancholy dance around the voice, sounding like something between a renaissance viol and a bluegrass fiddle; in the carol “I Wonder As I Wander,” simple threads of flute and clarinet embroider the melody—and then do indeed wander off on their own forking paths for about a minute after the voice drops out. Singer Agata Zubel will perform the Folk Songs Saturday with the Seattle Chamber Players in

A. HELDWEIN

Seattle weekly • February 22–28, 2012

guitar, mandolin & violin

ABUNDANT ACREAGE AVAILABLE Readings of Angus

White’s themes of friendship, sacrifice, and grief 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. (except March 3). Ends March 10. For many more Current Runs, see seattleweekly.com.

Zubel sings gems in an elaborate setting.

the first of two concerts in “Icebreaker VI: New Music From the Mediterranean.” Other songs in Berio’s cycle originate in France, Italy, Armenia, and Azerbaijan—tracing a path not too different from the SCP’s programming in this mini-festival, which includes contemporary works from Portugal all the way around to Morocco. Benaroya Recital Hall, Third Avenue and Union Street, seattlechamberplayers.org. $15–$25. 8 p.m. Sat., Feb. 25, 7 p.m. Sun., Feb. 26.

film»This Week’s Attractions The lovely Rita.

Wanderlust OPENS FRI., FEB. 24 AT METRO AND OTHER THEATERS. RATED R. 107 MINUTES.

GKIDS FILMS

“There’s no one way to live our lives,” hopes the displaced, adrift couple at the center of Wanderlust. Shopping among the prefab identity options available to them—stressed urban professionalism, suburban-McMansion soul death, rural counterculture—George and Linda (Paul Rudd and Jennifer Aniston) are looking to find a social model somewhere in America where they can be true to themselves and each other. And though Wanderlust finally laughs off the real discomforting conclusion that it’s edging toward, it’s gut-busting funny when mocking their hopeless options. Booted out of Manhattan by the economy, then repulsed by a fallbackpaycheck opportunity with George’s boorish, boastful brother, Rick (Ken Marino), in suburban Atlanta, George and Linda try an alternative: the ’60s-style Elysium commune. It’s hard to remember a comedy so populated with good character bits, including Kathryn Hahn’s damaged-woman-come-to-shelter, whose flashes of anger through her official commune mellowness give glimpses of a grim personal history (“If I wanted my face covered in lies, I would still be in porn”), and Elysium’s resident alpha hippie, played by the chameleonic Justin Theroux. There is no other comic lead working who has Rudd’s C

OPENS FRI., FEB. 24 AT SIFF CINEMA AT THE UPTOWN. RATED R. 123 MINUTES.

P Chico & Rita

OPENS FRI., FEB. 24 AT SEVEN GABLES. NOT RATED. 94 MINUTES.

In this Oscar nominee, the life of Cuban pianist and composer Bebo Valdés 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 Valdés’ story—though real-life figures including Charlie Parker, Dizzy Gillespie, Chano Pozo, and a Cuban songstress who bears some resemblance to Rita Montaner are featured as characters—but it’s a dazzling thing to behold. Co-directors Fernando Trueba, Javier Mariscal (also an illustrator), and Tono Errando give an Old Hollywood feel to their storybook version of two jazz artists caught up in the Cuban boom, then separated by

CMY

My Reincarnation RUNS FRI., FEB. 24–THURS., MARCH 1 AT NORTHWEST FILM FORUM. NOT RATED. 82 MINUTES.

A mellow doc that seems all set to cash in on the “spirituality” market, Jennifer Fox’s new film was actually in production for more than 20 years, beginning when Yeshi Silvano Namkhai was a half-Italian acne-victim teen just learning that he’d been dubbed the reincarnation of a famous Tibetan yogi. The judgment was passed down by his worldfamous Tibetan spiritual-leader dad, Rinpoche Chögyal Namkhai Norbu, and Fox wastes no time or footage placing the rebel-Euro-sonversus-iron-man-Asian-dad dynamic front and center. It’s a juicy setup that begs for a thick Oprah novel, not get-in-get-out nonfiction. In fact, Fox’s briskness leaves certain questions gaping open: How cynical and derisive is she deliberately being of Rinpoche’s teachings, since all we get are trite homilies and vague advice? (In a seconds-long consultation, one terrified HIV-positive seeker is told “Everything is relative.”) Can you film Buddhist instruction without seeming skeptical? Are Yeshi’s years of reticence regarding his appointed destiny an avoidance of “truth” or of self-help baloney? Fox ends up clearly on Rinpoche’s team, but her film suggests a deep wariness of Eastern mysticism, the needy Westerners who lap it up, and figures like Rinpoche who exploit that jones. Which makes it, perhaps unintentionally, pointed and daring. MICHAEL ATKINSON

ONLINE » SEATTLEWEEKLY.COM aMORE

See reviews of Act of Valor, Good Deeds, and Gone.

As you may’ve read, Aniston hooked up with cult leader Theroux on the set of Wanderlust.

flexibility; Wanderlust brings out from behind his good-natured shrug of a smile a lurking peevishness that gradually freezes into a mask of unconcealed disgust. A really great movie might have followed the implications of that disgust—there’s no running away from yourself—but the questing Wanderlust ultimately retreats into a conservative, prefab identity of its own: It is, after all, an Apatow production. NICK PINKERTON E film@seattleweekly.com

Seat tle weekly • Febru ary 22–28, 2012

In Michael R. Roskam’s first feature, 30ish Jacky (Matthias Schoenaerts) is a cattle-farming hulk who keeps his minifridge stocked with Testoviron and other steroids. The brute gobbles pills and plunges syringes into his flesh to compensate for what happened 20 years earlier, when young Jacky was gelded by a teenage psychopath, who does to the lad what Charlotte Gainsbourg did to Willem Dafoe in Antichrist. Although a hazily sketched-out story line involving a dead cop, beef traders, and “the hormone Mafia underworld,” with which Jacky is loosely connected, propels the movie, it inevitably circles back to his ever-present trauma from this act of savagery (and cues more ill-advised flashbacks). Bullhead, an Oscar contender in the foreign-language-film category (or in this case, languages: The movie, set in Belgium, dwells on animosities between the Dutch-speaking Flemish and the French-speaking Walloons), sets out to prove exactly what is spelled out in the opening voice-over: “One thing is certain: You’re always fucked.” The sentiment, just like the repeated shots of Jacky lying in a fetal position in the tub, shadowboxing, and erupting into a bestial ’roid rage, typifies the film’s habit of flattening an idea rather than developing it. MELISSA ANDERSON

circumstance, success, and a mean, cigarchomping manager. Chico (Emar Xor Oña) follows Rita to New York City from Havana when that manager promises to make her and her sweet-nothing voice a star in 1948, but their paths diverge again and again. Occasionally the love story gets lost in all the shuffling, and the character of Rita feels conspicuously drawn-in. But when it returns to the music (an original score by Valdés and many recordings of old standards), which it does often, Chico & Rita cannot fail to move. MICHELLE ORANGE

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SCREEN GEMS AND SPYGLASSMUSICENTERTAINMENT PRESENT A BIRNBAUM/BARBER PRODUCTION “THE VOW” SAM NEILL SCOTT SPEEDMAN MUSIC AND JESSICA LANGE SUPERVISOR RANDALL POSTER BY RACHEL PORTMAN MICHAEL BROOK PRODUCERSCO- CASSIDY LANGE REBEKAH RUDD EXECUTIVE PRODUCED PRODUCERS J. MILES DALE AUSTIN HEARST SUSAN COOPER BY ROGER BIRNBAUM GARY BARBER JONATHAN GLICKMAN PAUL TAUBLIEB STORY SCREENPLAY BY STUART SENDER BY ABBY KOHN & MARC SILVERSTEIN AND JASON KATIMS DIRECTED BY MICHAEL SUCSY CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES

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Local Film BRICK Well, they got the title right. Leaden, off-target, and

unpersuasive, this SoCal-set 2006 teen noir would’ve been funny as a three-minute SNL sketch (high-school kids talking retro staccato like Raymond Chandler’s tough molls and private dicks). But 110 minutes of the stuff is more fatal than the stolen kilo of tainted heroin sought by student Brendan (Joseph Gordon-Levitt), who’s also searching for his missing ex, Emily (Emilie de Ravin). Not that he’d shed a tear for that dame, no matter if she broke his Bakelite heart. Are we spoofing Dashiell Hammett or John Hughes? Is this The Maltese Breakfast Club or what? First-time director Rian Johnson doesn’t have any clearer idea than we do. The pity is that dogged shoe-leather detective Gordon-Leavitt, who’s quietly become his generation’s actor to watch, is dealt this cinematic dead-man’s hand of a picture. You couldn’t care less which of the criminal cast (including Witness’ Lukas Haas, now a million miles from cute) gets offed; you don’t know why actual teenagers would want to hear this pre–World War II lingo revived; you can guess the double-cross plot and final revelation from all the way across the schoolyard. (R) BRIAN MILLER SIFF Film Center, $5, Sat., Feb. 25, 9 p.m. EXTRAORDINARY VOYAGE This new hour-long documentary concerns the hunt for a vintage print of Georges Méliès’ silent sci-fi film A Trip to the Moon (as featured in Martin Scorsese’s Oscar-nominated Hugo), which will also be screened. (NR) Northwest Film Forum, $6-$10, Tue., Feb. 28, 7 & 9 p.m. THE 5,000 FINGERS OF DR. T Your kids may never agree to music lessons again after viewing this 1953 treatment of the Dr. Seuss children’s tale. Hans Conried is the borderline fascist piano teacher who enslaves his pupils to the keyboard. Read into it what political allegories you will. (G) SIFF Film Center, $4, Sun., Feb. 26, noon. FRANKENHOOKER From 1990, this tongue-in-cheek horror flick has a med student seek to reassemble his fiancee from cadaver parts. (R). Grand Illusion, $5-$8, Fri., Sat., 11 p.m. Through Feb. 25. GREY GARDENS After a sequel, a musical, and an HBO remake, David and Albert Maysles’ 1975 documentary remains their greatest hit. This portrait of Edie Beale and her daughter (Jackie Kennedy’s eccentric aunt and cousin) is more than a cinema verité classic, it’s an American myth. (PG) J. HOBERMAN Central Cinema, $6-$8, Fri., Feb. 24, 9:30 p.m. HOW TO DIE IN OREGON Peter Richardson’s new documentary examines the legacy of Oregon’s 1994 assisted suicide law. Several terminally ill patients are profiled. Discussion follows. (NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., Feb. 24, 7 p.m. THE LADY VANISHES SEE THE WIRE, PAGE 15. THE MATRIX This 1999 cyber fantasy starring Laurence Fishburne and man-boy Keanu Reeves is an impressive visual trip. Directors Larry and Andy Wachowski turn the world as we know it into a virtual-reality landscape with a tech-noir look (lit with a sickly green hue, like the glow of an old IBM computer screen). With the help of fight choreographer Yuen Wo Ping, Fishburne and Reeves become kung fu masters in a cyberdojo in a marvelous sequence that combines the ballet elegance and furious moves of Hong Kong movies with computer effects and tricked-up camera work. Movie screens at midnight. (R) SEAN AXMAKER Egyptian, $8.25, Fri., Feb. 24; Sat., Feb. 25. OFF THE REZ This new documentary follows teenage Native American basketball star Shoni Schimmel, a member of the Umatilla tribe in Oregon, who becomes an object of national recruiting frenzy by major colleges. (NR) Northwest Film Forum, $6-$10, Sat., Feb. 25, 5 p.m. OKIE NOODLING II Men hunt really big fish without benefit rods or nets in this documentary sequel. Director Bradley Beesley will attend the screening. (NR) Northwest Film Forum, $6-$10, Sun., Feb. 26, 8 p.m. POST ALLEY FILM FESTIVAL At a new (borrowed) venue and different calendar date, Women in Film Seattle presents about 30 local shorts, most with discussions after the screenings. Among the diverse titles, look for Oscar winner Melissa Leo in the family drama The Sea Is All I Know. Films are screened in blocks with short intermissions. A raffle and silent auction are also part of the fun. See postalleyfilmfestival.com for full schedule and program information. (NR) SIFF Film Center, $10-$15, Sat., Feb. 25, 12-6:30 p.m.

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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, sprocketsociety.org, $15-56 (series), Saturdays, 2 p.m. Through March 24. SINGLES Director Cameron Crowe once confided to us that the studio delayed releasing his 1992 picture by almost a year to better capitalize on our nascent grunge rock scene—making his sweetly observant music/rom-com seem more opportunistic than prophetic. It remains a deserved Seattle favorite, even if the nifty soundtrack seems dated and most of the local music figures who made cameos have long receded from the charts. Bridget Fonda, Campbell Scott, Kyra Sedgwick, and Matt Dillon star in the roundelay. Oh for those slacker days of yore! Call for showtimes. (PG-13) BRIAN MILLER Central Cinema, $6-$8, Feb. 24-29. THIEVES’ HIGHWAY SEE THE WIRE, PAGE 15. THE 20/20 AWARDS Local film lovers look back on 1992 and give their awards, with benefit of hindsight, to those titles overlooked at the Oscars. Nominees for Best Picture include Barton Fink and Thelma & Louise. Central Cinema, 2020awards.org, $10-$12, Wed., Feb. 22, 7 p.m. TWO ENGLISH GIRLS From 1974, set in the pre-WWI years, François Truffaut’s Two English Girls stars JeanPierre Léaud as a young Frenchman smitten with two sisters (Kika Markham and Stacey Tendeter). (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleart museum.org, $59-$66 series, $8 individual, Thursdays, 7:30 p.m. Through March 1. VIEW & CHEW Place your dinner orders first at The Tin Table downstairs, then enjoy a free movie (screened on video). The Rocky Horror Picture Show is accompanied by some sort of live stage show. Don’t pretend you don’t know all the words. (R) Century Ballroom & Cafe, 915 E. Pine St., 324-7263, centuryballroom.com, Free, Sun., Feb. 26, 8 p.m.

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Ongoing

ALBERT NOBBS Glenn Close stars as a woman who

passes as a man in 1890s Ireland, a role for which she won an Obie in 1982. The result of this passion project? Getting to look like Bruce Jenner in a bowler and high starched collar. Close’s prosthetic makeup renders her face too immobile, a marked contrast with her unfixed accent. A punctilious butler at a Dublin hotel, Albert can no longer remember the name he was born with. A friendship with a housepainter (Janet McTeer), also deploying an F-to-M masquerade, convinces lonely, pence-pinching Albert to pursue his dream of petite bourgeois propriety: opening a tobacco shop and trying to persuade a pretty hotel co-worker (Mia Wasikowska) to be his bride. The material deserves better than Close’s too-conventional stunt performance. (R) Melissa Anderson Harvard Exit, Kirkland Parkplace THE ARTIST An undeniably charming homage to old Hollywood, The Artist might be the first silent film many 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 and George’s decline. By 1932, Peppy’s attracting lines around the block for her latest, while George spends his afternoons passed out on a barroom floor, his Jack Russell terrier his sole remaining fan. Or so he thinks: Peppy has never forgotten him, and the film’s concluding act restores The Artist’s buoyancy. (PG-13) Melissa Anderson Harvard Exit, Kirkland Parkplace, Majestic Bay CORIOLANUS Ralph Fiennes’ modernizes this knotty tragedy about a warrior who refuses to kowtow to the perceived inferiors who control his fate. But the transposition to present day is confusing and counterproductive, dulling the impact of an otherwise fierce, often unbearably immediate production. What saves the film is actor Fiennes’ steadfastness to the character of Caius Martius Coriolanus, an irreducible antihero balancing a defiant integrity with damning pride. His physicality complements rather than obscures the Bard’s blunt dialogue. As blood rival Tullus Aufidius, Gerard Butler’s all surface, a beard with a Scottish brogue, leaving Brian Cox and Vanessa Redgrave to remind us how it’s done. (R) Eric Hynes SIFF Cinema at the Uptown A DANGEROUS METHOD David Cronenberg’s A Dangerous Method is at once a lucid movie of ideas, a compelling narrative, and a splendidly acted love story involving Carl Jung (Michael Fassbender), Sigmund Freud (Viggo Mortensen), and Sabina Spielrein (Keira Knightley), the near-forgotten patient-turned-disciple who confounded both men en route to her own tragic destiny. The movie opens like an electrified gothic novel with freaked-out, wild-eyed Spielrein being taken to the

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work. Pina gives us the supreme pleasure of watching fascinating bodies of widely varying ages in motion, whether leaping, falling, catching, diving, grieving, or exulting. (NR) Melissa Anderson Cinerama SAFE HOUSE Ryan Reynolds plays a junior CIA agent assigned to babysit a safe house in Cape Town. Then an extremely high-value “guest” checks into the house: rogue agent Denzel Washington, who has apparently been trafficking in global intelligence secrets. When some guys hired to kill Washington show up, our heroes flee. Grainy and hyper-saturated, Safe House has the distinct look of deliberate “amateur” cinematography, taken to its abstract limit by Bourne series DP Oliver Wood’s handheld, zoom-happy camera. Most of the fight and chase scenes register not as action, but as blasts and blurs of vivid color. Is this accidental or an acknowledgement that scrutability is not a paramount value of the contemporary action sequence? (R) Karina Longworth Big Picture, Cinebarre, Kirkland Parkplace, Majestic Bay, Meridian, Metro, Thornton Place A SEPARATION Iranian writer-director Asghar Farhadi’s urgently shot courtroom drama puts you in the jury box. It opens at a Tehran judicial hearing where a quarrelsome husband and wife each make their case. Simin has finally obtained official permission for her family to move abroad, but husband Nader has apparently changed his mind. He feels obligated to care for his aged father, and, in order to leave the country, Simin is compelled to sue for divorce. When her petition is denied, she moves in with her parents; Nader stays with his father as does their daughter. To look after his father, Nader hires Razieh, who has taken the job without the knowledge of her devout, unemployed husband, Hodjat. A Separation then heads directly into a real crisis. Nader comes home to find his father’s wrists tied to the bed with Razieh out on an errand. They have words; Razieh is shoved out of the apartment, falls down the stairs, and (Nader later discovers) winds up in the hospital. With its two couples warring on two fronts on behalf of their offspring, A Separation is an Iranian analog to Roman Polanski’s recent Carnage,—but the stakes are much higher. (PG-13) J. Hoberman Egyptian Theatre THIN ICE A surprisingly entertaining and nonderivative February time-passer. Greg Kinnear steps out of incredulous do-gooding sad-sack mode to play Mickey Prohaska, an independent insurance agent, low-level sociopath, and burgeoning grand larcenist. Mickey foists a policy on seemingly naïve farm widower Gorvy (Alan Arkin), who happens to own a million-dollar violin he knows nothing about. Things go sour when Mickey’s attempt to steal the fiddle is fatally complicated by loudmouth psycho locksmith Randy (Billy Crudup). There’s nothing in Thin Ice that hasn’t been done before, but director Jill Sprecher gets impressively loose, funny yet respectful performances from her cast and generally keeps the film moving along. (R) Mark Holcomb Varsity TINKER, TAILOR, SOLDIER, SPY John le Carre’s 1974 spy novel is predicated on a pair of enigmatic personalities: the colorless bureaucratic master-spook George Smiley (a taciturn Gary Oldman) and the double agent the Soviets have planted near the top of British intelligence whom he must unmask. Best known for the bleak tween vampire drama Let the Right One In, Swedish director Tomas Alfredson has made a brooding, fluidly crafted movie adaptation of the novel, strong on chilly atmospherics. The “circus”—le Carre’s term for MI6—is in disarray, and the discharged Smiley is metaphorically brought back from the dead to discover which one of his former colleagues is the mole. As Smiley goes about securing files and interviewing witnesses, Alfredson establishes a shabby universe of technologically primitive dial phones, teletype machines, and reel-to-reel tape recorders. (R) J. Hoberman Metro, Pacific Place

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

Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-672-7501; Cinerama, 2100 Fourth Ave., 448-6680; Crest, 16505 Fifth Ave. NE, 781-5755; Egyptian, 801 E. Pine St., 781-5755; Grand Illusion, 1403 NE 50th St., 523-3935; Guild 45, 2115 N. 45th St., 781-5755; Harvard Exit, 807 E. Roy St., 781-5755; iPic Theaters, 16451 N.E. 74th St. (Redmond), 425-6365601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; 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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Seat tle weekly • Febru ary 22–28, 2012

clinic where Jung is experimenting with Freud’s newfangled talking cure. Liberated by therapy, Spielrein eventually propositions her married doctor. Later, she contacts his mentor Freud to propose herself as a patient. Caught between two geniuses, Spielrein is the movie’s true and tragic subject. (R) J. Hoberman 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 not of conscience but 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 an island-hopping road trip—searching for one thing, finding another. (R) Brian Miller Big Picture Redmond, Guild 45th, Kirkland Parkplace, Meridian, Thornton Place THE GREY I was told there would be more wolf-punching. If you crash Liam Neeson and six disposable buddies in the frozen Alaskan wilderness, there is the expectation— nay, the requirement—that Neeson punch as many wolves as possible. But despite Neeson’s recent string of aggrieved-daddy action flicks (Taken, Unknown, etc.), this is not to be. Reuniting with his A-Team director Joe Carnahan, Neeson is instead a melancholy Irish Catholic given to fits of poetry and religious doubt as he attempts to lead his band to safety. Along the way, Neeson’s pack is revealed to be frail and fearful, as The Grey’s dwindling survivors somberly contemplate the odds against them and, as the film takes a mystical turn, the absence of divine providence. (R) Brian Miller Cinebarre, iPic Theaters, Pacific Place THE IRON LADY Eightysomething Margaret Thatcher (Meryl Streep) is first presented as a little old lady unfit for the fast-moving world outside her hermetic London townhouse. The bulk of the movie takes place in an even smaller, more airless space: the dementia-stricken former British prime minister’s head. Phyllida Lloyd’s film alternates between Thatcher’s rich memories of her past struggles and glories, and her present-day attempts to remember the more quotidian stuff. Cutting out anything that might complicate the film’s notion of Thatcher as a working-class girl turned plucky housewife turned feminist icon turned tragically doddering granny, The Iron Lady suggests that arguments against its heroine were always irrational and usually knee-jerk misogynistic. Lloyd turns Thatcher’s life into a highlight reel in which the PM is put upon by sexist, classist, and/or faceless brutes. (PG-13) Karina Longworth Guild 45th Theatre, Meridian MY WEEK WITH MARILYN Marilyn Monroe (Michelle Williams) has arrived in 1956 London to star in The Prince and the Showgirl, directed by and co-starring Laurence Olivier (Kenneth Branagh). The pill-addled peroxide blonde soon brings production to an impasse. This bad behavior is seen through the hardly impartial eyes of third assistant director Colin (Eddie Redmayne), a role based on Colin Clark, who wrote two memoirs about his relationship with Monroe on the Showgirl set. My Week is an oddly chaste movie about a sex goddess to whom Williams brings study but not feeling. (R) Karina Longworth Varsity, Kirkland Parkplace PERFECT SENSE A Glasgow chef (Ewan McGregor) and epidemiologist (former Bond girl Eva Green) are among those afflicted by a mysterious syndrome that begins with the loss of smell. One down, four to go. As the world turns to hell, however, a relationship gradually forms between the cook who can’t commit and the doc afraid to love again. Sounds trite, but the film maintains an unlikely tone between black comedy and global tragedy. There are no lessons. As if by some Darwinian process of coping, the central duo and their city just keep adapting to diminished faculties. In one funny scene, after taste has gone, the chef’s restaurant receives a rave review for the crackly sonic textures of its food. (NR) Brian Miller SIFF Cinema at the Uptown PINA Choreographer Pina Bausch died unexpectedly right before shooting on this 3-D project began in 2009. Yet her friend Wim Wenders was convinced by her ensemble members to proceed. Their brief, mostly alfresco solo and duet performances are interspersed with voiceover memories of their beloved leader and excerpts from live stagings of four of Bausch’s works. Bausch’s choreography (at least to this unversed writer) emphasizes big emotions, Sisyphean gestures, and the pleasingly absurd, sometimes all at once. Wenders’ expert use of 3-D puts viewers up close to the spaces, both psychic and physical, inside and out, of Bausch’s

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from Washington bays. Every soup, sauce, and dessert is made on site, from scratch. There is no centralized kitchen. But there is an in-house seafood company, a 25-person operation located under the Magnolia Bridge. “Their principal job is getting us fresh seafood in season,” Hoss says. They’re also charged with making the right freezing decisions so the menu remains relatively constant throughout the year. “This goes back to [founder] Budd Gould,” she explains. “In his early restaurant days, he’d be frustrated by the quality of seafood he could get.”

he groundwork for the Anthony’s concept was laid 43 years ago when Gould opened a steakhouse in Bellevue. It was soon followed by Mad Anthony’s, a restaurant named for the mercurial Benedict Arnold underling who died of gout in Detroit, a city accustomed to being unfairly maligned. In 1976, the first waterfront Anthony’s HomePort opened in Kirkland. There are now 25 Anthony’s locations scattered across the region, and a single franchised outlet at Sea-Tac Airport. The company plays down the breadth of its reach—officials prefer the term “family” to “chain”—but always has an ear cocked for expansion opportunities. “We are blessed with a number of longtime employees who need opportunities, so we have to grow,” says Hoss, referring to the five dozen Anthony’s staffers with tenures topping 20 years. “Realistically, there’s only so much great waterfront.” The company began seriously to consider an inland location after seeing the airport Anthony’s succeed. The only water visible from Anthony’s Seafood Grill, which opened last October, is a design element: “We gave them a little stream,” Hoss says. Stream aside, Anthony’s Seafood Grill appears to be the kind of restaurant most shoppers would expect to find if they went looking for somewhere to rest their Macy’s bags and creaky feet. The bulk of the carpeted dining room is devoted to padded booths and bare tables set with rolled black napkins and surrounded by straw-colored Windsor chairs. The walls are hung with inoffensive maritime art, including glassy jellyfish forms. Bowing to its landlocked location, Anthony’s Seafood Grill has a few extra land-based dishes on its menu, but it’s the

rare diner who comes for the basil chicken Definitely better than the food court. penne. “They want to see fresh Northwest seafood,” Hoss says. And there’s plenty to see. Many of the appetizers take a trip through was undersalted and mealy. A char-grilled the fry station, including crisp, dime-sized Chinook salmon, which cut a more dashing loops of calamari, but freshness is critical figure on the plate, was overcooked, although to the best items on the starter list. Meaty an accompanying pad of sweet corn cake roasted Penn Cove mussels, popped open threaded with sage had a homey appeal. wide as catcher’s mitts, are sunk in a lemony Desserts at Anthony’s are outstanding. It’s white-wine sauce strewn with rosemary best to dine with however many companstalks. It’s a dish to make eaters grateful for ions you’ll need to justify ordering both the the attentiveness of the capable servers, who supremely tart blackberry cobbler and the cheerfully keep the focaccia basket filled. tiny cinnamon-dusted doughnuts accomMy server seemed slightly agitated only panied by a mug of chocolate sorbet capped when I expressed interest in the ahi nachos, with Bailey’s whipped cream. The berries which he repeatedly stressed weren’t exactly are local, and the sorbet—the only entry on nachos. I’m sure he’s carried back countthe dessert menu that doesn’t originate in less orders from tables sat with diners Anthony’s kitchen—comes from Olympic expecting a mound of chips slathered with Mountain in Shelton. But in keeping with cheese. Anthony’s means “nacho” in the its founder’s Pacific Northwest brand of hors-d’oeuvre sense—the plate is set with modesty, the company doesn’t flaunt its four freshly fried taro chips piled with bits of sourcing or its regional roots. “I think pineapple and diced dawnone of the things people pink tuna and squiggled don’t know is we’re a local with just enough stinging company,” Hoss says. » PRICE GUIDE MUSSELS.................................. $9.95 wasabi aioli to offset the For mall shoppers who AHI NACHOS ..........................$10.95 underlying sweetness. crowd the dining room CLAMS AND RINGS .............$13.95 CHINOOK SALMON ............$24.95 Decades of practice at Alderwood Mall, the COD AND CHIPS ....................$13.95 have made Anthony’s provenance of the restauBLACKBERRY COBBLER ...........$6 irrefutable on seafood rant and its food may house staples. Oyster stew, not matter: They show slick with butter, was glutted with flavor and up for the predictably good food and excelthree fat oysters. Steamed clams, aswim in a lent service, which ultimately may sell more garlicky, citric broth, were properly paunchy. Skagit strawberries and Willapa Bay oysters And fish fried in a sweet-leaning batter was than any high-minded philosophy. E perfectly crisped. These aren’t revelations, hraskin@seattleweekly.com but traditions upheld. The only disappointments I encountered ANTHONY’S SEAFOOD GRILL at Anthony’s came from the salmon side 3000 184th St. S.W., Suite 870, Lynnwood, of the menu. Alder-planked silver salmon, 425-771-4665, anthonys.com. 11 a.m.–10 p.m. dressed with a hefty handful of bay shrimp, Sun.–Thurs., 11 a.m.–11 p.m. Fri.–Sat.

Seat tle weekly • Febru ary 22–28, 2012

restaurant. Although Anthony’s is microscopic by national chain standards—Olive Garden has 30 times as many restaurants worldwide—it shares with the category’s biggest players a commitment to consistency, affordability, and family-friendliness. If lingcod and Yakima Valley sémillon can work here, I’d wager similarly geographically specific specialties could work anywhere. What makes Anthony’s Seafood Grill such a compelling model for the mainstreaming of the local-and-seasonal mantra is the restaurant’s savvy avoidance of anything which could be construed as daring. Anthony’s wants to comfort, not challenge, which is why its customers will never be told the vegetable of the day is Brussels sprouts. “Brussels sprouts doesn’t work at Anthony’s,” spokeswoman Lane Hoss says. “Pork belly doesn’t work at Anthony’s. We’ve played with a lot of things, but we’re not your small, little downtown restaurant. We can’t go way off.” Yet the restaurant has more in common with celebrated downtown bistros than many eaters realize: The shellfish is sourced

BY HANNA RASKIN

JOSHUA HUSTON

ear the midpoint of a conscientious eater’s hierarchy of food fantasies, above an extended cherry season and below a ban on bluefin tuna fishing, is the wish for decent mall food. Locavores need to renegotiate cell-phone contracts and buy black T-shirts too, and wouldn’t those transactions be so much more bearable if there were something to eat that hadn’t spent three months in a deep freezer? The chain restaurants which cluster around shopping-mall entrances have lately done a fairly good job of rejiggering their menus to accommodate diners whose doctors have instructed them to cut back on salt, slash calories, avoid gluten, or eat more whole grains. But stripping away nutritional bugaboos isn’t nearly as daunting an institutional challenge as hopping aboard the local-andseasonal bandwagon, since most restaurants with a galaxy of locations would have to devise new distribution systems to put justplucked produce on tables from California to Connecticut. Even chains which pride themselves on freshness, such as Darden’s Seasons 52, have a knack for throwing root vegetables, corn, and asparagus onto a single plate and calling it the farmer’s special. But there’s hope at Alderwood Mall: Last fall, Anthony’s opened its first off-water location in Lynnwood, and it’s a template for integrating locally sourced, regionally reflective food into the traditional mall

Anthony’s first beached location fishes Alderwood’s wish.

WEEKLY SPECIALS • FEBRUARY 22-28, 2012

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$ = $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.

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The Watering Hole: Mission, 2325 California Ave. S.W., 937-8220, WEST SEATTLE The Atmosphere: Mission occupies a a slender piece of unassuming property sandwiched between two restaurants, making it quite easy to miss. It’s where you go when you don’t want to run into anyone you know while you knock back a few strong drinks or catch a game. It’s not uncommon for the Latin-inspired restaurant to host private parties in its upstairs loft, making the place a haven for boisterous fun and great people-watching. The Barkeep: Paul Szekely, who’s been bartending at Mission for a year. Before that he worked for the Heavy Restaurant Group for six years, lending his skills to Lot No. 3 and Purple Café and Wine Bar, specifically the original Purple in Woodinville. “When I initially started with Purple, it was a husband-and-wife owner and their office was across the parking lot, so it was a very-small-restaurant feel and I really enjoyed that,” he says. “If I had any issues or I wanted to talk to them, they were there. They’ve since grown, which makes it tougher to have your voice heard. [At Mission] there are two owners, one of whom is very hands-on and is in here all the time.” But the main reason Szekely moved to Mission is because he lives in West Seattle. “It’s a great place to work. It’s a pretty small staff and we’ve got a good smaller-community

JULIEN PERRY

$3 HAPPY HOUR

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Man in a Mission

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a big deal out of their margaritas, and with good reason: El Gallito stocks good tequilas, and they serve them up as well as anyone around. But there are many things to love about this place besides the booze. There’s the mole, for one, and for two, the guacamole. The enchiladas are the best in town, so order a combo of one guac and one mole and you’ll be in heaven. Bonus: the best old-school signage in town. $ MESKEL 2605 E. Cherry St., 860-1724. Meskel’s big terrace was made for warm summer nights, and the waiters are content to let you while away a few hours over glasses of Harar beer and honey wine. Being T H I S CO D E TO DOWNLOAD THE FREE rained out is no loss, though, SEATTLE WEEKLY because this Central District IPHONE/ANDROID APP restaurant’s warm interior is FOR MORE RESTAURANTS OR VISIT the perfect place to fortify seattleweekly.com yourself against the damp with braised meats and spices. Meskel’s kitfo (beef mixed with spiced butter) may not be the city’s best, but the yebeg tibbs (lamb sautéed with onions and chiles) is, and the red lentils and pureed chickpeas on the vegetable combo will leave both vegetarians and omnivores agog. $

good-food-with-good-beer establishments. Expect fine domestic and imported microbrews on draft and simple hearty food made from fresh seasonal local ingredients. Menu changes weekly. $ COLUMBIA CITY BAKERY 4865 Rainier Ave. S., 723-6023. This airy bakery offers the perfect croissant: flaky, buttery and served with raspberry jam on the side. There are chocolate and almond varieties, as well as an array of cookies, breads and seasonal specials like Valentine’s Day chocolate truffles. Come after school lets out, or on weekend mornings, and you will find half of the neighborhood here with their kids. $ TUTTA BELLA NEAPOLITAN PIZZERIA 4918 Rainier Ave. S., 721-3501; 2200 Westlake Ave. Suite 112, 624-4422. This establishment has high ambitions for its Neapolitan-style pizza, which carries certification by the Italian government. The requisite thin crust, floppycentered and almost translucent at the center, tastes of the wood fire it was baked over and will leave some more jazzed than others. The pizzas come topped with classy items like pancetta, goat cheese, and kalamata olives. Dessert includes gelato and tiramisu. Kids are well treated. And you might find a jazz band playing in the corner. $

The Admiral needs more mezcal.

restaurant, so we get a lot of regulars, a lot of people who I see in the grocery store. It’s definitely got that neighborhood feel.” The Drink: Szekely makes a Bartender’s Margarita made with Sauza Conmemorativo tequila, triple sec, cranberry juice, housemade margarita mix, and a float of Grand Marnier. It’s one of Mission’s best sellers, but since a lot of customers ask Szekely for mezcal, he says it “would be nice to have a mezcal cocktail on the menu.” The Verdict: The margarita was perfectly balanced and refreshing, but best of all, it was strong. You could actually taste the tequila as opposed to the mix. And even though it was pink, it wasn’t overtly sweet. E jperry@seattleweekly.com

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food&drink»Featured Eats HARRIED AND HUNGRY 1415 Third Ave., 264-7900. At

H&H, each box lunch comes with a beverage, a bag of Tim’s Cascade chips, and a cookie. The falafel sandwich puts excellent, disc-shaped patties in a French roll rather than a pita, then covers them with enough hummus, feta cheese, and cucumber and tomato slices to distract you from the strange choice of bread. While the hot salami and provolone is popular, the caprese’s fresh mozzarella and flavorful tomatoes (not enough basil, though) justify making a perfectly reasonable salad into a sandwich. $ THE HUNT CLUB 900 Madison St. (in the Sorrento Hotel), 343-6156. The Sorrento Hotel is world-class, and its restaurant is a magnet in itself. Dishes like duckling served with braised endive, grilled peaches, and figs are inspired, and the bread pudding is worth a try. The dim lights and upholstered chairs, the white tablecloths and brocaded bolsters, make this restaurant magical. $$$ SOUND SOUPS 999 Third Ave., 284-1355. Soup can brighten the bleakest Seattle day, and Sound Soups knows how to serve it: piping hot and loaded with flavor, with varieties including clam chowder and old-fashioned chicken noodle. The beef stroganoff has good-sized pieces of meat smothered in a thick, creamy sauce, while the sirloin chili is blessed with gargantuan hunks of steak that clearly distinguish it from canned varieties. $ SPECIALTY’S CAFE & BAKERY 1023 Third Ave., 264-0887. The smell of sinfully rich chocolate-chip cookies may lure you in, but Specialty’s is at heart a

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

EASTLAKE & SOUTH LAKE UNION POMODORO 2366 Eastlake Ave. E., 324-3160. This Eastlake

hideaway serves Italian entrées and Spanish-style tapas. The kitchen juts into the dining room, filling it with a sumptuous garlic aroma. Given the restaurant’s scale, service is incongruously formal: Your waitperson places the napkin in your lap, and palate-cleansing sorbet arrives unbidden between courses. The kitchen doesn’t have the lightest touch with entrées, but tapas like the shiitake and portobello mushrooms sautéed in olive oil and garlic are simple and good. $$

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Seat tle weekly • Febru ary 22–28, 2012

Grappling for ways to reduce soaring childhood-obesity rates, many policymakers have settled on a kind of serfdom solution, reasoning that if kids spend part of the day with their fingers burrowed in fresh soil, they’ll develop an unshakeable appreciation for fruits and vegetables. The problem is that it’s not entirely clear whether school gardens achieve the goal of advancing childhood wellness. A yearlong study of low-income grade schoolers in Brisbane, Australia, produced the surprising finding that students who helped tend a garden emerged from the program with a “decreased interest in trying new fruits” and showed “less enthusiasm for activities centered around vegetables and fruits.” The researchers theorized that the children no longer considered the healthy foods novel. Since school gardens clearly aren’t a panacea, I wonder if an epicurean approach to altering eating habits would prove more successful. Perhaps it’s time for children to stop aping farmers and start imitating the gentry. When I pitched a food-writing workshop to 826 Seattle, a nonprofit writing center for kids, I suggested high-school students would be the appropriate demographic. But the organization typically targets a much younger audience with its classes, so I was asked to rewrite my curriculum for 9-year-olds. It wasn’t until I started trawling for review examples to share that I realized what an adult world I inhabit as a critic. I’d never before noticed how frequently restaurant reviews mention liquor and sex. Even reviews in daily papers referenced cougars draped over Cosmos and louche sommeliers with wandering hands. I finally decided to focus on something

I assumed would be familiar to kids: pizza. We read pizzeria reviews from Alison Cook, John Kessler, and Jonathan Gold. The kids scoured the reviews for different ways of saying “The pizzas are huge” and “The sausage is spicy.” They found examples of similes, hyperbole, humor, and sensory descriptions. And then we had lunch. Armed with reporter’s notebooks, the kids were seated in the restaurant we’d assembled in the back end of the writing center. Our pop-up restaurant—Ristorante 826— featured tablecloths, centerpieces, and printed menus. Volunteers served the salad, pizza, and cupcakes. It was all rather fancy. Admittedly, the pizza was no longer hot by the time we got around to serving it. I was under the impression that all kids love all pizza. Apparently not: After analyzing the pie in professional critic fashion, many of the kids decided they weren’t that crazy about it. While I’m not aware of any studies that ascribe health benefits to youthful snobbery, there is plenty of scientific evidence that mindful eating can repair disordered relationships with food. “This is anti-diet,” Jan Chozen Bays, author of Mindful Eating: A Guide to Rediscovering a Healthy and Joyful Relationship With Food, recently told The New York Times. “I think the fundamental problem is that we go unconscious when we eat.” Eaters who try to decipher ingredients and cooking techniques, absorb aromas, and cast about for the right words to describe particular textures—in other words, who behave like food critics—are less apt to overeat and more likely to enjoy their food. While it might seem dilettantish to a nation sold on the populism of everyman agrarianism, engaging children’s minds might ultimately prove more successful than handing them shovels. E

John Atkinson Editor Stereophile Magazine

Music Matters7 A Special Evening of Presentations Devoted Exclusively to the Reproduction of Music

This is your invitation to Music Matters 7, our seventh annual special event devoted to the reproduction of music. Regardless of your favorite artists, your music library, or the way you listen, if music is important to you, you will want to attend Music Matters 7.

Seattle weekly • February 22–28, 2012

During one music-filled evening, you will see and hear the absolute finest 2-channel systems available - many of them presented by their manufacturers to the public for the first time - in six calibrated sound rooms.

Bob Stuart Chairman and Chief Technical Officer Meridian/Sooloos

Mark Glazier President Wisdom Audio

• Wednesday, February 29th, 5-10pm • Deﬁnitive Seattle - 6206 Roosevelt Way NE • Each of the presentations will run 30 minutes Highlights this year include the new Meridian M6 loudspeakers and 818 Reference pre-amp, Dan D'Agostino Momentum amp and pre-amp, Wilson Audio XLF speakers, Audio Research Reference DAC and 5SE, the prototype of the new Vienna Beethoven Baby Grand – Symphony Edition speakers, the Linn Akurate DSM, Isobarik speakers and Songcast, new Peachtree Decco products, as well as two representatives from Stereophile Magazine this year; editor, John Atkinson and writer, Stephen Mejias.

Presentations will be made by the following manufacturers: Audio Research D'Agostino Meridian/Sooloos Transparent

Ayre Acoustics Finite Elemente Peachtree Audio Vienna Acoustics

B&W HRS Rotel Wilson Audio

Classé Linn Stereophile Wisdom Audio

Peter McGrath Sales Manager Wilson Audio

Steve Croft Director of Sales Linn

Dave Nauber President Classé

Seating is limited, please RSVP to 206-524-6633 or online at definitive.com Light hors d'oeuvres & refreshments will be served. No dealers please.

Seattle Showroom - February 29th from 5:00 - 10:00 pm

Dan D’Agostino President Dan D’Agostino Audio

music» »PROFILE

To the Stars on the Wings of Limited-Edition Colored Vinyl

Two new local labels are on the rise, thanks to an artist-centric, handcrafted approach. BY DAVE LAKE

o understand the inspiration behind Ballard’s year-old indie label, Fin, one first needs to understand the story of Black Sparrow Press. The Santa Rosa, Calif., publishing company was founded in 1966 by John Martin, a collector of rare books who sold his archive of first editions to raise enough money to publish the work of a thenunknown author named Charles Bukowski. For 36 years, Martin ran the small company, which quickly grew to include authors like John Fante and Paul Bowles and which never waned from its dedication to its mission. Martin would send Bukowski postage-paid envelopes, which the writer would return stuffed with prose and which Martin would publish without alteration. Before his death in 1994, Bukowski told Transit magazine, “Black Sparrow Press promised me $100 a month for life if I quit my job and tried to be a writer. Nobody else even knew I was alive. Why shouldn’t I be loyal forever?”

Therein lies the blueprint for Fin, the brainchild of 51-year-old Christian Fulghum. After listening to the gripes of bands coming through Wallingford’s Jupiter Studios, which he’s owned for 16 years, he decided to start a label. “It hit me that even in this DIY era, where musicians have the power to create what they want at a reasonable cost,” he says, “people were still very dissatisfied with the whole label aspect.” His idea: Give young bands an opportunity to be heard via limited-edition, high-quality, handcrafted seven-inch singles—while staying out of their way, giving them creative control over each aspect of the release. All the label’s releases are small runs, mostly around 500 copies, all on colored vinyl, hand-numbered, and in an embossed jacket. “It’s meant to go from ubiquity, which is what digital is good at, to scarcity,” Fulghum says— though he was quick to point out that he’s not anti-digital either; the $10 price tag of his singles includes a digital download as well. Whiting Tennis, an acclaimed sculptor and painter who moonlights as a folk singer, jumped at the chance to make a record with Fin. “He gives the artist 100 percent control over the songs, the mixing, the order of the

cross town, Joe Johnson had a similar idea: What if he could create an online record store that was as enjoyable to shop at as the brick-and-mortar mom-and-pop stores he loved that were rapidly going out of business? To do that, he created Knick Knack Records, a digital record store (and label) which sells not only new releases from artists like the Black Keys and T-Model Ford but also a hand-picked selection of used LPs. He hopes soon to expand to tickets, T-shirts, books, and more. “I’m curating a particular niche of music that I think will appeal to a certain segment,” he says of the endeavor—“people who like rock & roll.” After learning the ropes as an intern at local label Sarathan, Johnson (who spends his days as a web-merchandise planner for a large retail clothing brand) decided to launch a record label in whatever bits of free time he could muster. His experience as an accountant and a warehouse manager for several large e-commerce companies prepared him for starting Knick Knack as a label, but after studying the economics he decided to launch an online specialty shop alongside it. “It’s tough to generate enough revenue to keep yourself afloat as a label,” he says. “Your competition is Warner Bros. and Sub Pop and much bigger organizations who have so many more resources.” Johnson’s goal is to cut out as many middlemen as possible from the process, and he hopes his hand-picked selections and passion for vinyl will encourage record buyers to shop with him instead of giant e-tailers like Amazon, which he says does a crummy job of fulfilling vinyl

orders. “They ship vinyl in boxes that were made for books,” he says, “and it comes to you fucked-up.” Though the Knick Knack web store got off the ground first, last September the label released the LP To the Stars on the Wings of a Pig from Seattle’s the Foghorns. Johnson said he has at least half a dozen releases lined up through the first half of 2012, including a new record from psychedelic blues band GravelRoad. Bandleader Bart Cameron said they decided to make the record with Johnson after his web store sold an impressive amount of their previous albums. The artist-friendly approaches of Fin and Knick Knack have made bands eager to align with them. Though neither label signs bands to a traditional multi-album record deal involving book-length contracts, the handshake arrangements benefit both parties, particularly as each begins to operate on a larger scale and establish their identities. Cameron says Johnson has stayed out of the way of their creative process: “All I’ve gotten in terms of critique was shocking enthusiasm.” Both labels are beginning to get noticed. Fin has released a radio-only 12˝ single by J. Pinder that’s seeing traction on college charts, with a full-length yet to come. In

“If you manufacture it yourself and sell it directly to the customer, your margin is so much bigger . . . We can do what a larger label [can] do.” March, the label will release a single by the Walkabouts, who have been generating airplay on KEXP. And, most rewarding for Fulghum, his records have garnered praise from tastemaking music blogs with a penchant for vinyl, like Philadelphia’s The Styrofoam Drone. While Fulghum is able to devote most of his energy to Fin, Johnson doesn’t yet have that luxury at Knick Knack. “My goal in 2012 is to quit my day job,” says Johnson, who hopes that Knick Knack’s continued success can make that a reality. And with most indie labels operating on what he calls “the old model,” he thinks he is wellpositioned to succeed. “If you manufacture it yourself and sell it directly to the customer, your margin is so much bigger,” Johnson says. “With a handful of bands, we can do what a larger label [can] do.” E music@seattleweekly.com

Seat tle weekly • Febru ary 22–28, 2012

Good luck stealing this online.

songs, the look of the package, the color of the vinyl,” Tennis says. “He has a utopian take on the whole concept of a label. It’s a ridiculous idea in the commercial world, but if it’s done on a really small scale and you’re only doing 500 copies, there’s not that much to lose.” J. Pinder, a rising Seattle hip-hop artist, has a similar story. He said wasn’t looking for a label when Fin approached him, because he didn’t think there was much a label could do for him that he couldn’t do himself. But Fulghum changed his mind. “He didn’t want to own my masters or run a traditional label,” Pinder says. Fin’s philosophy of developing artists over a longer trajectory is what piqued the rapper’s interest: “It was the right situation where I was still in control and I wasn’t signing my life away.”

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Seattle weekly • February 22–28, 2012

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music» Born in Seattle. At home in Hamburg.

MANDY MCGEE

»PREVIEW

Soft Rock

How an unknown Seattle band found a second home in the Eurozone. BY JULIA MULLEN GORDON

eading reviews for the Soft Hills’ new album, The Bird Is Coming Down to Earth, you’d be forgiven for not understanding a single word. That’s because most of them are in German. Or Italian, French, or Dutch. After the Seattle band finished recording the album, singer Garrett Hobba sent hundreds of e-mails to labels and A&R representatives. Not satisfied with generic submission addresses, he went down elaborate Google holes to find actual e-addresses for people who worked at labels, and sent each of them a download of the finished record.

“He’s very motivated,” says drummer Randall Skrasek. “Obsessed,” interjects bassist Brett Massa. Brittan Drake, responsible for keyboards and guitar and the band’s quietest member, merely smiles into his beard. But Hobba’s obsession paid off: Several labels expressed interest, and Soft Hills ended up going with Hamburg-based Tapete Records, which took over the band’s booking, distribution, and marketing. “We really lucked out,” Hobba says. “There’s a ton of great bands that don’t have labels, and a lot of labels that love their bands but don’t have a lot of money to invest.” The Soft Hills’ brand of space-countrypsych fits comfortably in Seattle; the

music@seattleweekly.com THE SOFT HILLS With Deep Sea Diver, Daniel G. Harmann & the Trouble Starts. Columbia City Theater, 4916 Rainier Ave. S., 722-3009, columbiacitytheater.com. $8 adv./$10 DOS. 9 p.m. Fri., Feb. 24.

Seat tle weekly • Febru ary 22–28, 2012

“People want to hear a new sound, not a jack-of-all-trades. But then I think of a record like Led Zeppelin III, and they’ll have a heavy song next to a folk song.”

laid-back meanderings of songs like “Purple Moon” and “Phoenix” are perfect for a sunny day tripping at Golden Gardens. Press comparisons to Fleet Foxes and Grizzly Bear abound, but in conversation it becomes clear that the band draws more influence from sounds of the past than from their contemporaries, aiming to combine the “pastoral, troubadour elements” of Pink Floyd’s The Piper at the Gates of Dawn with the heaviness of a ’60s-era Neil Young. Hobba quickly points out that he also loves post-rock bands like Godspeed You! Black Emperor, Sigur Rós, and Do Make Say Think. The result interprets the classics through a new lens, though Hobba worries they may have their feet in too many genres to attract any one listener: “People want to hear a new sound, not a jack-of-all-trades. But then I think of a record like Led Zeppelin III, and they’ll have a heavy song next to a folk song.” Hobba once heard the advice “Always be writing new songs,” and took it to heart. Even before The Bird was released, on Feb. 14, the band was already working on a followup. It’s heavier, Hobba says, and even more ’60s-leaning. They’re also looking forward to touring Germany, Switzerland, and France in the spring. Skrasek and Hobba have been learning German, showing off phrases like “Guten tag” and “Noch ein Bier, bitte.” “Karl Blau says Hamburg is the music capital of Europe,” Hobba says with a grin. “We’re all really excited to play there.” E

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Regina Carter’s Reverse Thread

with JOHNNY MONSOON, CHRIS PAAPE, MIKEY G

Genius jazz violinist, classically trained, exploring African folk melodies

SAT MAR 3 • MARKET 8PM DOORS • ALL AGES

February 22 Pete Escovedo Latin Jazz Orchestra featuring Juan and Peter Michael Escovedo Legendary Percussionist and Family Bringing Their Sassy Latin Jazz Grooves! February 23 – 26

SAT MAR 3 • MOORE THEATRE 7PM DOORS • ALL AGES

JIM JEFFERIES PROJECT feat. JAY FARRAR,

SAT MAR 10 • MARKET 8PM DOORS • ALL AGES

WILL JOHNSON, ANDERS PARKER, and YIM YAMES with SARAH JAFFE

JUST ADDED TUE MAY 1 • MARKET

Seattle weekly • February 22–28, 2012

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HUNTER HAYES UP AND COMING:

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NIT GRIT & TWO FRESH | MAR 30 | NEUMOS • COUNTING CROWS | APR 13 | SODO

206-441-5449 Take Warning Presents March 30 @ High Dive

Camille Bloom, Clearly Beloved

21+ ONLY - $8 adv. via www.brownpapertickets.com - 8:00 PM

NEA Jazz Master Saxophonist/Composer “Killer Joe”, “I Remember Clifford” February 28 – 29

Big Bad Voodoo Daddy

Contemporary Swing Revival Band March 1 - 4

Oz Noy Trio featuring Keith Carlock and Darryl Jones

Guitar wizard joined by the most in-demand groove rhythm players March 6 - 7

Mindi Abair

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The Benny Golson Quartet ft. Ray Drummond, Jason Marsalis and Mike LeDonne

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music»Reverb »

DISPATCHES FROM OUR MUSIC BLOG AT SEATTLEWEEKLY.COM.REVERB

»TELL ME ABOUT THAT ALBUM

A Gentle Reminder

»MY NEW FAVORITE PASTIME

The Jealous Sound’s Blair Shehan tells us what took so damn long.

Grab a Classic. Add Speed. Repeat. The Lonely Forest guitarist Tony Ruland: “I like to go to record stores, look through the bargain bins, and buy 45s of, you know, songs we all know, like ‘What’s Love Got to Do With It’ or ‘My Sharona.’ Then you listen to them [set to] 33 rpm, and maybe you have a turntable you can adjust 10 percent or minus 10 percent, however you want to do it. ‘My Sharona’ turns into the best Melvins song you’ve ever heard. ‘What’s Love Got to Do With It’ is the most beautiful soul song you’ve ever heard. ‘Old Time Rock and Roll’ is just kind of weird; it sounds like Oscar the Grouch. Thriller at, like, 60 percent— that whole record is just the best gangster-rap record you’ve ever heard.” E

BY DAVE LAKE

The Lonely Forest play the Neptune with the Seattle Rock Orchestra on March 3.

»SEATTLE SOUNDS

»THROUGH @ 2

Megadeth & Marriage

Dry ’Cause She Wants To

Dave Mustaine gets right to the point.

Whitney Ballen’s sobering 21 run. BY ERIN K. THOMPSON

BY CHRIS KORNELIS

“I understand that some drinks can taste really good, and I’m down for tasting things . . . But I can’t finish anything.” beer in her sister’s refrigerator and decided to try it for breakfast. “I opened it and had a sip, and was, like, ‘God, this is sick!’ ” Ballen goes to the UW, where she’s studying communications. I ask her if she’s ever had a wild college-party night. “I’ve been involved in them, but I haven’t been the wild party, ever,” she says. Her ideal Friday night is “my fat cat, my really nice down comforter, a Netflix account, and some Talking Rain water.” SHOP TALK Last December Ballen released her first record, White Feathers, White Linens, a title

that accurately represents her songs’ pristine, airy delicacy. When Ballen was in ninth grade, she got a guitar for Christmas and taught herself to pick along to the Doors’ “People Are Strange.” She played her first show when she was 15 at the Old Redmond Firehouse, and says her musical tastes are still developing—she cites Lou Reed and Canadian folk singer/Bon Iver girlfriend Kathleen Edwards as two of her current favorites, although the most obvious point of reference for her strangely high-pitched vocals is Joanna Newsom. Of her songs’ lyrical content, Ballen says, “If there’s any reference to any kind of love thing, it has nothing to do with me, it’s through other people’s eyes.” She used to take a tape recorder around, record conversations with her friends, and then write songs about their hookups and scandals. She once taped a conversation with her ex-boyfriend, unbeknownst to him; a segment of it plays in the middle of White Feathers, White Linens. BTW: It’s a little hard to imagine the petite Ballen hoisting a guitar, but she has an explanation for that. After her dad gave her a Taylor guitar, she went to Emerald City Guitars and traded it for “a 1919 Washburn Parlor acoustic guitar. It’s just my size! It’s so comfortable!” She holds her arms out like she’s cradling a baby, and then glances down at the birthday-cake shot still sitting in front of her. “I’m gonna go give this to someone else who’ll drink it.” E ethompson@seattleweekly.com WHITNEY BALLEN With Timothy Robert Graham, Stephen Nielsen. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. $6. 8 p.m. Wed., Feb. 29.

music@seattleweekly.com THE JEALOUS SOUND El Corazon, 109 Eastlake Ave. E., 3813094, elcorazonseattle.com. $13 adv./$15 DOS. 21 and over. 9 p.m. Sat., Feb. 25.

Seat tle weekly • Febru ary 22–28, 2012

ckornelis@seattleweekly.com

THE SITUATION I’m at King’s Hardware in Ballard with singer/songwriter Whitney Ballen, who is tiny and blonde and has a parenthetical dimple on her right cheek whenever she smiles, which is often. As of midnight tonight, Ballen will be 21; she’s celebrating with a group of friends, her big sister, and her mom. “She doesn’t drink. She weighs, like, 90 pounds; she’s extremely healthy,” Ballen says of her mother. “I don’t think she’s been to a bar since 1986.” Dad Ballen can’t be here to round out the family affair, as he is out making deliveries for his bagel shop, but he baked and sent along a tray of cupcakes frosted with pink roses. HOW SHE GOT HERE Contrary to your typical sloppy 21 run, Ballen does not want to get crunk tonight. She’s sipping 7-Up through a straw. One of her friends pushes a birthday-cake shot at her—“Do you want this article to say that you’re really prissy?” “Yes, because I am!” laughs Ballen. She sticks her tongue into the drink. “I can’t do this!” She refuses to taste my Strongbow, even after I tell her it’s basically apple juice. “I understand that some drinks can taste really good, and I’m down for tasting things, but not whole things,” she says. “I’ll taste a beer. The other night I tasted Champagne. I’ve had half a glass of mimosa. But I can’t finish anything.” Once she saw

KENTA MURAKAMI

SW: You mentioned you’re going to vote for Rick Santorum. Mustaine: I didn’t say that. I said that he’s the one that I’m looking at. Santorum is against gay marriage and supports restrictions on abortions. Does his stance on these social issues bother you? It doesn’t bother me at all. Do you support gay marriage? I’m very conservative. So, take it for what it’s worth. In Washington state, the governor signed gay marriage into law. Do you support gay marriage, or is that something you oppose? Well, since I’m not gay, the answer to that would be no. Would you support legislation to make marriage between a man and another man legal? I’m Christian. The answer to that would be no. You mentioned gas was $1.83 when Obama came into office; now it’s almost $4 a gallon. What does that mean for Megadeth? It means the same thing that’s happened to all of our grandparents with their Social Security being taken away. It means the same thing for all the homeowners who’ve had their houses ripped out from under them with all these robomortgages. America is being emasculated. I think as long as George Soros is going to be President Obama’s main mentor, we need to get ready to start wearing red. Do you have a mortgage on your house? Yeah, I do. Are you going to try to refinance to a lower interest rate? Well, if it’s lower than what my interest rate is now, possibly, but I have a jumbo loan because I have a big house. Would you ever consider playing bass with Metallica? [Laughs] You’re funny. E This is an excerpt from Mustaine’s conversation with music editor Chris Kornelis and KIRO’s Josh Kerns, co-hosts of KIRO 97.3’s Seattle Sounds, which airs Sundays at 3 p.m.

SW: It took you nine years to release the follow-up to your debut, an album that received the kind of praise most bands would kill for. Why? Shehan: I would have liked to have made a great second record, and we actually started to make one, but I didn’t have it in me. The desire and the drive to actually finish it and have it be what I wanted it to be—I just didn’t have it. And the band reflected that back at me, since I was the engine that drove it. Did something happen recently that made you feel willing to give it all up again and give it another shot? I didn’t have all that much to give up. I was married, and that relationship ended. I had unplugged from the life I’d known before that, so when that ended I was not plugged in to anything. I was just on my own, and had to sort out my life and figure out what I was going to do. For me, one of the things that created meaning and purpose in my own life, and also helped sort out what I had gone through, was making a record. So it was catharsis? Attaching things like that to it makes it feel pretentious to me, but the answer is yes. Is the title an allusion to the time you’ve been away from the music business? The title is actually tongue in cheek. “A gentle reminder” is like your God of the universe giving you a little nudge to get you back to where you’re supposed to go. It’s actually that you got your ass kicked back to where you’re supposed to go. It’s a not-so-gentle reminder. What did you listen to while writing the album? I ended up having to take a drive across the country from Florida to L.A. Two records that I really dug were the Killers’ Day & Age and M83’s Saturdays = Youth, which I thought was incredible as well. Those were two that I listened to over and over and over. I didn’t really seek them out; they just sort of found me, and I got to know them and love them. Do you have any connections to Seattle? When I was in Knapsack and we were just a baby band, we somehow got this gig up there. I think it was our second out-of-town show ever, and we ended up opening for Sunny Day Real Estate and Treepeople back in who-knows-when. And then Sunny Day Real Estate got onstage, and I was like, “Forget it, why do we even bother?” E

music»TheShortList WEDNESDAY, FEBRUARY 22

The Welsh singer/songwriter Cate Le Bon got her first big start in 2008 performing with Gruff Rhys’ electro-hip-hop group Neon Neon. She subsequently did a 180 and released a twee folk album called Me Oh My that received high praise for its blissful instrumentation and honey-sweet vocals paired with Le Bon’s shadowy, deathobsessed lyrics (“Why oh why does the dark knock on me/I fought the night and the night broke me”). Me Oh My’s follow-up is this year’s CYRK, which finds Le Bon further exploring her quirks and kaleidoscopic tastes. The record runs the gamut from jangly piano rock (“Falcon Eyed”) to breezy, high-pitched pop (“Fold the Cloth”) to the fuzzy, whimsical title track, on which Le Bon declares, “People do change and often come and go/But I’m waving flags for the long haul.” With Charles Leo Gebhardt IV. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $10. ERIN K. THOMPSON

His name might be absurd, but Nacho Picasso can flat-out rap. Whether he’s making sly dick jokes, naming his favorite comic books, boasting about the copious amounts of ganja he smokes like a Kevin Smith character, or channeling William S. Burroughs and reflecting on a dark history of drug abuse, his languid, warbled delivery and clever rhymes spat from behind a thick gold grill put him in a league of his own on the Seattle hip-hop scene. His latest release, Lord of the Fly, is his second collaboration with producers Blue Sky Black Death, and their sputtering hi-hats and ghostly synthesizers suit his style perfectly. This show marks the first time Nacho and his beat crafters will share the stage. With Bruce Leroy, Kung Foo Grip, Jarv Dee, DJ Swervewon. Neumos, 925 E. Pike St., 709-9647. 8 p.m. $10. All ages. KEEGAN HAMILTON

Craig Finn

THURSDAY, FEBRUARY 23

FRIDAY, FEBRUARY 24

Banjo-wielding multi-instrumentalist Kendl Winter is a rare entry on the K Records roster. Her acoustic singer/songwriter bent is not as experimental as her labelmates’, nor is her earthbound, string-based, five-album catalog any more cosmic than that of the likes of Kimya Dawson, Calvin Johnson, or LAKE. And unlike those bands’ often wildly expressive ways, Winter’s voice is pretty and delicately tempered. But within those wavering pipes is a devotional love of the Pacific Northwest; her latest release, The Mechanics of Hovering Flight (a meditation on the hummingbird), exalts our region’s natural beauty. Chanterelle mushrooms, Doug firs, and all kinds of birds mingle with measures of fluttering banjo and a few bars of yodeling, inviting the listener further into a world—both natural and musical—stripped of pretense and genuinely stunning. With Breathe Owl

There’s one groaner of a song on Craig Finn’s otherwise fair-to-middling solo debut, Clear Heart Full Eyes. It’s called “New Friend Jesus.” The problem isn’t that it’s about Jesus—Finn’s best songs with The Hold Steady are loaded with religious references and symbolism—it’s that it’s a youth-group campfire sing-along about how awesome it is to have “Jesus in your band.” It’s a cartoonish, baldly evangelical Buddy-Jesus. It’s Veggie Tales. It’s Willie Aames as Bibleman. It’s a Mars Hill pastor with a cool tattoo. And it’s a shame, because Finn’s use of religion with The Hold Steady has always been so clever and poignant and literary, even for us hopeless nonbelievers. This would be fine if the rest of Clear Heart was up to snuff, but while its dirgey acoustics are an intriguing departure from The Hold Steady’s classic rock, its songs lack Finn’s usual narrative heft. Here’s hoping his giddy live charisma carries them. With Mount Moriah. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $15. ERIC GRANDY

The Darkness

Richard Marx is right there waiting for you in Bremerton.

SATURDAY, FEBRUARY 25

Like most people, I had assumed that British glam-rock novelties The Darkness were dead until they popped up in a Super Bowl commercial. (It was about how iPhones are overrated, you’re all hipster sheeple for owning one, and what you’ve really wanted in your smartphone all this time is a detachable stylus!) Now, they can do some amazing stuff with computers these days, but it was pretty clearly the actual Darkness in this commercial. There was lead singer what’s-his-face,

EDITOR’S PICK

SLEIGH BELLS FRIDAY, FEBRUARY 24

PATRICK O’DELL

Seattle weekly • February 22–28, 2012

FRIDAY, FEBRUARY 24

Kendl Winter

Breathe, Cataldo. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9 p.m. $10 adv./$12 DOS. GWENDOLYN ELLIOTT

Nacho Picasso & Blue Sky Black Death

COURTESY OF THE ARTIST

Cate Le Bon

Sleigh Bells made one of 2010’s most flamboyant debuts with Treats, a mind-boggling clash of hardcore and electro; the sound earned the duo high-profile endorsements from M.I.A., Beyoncé, and a slew of critics. How to follow such a big splash? For Sleigh Bells, the answer was to use the same successful formula, only in an even bigger, heavier way. This second album, Reign of Terror, includes a couple of delicate, sugary pop tracks (“Comeback Kid,” “End of the Line”), but for the most part showcases guitarist Derek Miller’s assaultive riffs and Alexis Krauss’ unearthly vocal melodies in a darker light. Severe, squalling songs like “Leader of the Pack” and “Born to Lose” reference Miller’s anguish over losing his father in a motorcycle accident. The slick beats and thrilling rhythms are still there, but they’re deeply enhanced with a palpable emotional drama. With Black Bananas. Showbox at the Market, 1426 First Ave., 628-3151. 8 p.m. Sold out. All ages. ERIN K. THOMPSON

laminated in a magenta-and-white candystriped bodysuit open at his hairy chest and flared into bell-bottoms at his ankles, busking with an electric guitar, dutifully playing the band’s signature (and singular) 2003 hit “I Believe in a Thing Called Love.” It’s a cute song and all, but I need a Darkness reunion like my phone needs a stylus. With Foxy Shazam, Crown Jewel Defense. Neptune, 1303 N.E. 45th St., 877-784-4849. 9 p.m. $25. All ages. ERIC GRANDY

Reignwolf SATURDAY, FEBRUARY 25

You’d be hard-pressed to find a more technically proficient guitarist in any corner of the world than Reignwolf, aka young Jordan Cook, who’s recently relocated from Canada to Seattle. Known to dominate any number of stringed instruments (sometimes while keeping time on the drums), his chops as a live performer are similarly eye-popping. Though his songwriting is still catching up to his absurd set of raw talents—which also include a gnarly post-grunge/blues howl—his energy and command of the stage are more than enough to hold an audience tight. If my calculations are correct, his set should transition perfectly from local blues-distorting openers Hobosexual to Portland’s crunchy White Orange. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880. 10 p.m. $7. TODD HAMM

music»TheShortList Richard Marx

the wheels of convertible Chrysler LeBarons. They would buy their women no less than a dozen roses for Valentine’s If the world were flat, Marxism would Day, and agree to his-and-hers bodynot be a socialist movement, but rather sugaring sessions. shorthand for Richard And they’d pay to see Marx’s most devoted King Richard play an fans—the Deadheads Tune in to 97.3 KIRO FM acoustic gig in a hardof soft rock. Marxevery Sunday at 3 p.m. scrabble Navy town, ists would wear white to hear music editor Chris Kornelis even as he’s shifted trousers with the cuffs on Seattle Sounds. out of the limelight rolled up and Sperry and into a lucrative Top-Siders with no behind-the-scenes role as Keith Urban’s socks. Feathered mullets would top their ghostwriter. Admiral Theatre, 515 Pacific heads, and their hands would be affixed to SATURDAY, FEBRUARY 25

Ave., Bremerton, 360-373-6743. 8 p.m. $22– $35. All ages. MIKE SEELY

Atlas Sound TUESDAY, FEBRUARY 28

Since releasing his first record as Atlas Sound in 2008, the difference between Bradford Cox’s work with Deerhunter and with his solo project has become increasingly negligible. Consider last year’s Parallax, Cox’s most recent Atlas Sound release. Its songs are skewed ’50s pop numbers that sound like full-band arrangements, fleshed out by Cox’s penchant for

noise and ambience. It’s not all that different from Deerhunter’s most recent album, 2010’s Halcyon Digest, which largely followed the same formula. At this point, the projects differ most in a live setting, where, despite how full and rich his Atlas Sound material is, Cox still performs solo. It’s a setup that lends weight to his uncomfortably personal lyrics while emphasizing his place as one of indie rock’s most prolific and creative songwriters. With Carnivores, Frankie Broyles. Neumos, 925 E. Pike St., 709-9647. 7 p.m. $15. All ages. ANDREW GOSPE

Seat tle weekly • Febru ary 22–28, 2012

seven»nights

dinner & show

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ROBERT ROTH (OF TRULY) EUGENE WENDELL AND THE DEMON RIND

WED 2/22

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random manor & the halyards

ALICIA AMIRI • KEVIN BARRANS THE MUSIC OF GRAYFACE OH LO LO • SUN TUNNELS

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SUN 2/26

SWEET SECRETS • THE VOLCANO DIARY 9:30PM • $6

MON 2/27

BLACK MONDAY

LEGION WITHIN

MORTAL CLAY • BLICKY

Concerts

LOS HEADACHES

This Week

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SAT/FEBRUARY 25 • 8PM

massy ferguson w/ the bgp

TUE 2/28

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216 UNION STREET, SEATTLE 206.838.4333

nney Ridge Lutheran Church, 7500 Greenwood Ave. N., Seattle, 783-2350.

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

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RICHARD MARX: SEE SHORT LIST, P. 39. THE DARKNESS: SEE SHORT LIST, P. 38. JOHNSON, MILLER, DERMODY: 7:30 p.m., $15. Phi

THE FRAY: All ages., 7:30 p.m., $36 adv./$41.25 DOS.

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Club Listings Wednesday 22 ROCK/POP/INDIE

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

Shrouded In Veils, with X SUNS, Sugar Sugar Sugar, They Rise We Die., 8 p.m., $8. CROCODILE: Cate Le Bon: SEE SHORT LIST, P. 38. EL CORAZON: 109 Eastlake Ave. E., Seattle, 381-3094. Mayday Parade, with We The Kings, Downtown Fiction, Anarbor All ages., 6:30 p.m., $18 adv./$20 DOS. HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. Kyle R Andrews, with Joachim Nordensson, Ian Jones., 8 p.m., $6. T H I S CO D E STUDIO SEVEN: 110 S. TO DOWNLOAD THE FREE Horton St., Seattle, 286-1312. SEATTLE WEEKLY An Honest Suffering, with IPHONE/ANDROID APP Myself Aside All ages., 7 p.m., FOR MORE CONCERTS OR VISIT $7 adv./$9 DOS. seattleweekly.com SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 784-4880. Battleme, with Robert Roth, Eugene Wendall and The Demon Rind., 9:30 p.m., $6. TRACTOR TAVERN: 5213 Ballard Ave. N.W., Seattle, 789-3599. Chuck Prophet and the Mission Express, with Red Jacket Mine., 8 p.m., $15.

SCAN

JAZZ/BLUES

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

441-9729. Regina Carter, 7:30 p.m., $24.50.

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

•

Pica Beats will play Neumos on Thursday, February 23.

MONA’S BISTRO AND LOUNGE: 6421 Latona Ave. N.E.,

Seattle, 526-1188. Joe Doria’s Fog, 10 p.m., NC.

Thursday 23 ROCK/POP/INDIE

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

Lindseys, with Los Headaches, Downstrokes, Little Pups., 9 p.m., $6. CROCODILE: 2200 Second Ave., Seattle, 441-7416. Quasi, 8 p.m., $12. EL CORAZON: 109 Eastlake Ave. E., Seattle, 381-3094. Badlands, with Objects In Space, The Coloffs., 9 p.m., $5. HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. The Cabin Project, with Rare Elephant, Heterosapien, A Severe Joy., 9 p.m., $6. HIGHLINE: 210 Broadway E., Seattle, 328-7837. Absolute Monarchs, with Strong Killings, Swayze, White Coward., 9 p.m., $8. NEUMOS: 925 E. Pike St., Seattle, 709-9467. Curtains For You, with The Pica Beats, Tomten., 8 p.m., $8. SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 784-4880. Alicia Amiri, with Kevin Barrans, The Music of Grayface, Oh Lo Lo, Sun Tunnels., 9:30 p.m., $8.

COUNTRY/FOLK/ROOTS

COLUMBIA CITY THEATER: 4918 Rainier Ave. S., Seattle,

723-0088. Lowlands, with Ghosts I’ve Met, John Heart Jackie., 8 p.m., $6. CONOR BYRNE: 5140 Ballard Ave. N.W., Seattle, 784-3640. Troubadours at Home, with Jes Raymond, Joy Mills, Josh Schramm, Sung Park., 9 p.m. JEWELBOX/RENDEZVOUS: 2322 Second Ave., Seattle, 441-5823. Sweet Jesus, with Norman Baker., 10 p.m., $5. TRACTOR TAVERN: Kendl Winter: SEE SHORT LIST, P. 38.

JAZZ/BLUES

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

441-9729. Pete Escovedo Latin Jazz Orchestra, Feb. 23-25, 7:30 & 9:30 p.m.; Sun., Feb. 26, 7:30 p.m., $24.50. EGAN’S BALLARD JAM HOUSE: 1707 N.W. Market St., Seattle, 789-1621. Peter Bernstein, 7 & 9 p.m., $15.

Friday 24 ROCK/POP/INDIE

COLUMBIA CITY THEATER: 4918 Rainier Ave. S., Seattle,

723-0088. Deep Sea Diver, with Daniel G Harmann & The Trouble Starts, Soft Hills., 9 p.m., $8 adv./$10 DOS. COMET TAVERN: 922 E. Pike St., Seattle, 322-9272. Pierced Arrows, with Night Beats, 1776., 9 p.m., $10. CROCODILE: Craig Finn: SEE SHORT LIST, P. 38. HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. Nazca Lines, with Ticktockman, Trip Like Animals., 9:30 p.m., $7.

seven»nights SHOWBOX AT THE MARKET: Sleigh Bells: SEE SHORT

LIST, P. 38.

SKYLARK CAFE & CLUB: 3803 Delridge Way S.W.,

Seattle, 935-2111. Cristina Bautista & Gold Parts, with Silent Ks., 9 p.m. SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 784-4880. Howlin’ Rain, with Whalebones, Wayfinders., 10 p.m., $8 adv./$10 DOS. THE VERA PROJECT: 305 Harrison St. (Seattle Center), Seattle, 956-8372. Leslie & the Ly’s, with Pennyhawk, Ramona & the Swimsuits All ages., 7:30 p.m., $13 adv./$15 DOS.

HIP-HOP/R&B

NEUMOS: Nacho Picasso & Blue Sky Black Death:

SEE SHORT LIST, P. 38.

COUNTRY/FOLK/ROOTS

DARRELL’S TAVERN: 18041 Aurora Ave. N., Seattle,

542-6688. Billy Dwayne & The Creepers, with The Randy Hicks Band., 9 p.m., $5. THE TRIPLE DOOR: 216 Union St., Seattle, 838-4333. Random Manor, with The Halyards All ages., 8 p.m., $20.

Saturday 25 ROCK/POP/INDIE

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

Evils, with Young Prisms, Grave Babies, Fruiting Bodies., 9 p.m., $5. DARRELL’S TAVERN: 18041 Aurora Ave. N., Seattle, 542-6688. White City Graves, with A Sic End, Dreaded Knuckles, December In Red., 9 p.m., $6. EL CORAZON: 109 Eastlake Ave. E., Seattle, 381-3094. Possessed, with Crush Your Enemies, Drown Mary, Gravenloch, Funeral Age All ages., 7:30 p.m., $20; The Jealous Sound, 9 p.m., $13 adv./$15 DOS. FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Telemesser, with Meercaz, Little Queenie., 9:30 p.m., $7. HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. Eternal Fair, with The Good Hurt, Tango Alpha Tango., 9:30 p.m., $8. HIGHLINE: 210 Broadway E., Seattle, 328-7837. Earth, with Low Hums, Cold Lake., 9 p.m., $12. SUNSET TAVERN: Reignwolf: SEE SHORT LIST, P. 38.

HIP-HOP/R&B

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

#TPOB - The Posses Off Broadway, with J.Pinder, Dyme Def, Eighty4Fly, Royce the Choice, GMK, DJ Vega., 8 p.m., $10.

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DANCE/DJ/ELECTRONIC

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

628-3151. Morgan Page, with Johnny Monsoon, Chris Paape, Mikey G., 8 p.m., $26.50 adv./$32 DOS.

FUNK/SOUL

NECTAR LOUNGE: 412 N. 36th St., Seattle, 632-2020.

5213 BALLARD AVE. NW • 789-3599

WED, 2/22 8PM ~ $15 THE TRACTOR & 91.3 KBCS PRESENT HEARTLAND ROOTS-ROCKER

Puget Sound System, with Ethan Tucker, Philana Goodrich Band, Stay Grounded., 8 p.m., $7. THE WHITE RABBIT: 513 N. 36th St., Seattle, 588-0155. Georgetown Allstars, with Philly’s Phunkestra., 9:30 p.m., $6.

AND THE MISSION EXPRESS

AFROPOP/REGGAE/WORLD

THUR, 2/23 9PM ~ $10ADV/$12DOS

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

Rebelution, with The Green, Pep Love All ages., 8 p.m., $22.50 adv./$25 DOS.

Sunday 26 ROCK/POP/INDIE

COLUMBIA CITY THEATER: 4918 Rainier Ave. S., Seattle,

723-0088. Pearly Gate Music, with Avians Light, Bill Patton., 8 p.m., $8 adv./$10 DOS. EL CORAZON: 109 Eastlake Ave. E., Seattle, 381-3094. Josiah James, with Shipwreck Pedro All ages., 7:30 p.m., $8 adv./$10 DOS. THE HIDEOUT: 1005 Boren Ave., Seattle, 903-8480. Koko and the Sweetmeats, with DJ Greasy., 8 p.m., NC. THE VERA PROJECT: 305 Harrison St. (Seattle Center), Seattle, 956-8372. K Sera, All ages with From Indian Lakes, Fit For Hounds., 7:30 p.m., $8 adv./$10 DOS.

CHUCK PROPHET

RED JACKET MINE

Nahash, 8 p.m., $30. NEUMOS: 925 E. Pike St., Seattle, 709-9467. Aziatix, 8 p.m., $15.

COUNTRY/FOLK/ROOTS

BLUE MOON TAVERN: 712 N.E. 45th St., Seattle, 675-9116.

Jake Nannery, with Na Hila Hila Boys., 7 p.m., NC.

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

Horsefly, with Coyotes., 9 p.m., $6.

MONDAY SQUARE DANCE FEAT. MUSIC BY

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Monday 27 ROCK/POP/INDIE

SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle,

784-4880. Legion Within, with Mortal Clay, Blicky., 9:30 p.m., $8 EL CORAZON: 109 Eastlake Ave. E., Seattle, 381-3094. Every Avenue, with We Are The In Crowd, Plug In Stereo, The Audition, Simple As Surgery All ages., 6:30 p.m., $13 adv./$15 DOS.

JAZZ/BLUES

MONA’S BISTRO AND LOUNGE:

Tuesday 28 HAYDEN SHIEBLER

ROCK/POP/INDIE

COMET TAVERN: 922 E. Pike St., Seattle, 322-9272. The Triple Sixes, with Vile Display of Humanity, Rat City Ruckus, Dark State Lines., 9 p.m., $6. CROCODILE: 2200 Second Ave., Seattle, 441-7416. Elliott Brood,

San Francisco’s Young Prisms visit the Comet on Saturday, February 25.

HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. Death by

THE VERA PROJECT: 305 Harrison St. (Seattle Center),

NEUMOS: Atlas Sound: SEE SHORT LIST, P. 38. SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 784-4880.

8 p.m., $10.

Stars, with Animal Eyes, Letters., 8 p.m., $6.

Seattle, 956-8372. RA Scion, with Hi-Life, Gabriel Teodros, Abyssinian Creole Set, Dice All ages., 7:30 p.m., $11.

COUNTRY/FOLK/ROOTS

BLUE MOON TAVERN: 712 N.E. 45th St., Seattle, 675-9116.

Swearengens, with Lumpkins, Davidson Hart Kingsbery., 10 p.m., $6. CONOR BYRNE: 5140 Ballard Ave. N.W., Seattle, 784-3640. BC Campbell, with St. Paul de Vence., 9 p.m. THE TRIPLE DOOR: 216 Union St., Seattle, 838-4333. Massy Ferguson, with The BGP All ages., 8 p.m., $12 adv./$15 DOS.

VibraGun, 9:30 p.m., $6; Los Headaches, 9:30 p.m., $6.

HIP-HOP/R&B

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

Down With Webster, with FreeSol All ages., 8 p.m., $10 adv./$12 DOS.

JAZZ/BLUES

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

441-9729. The Benny Golson Quartet, Tue., Feb. 28, 7:30 p.m.; Wed., Feb. 29, 7:30 p.m., $24.50.

Seat tle weekly • Febru ary 22–28, 2012

6421 Latona Ave. N.E., Seattle, 526-1188. Ari Joshua’s # Trio, 10 p.m., NC. THE WHITE RABBIT: 513 N. 36th St., Seattle, 588-0155. Michael Shrieve’s Spellbinder, 9:30 p.m., $6.

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column»Toke Signals

Suzie Q’s, Baby I Love You

he first impression I got of Suzie Q’s, a medical-marijuana collective on Aurora Avenue in north Seattle, was “Are you sure this is the place?” An undistinguished corrugated metal building gave no hint of the business being conducted inside. So it wasn’t until I was almost at the front door that I saw the first identifier of any kind: a tiny, postcardsized “Suzie Q’s” sign with a vintage car and a nostalgia babe on it. Inside, I asked budtender Sweet Christie (the hippie vibe is strong with this one) about the lack of identifying signage. She told me the collective prefers to keep a “low profile.” Looking at its website after the fact, I realized I probably had been lucky even to get in. You don’t wanna just show up, as I did. “We are NOT open to the public,” the website reads. “We are By Appointment Only. You Must Call First!” Whoops. While Sweet Christie checked and verified my paperwork, I noticed all the kitschy, ironichipster decor in the reception area, including Ray Conniff albums on the walls. A cat sauntered through the room, but just as I reached to pet it, Sweet Christie warned me that he was a “battle cat,” so I aborted that plan. Just to the right of the front door, I noticed the “Schwag Board.” It contained 17 Washington drivers’ licenses, which I asked about. Sweet Christie told me they were all “people who have burned us.” On a more positive note, a sign in the lobby indicated that patients who donate four food items (which

BLOG ON » POT TOKEOFTHETOWN.COM

are given to charity) get a “fat Suzie joint.” The bud room itself was tiny, but within its cramped confines was a good selection of more than 30 strains. Sweet Christie was very familiar with the varieties, including their placement on the indica/sativa scale, and was helpful as I selected Fucking Incredible (discreetly labeled “F.I.”), Steve’s Blueberry, Dr. Brain Haze, and Grape Ape. Topshelf strains like the ones I picked are available for a donation of $15 a gram; strains are also available for $12, $10, and $8 a gram. If you name a strain Fucking Incredible, it had better be good. F.I., an indica dominant originally developed on Vancouver Island, lived up to its billing, from the fruity scent to the sweet taste to the stupefyingly pain-relieving effects. Steve’s Blueberry (Suzie Q’s had two batches of Blueberry, from two different growers) was also choice, with the sweet bouquet of its namesake and a potent, energizing sativa wallop. Dr. Brain Haze had a dank, almost cedar smell and an uplifting sativa buzz, making it a good choice for first medication of the day. Grape Ape’s deeply purple buds were redolent of grape Kool-Aid and delivered a soporific indica wallop, moving pain to the back burner. Suzie Q’s is at 12710 Aurora Ave. N., 650-2232, mysuzieqs.com. It’s open daily from 11 a.m. until 8 p.m.; don’t forget to make an appointment to ensure you actually get in. E Steve Elliott edits Toke of the Town, Village Voice Media’s site of cannabis news, views, rumor, and humor.

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TS SUMMER

Beavis needs to settle down and STFU. If your mom wanted to know what her husband was getting it up to in his study, she would’ve investigated decades ago. In fact, I’m betting she did—and that’s why she entrusted you guys with packing it up. True, it would’ve been a better idea to have called one of your dad’s friends or maybe his brother to dispose of the porn, nipple clamps, and granny panties, but maybe that wasn’t possible. Your dad was a dude before he was

If your mom wanted to know what her husband was getting it up to in his study, she would’ve investigated decades ago.

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