Seattle Weekly, February 15, 2012

February 15–21, 2012 I volume 37 I number 7

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Queen Ann DAMien JurADo MAkee’s MezcAl MoMent Page 45 s A recorD He likes Pa ge 53

Alcohol, operA, first dAtes, And more.

Our guide tO the new seasOn.

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Seat tle weekly • Febru ary 15–21, 2012

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Seat tle weekly • Febru ary 15–21, 2012

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inside» February 15-21, 2012 VOLUME 37 | NUMBER 7 » SEATTLEWEEKLY.COM

»45

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Join us this Sunday. There are 11 Mars Hill Churches to serve you, including Downtown Seattle.

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up front 7

NEWS

11

FEATURE

THE DAILY WEEKLY | Of gang maps and Satterberg’s “screaming vocals.”

SPRING ARTS GUIDE | The new

in back 31 THE WEEKLY WIRE

Amy Schumer has a filthy, funny mouth.

Yves Montand could blow up at any second.

And Cinderella terrorizes our daughters.

34 ARTS

45 FOOD

45 | MEZCALERIA OAXACA

Tortillas and mezcal are all you need here.

47 | FIRST CALL | Spicing up tequila.

48 | BOTTOMFEEDER | Don’t believe everything you read about the Turf.

50 | A LITTLE RASKIN | The Fishermen’s Union still has balls.

51 MUSIC

51 | LA | Skate culture ♥s hip-hop.

53 | REVERB | Jurado speaks, but

McCartney (or his label) holds back.

Design that speaks...

From our Collection of Wedding and Anniversary Bands Open seven days a week.

54 | THE SHORT LIST | Anvil, Grimes,

Phalgeron, and more.

60 | KARAOKE KORRESPONDENT

Don’t ask for a key change mid-song.

Seat tle weekly • Febru ary 15–21, 2012

season is upon us, with a huge calendar of events (page 21) through Memorial Day. We also highlight a new musical at ACT, preview a solo show at the Frye, meet a bar-hopping band of opera singers, talk terrorism with an acclaimed local novelist, and visit Seattle’s best, quietest gallery for oversized art.

»51

other stuff 37 39 42 47 56 63 64

| | | | | | |

PERFORMANCE VISUAL ARTS FILM CALENDAR FEATURED EATS SEVEN NIGHTS TOKE SIGNALS DATEGIRL

OPENING NIGHTS | Nick Garrison tears

up the Rep, and we have a few questions about Oklahoma!

40 FILM

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62 | ALTERNATIVE HEALING 66 | CLASSIFIEDS

THIS WEEK’S ATTRACTIONS

Reese Witherspoon is torn between two hunks, Ewan McGregor is caught in a plague, and Greg Kinnear goes on a crime spree.

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

Mapping Mayhem

Adventures in amateur gang cartography.

W

Eric DEvEricks

hich gangs hang out downtown at Third and Pine?

Which are responsible for all the graffiti tags in South Park? And why is the dividing line between Central District and South Seattle gang territory a Burger King? These questions and more can now be answered

by Google.

Proving once and for all that the Internet really does know everything, there now exists an interactive Google map of Seattle gang territory. The map was produced by Northwest Gangs (nwgangs.com), a website that documents gang graffiti across the region and tracks gang-related crime.

The site is maintained by a 31-year-old Yakima native named Brad, who keeps his last name secret to guard against potential backlash from gang members. He says he created the site in 2004 after a series of gang shootings in his hometown. He wanted to find out more about the gangs operating in his neighborhood, found no resources online, and turned his research into his site and a Flickr interesting elements of the map, and Seattle feed of gang graffiti. gangs in general.

The Seattle map, says Brad, is primarily based on areas where he has photographed SW: What was most challenging about gang graffiti, and on information crowdputting this thing together? sourced from his contacts online (his Facebook Northwest Gangs: The most difficult part page has more than 1,300 “friends,” a number was mapping out the South End area, which of whom claim gang affiliis traditionally the Gangation in their profiles). He ster Disciples and the cross-referenced that inforCrips. To me it seems Print is great, but if you want to see… mation with neighborhood like they all blend in the Google gang map you’ll have to demographics, and again together. I know certain check it out on The Daily Weekly. with statistics for crimes like gangs hang out in certain seattleweekly.com/dailyweekly car prowls, armed robbery, areas. But the gangs in and assault. The map has Seattle aren’t like L.A.’s, been posted for more than a year now, but was where if you cross a certain street you know updated and refined only recently. you’re in trouble. Our gangs tend to go to difA detective from the King County Sheriff’s ferent neighborhoods to sell drugs. A lot are gang unit says that although the territory map allies with different gangs—you’ll have difcontains some useful and accurate informaferent Crip gangs hang out with each other. tion, it should be taken with a sizable grain of There’s really no way to pinpoint some of salt. A graffiti sighting could indicate merely those areas. that a gang member passed through a certain How has the map changed since the last neighborhood, and gang members themselves version? are likely to overstate their presence and I was able to pinpoint a couple different numbers. territories. I didn’t want to post info I wasn’t Brad defends his methodology, but also sure about. The Holly Park Crips area, for includes a disclaimer that acknowledges example. At one time I was told the Holly that the map is a “rough estimate of where Park Crips weren’t actually in Holly Park, certain gangs hang out and operate.” He took which didn’t make any sense to me. I think a few minutes to discuss some of the more they really are [in Holly Park], but the members are just scattered around so much.

When a lot of the old housing projects got torn down and they built all those new projblog on news ects along Martin Luther King [Way], those the daily weekly

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

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Seattle weekly • February 15–21, 2012

It’s simple. Creating art for video games is our day job, teaching you is our night job. Don’t you think learning from artists who actually work in the industry is a good idea?

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We do.

news» The Daily Weekly » from Page 7 gangs are now down in Kent and Federal Way and different parts of Seattle. It’s not that they’re not based there [in the CD]—they do have a strong membership there—but they have scattered around all over the place.

The Hoovers are the same way. You can find Hoovers all the way up and down Pacific Highway, as far down as Federal Way and Tacoma. The CD [Central District] is that way too. They’re building condos and pushing out those older families, so you’re seeing CD gangs in Kent and Renton now.

What is the most established or well-defined stretch of gang turf in Seattle?

The area at Third and Pine is notorious—tell me about the two gangs that are active there, according to your map?

I don’t know why, but it has always been a Blood area. It does fluctuate when people get arrested, or some people get harassed by cops for selling drugs and get pushed off the corner. But those two [Valley Hood Piru and West Side Street Mobb] are the gangs that dominate that area. I’ve been told gangs will come in from outside areas, they’ll come from the CD and West Side to do drug dealing downtown, where they make the most profit.

That’s like their day job, working at Third and Pike.

So the gangs are actually commuting to downtown?

Yeah, they’ll put in their eight hours and go home at the end of the day. I’ve heard that happens with a lot of drug dealers from Kent.

news@seattleweekly.com

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Seat tle weekly • Febru ary 15–21, 2012

That was actually told to me by a Down Wit Tha Crew member . . . He just said it’s common knowledge within the gangs that the Burger King on Rainier Avenue South is kind of like the dividing line. Anywhere north of the Burger King is CD territory, anywhere south is South End territory.

And, based on the graffiti, that’s true. I very rarely find CD tags south of that, and South End north of that. I’ve asked others, and they’ve had the same response: That general area is the dividing line. Some people have said it’s the I-90 bridge, but I think where that Burger King is is accurate.

King County Prosecutor Dan Satterberg has a gig this Wednesday, and it’s not in court.

It’s at the Tin Theater in Burien, where Satterberg’s band, the Treehouse Dreamers, will help launch an Internet radio station.

Wait, what?

That’s right. Satterberg plays in a band.

Actually two. The Treehouse Dreamers perform original music, some written by Satterberg. And then there’s his cover band, the Approximations.

“I’ve been playing bass with some of the same guys in these two bands since high school,” Satterberg explains in an e-mail to SW. His other “instrument,” as he puts it in an online profile for the Approximations—a band that also includes a Microsoftie, a corporate lawyer, and a CFO—is “screaming vocals.”

Good to know that the guy who locks up murderers and rapists also has a sense of humor, as well as musical skills. And judging by the samples on the Treehouse Dreamers’ website (treehousedreamers. com) he’s pretty good, too. The sound is basically classic rock, but there are self-described disco and punk influences too.

There are also some lyrics that, considering Satterberg is a Republican, sound suspiciously bleeding-heart liberal. One song urges “compassion and social justice” for the “mouths that still need feeding.” Another is called “The Waltz of the Robber Baron,” with a verse that goes like this: Demanding attention wherever he speaks Exhorting the strong and deriding the weak He’ll show you his fist Knowing you won’t resist He’s a Capitalist OK, so those songs weren’t actually written

by Satterberg. It’s just that one of his numbers compares writers to monkeys, so we’re doing our best not to focus on that.

“I’m not giving up my day job,” Satterberg assures SW. His gig on Wed., Feb. 15 is at 5:30 p.m. and will help launch SoKing Internet Radio, which is affiliated with a half-dozen local blogs in south King County, including The B-Town Blog in Burien. nina shapiro E

NE AVE

How did you decide on the dividing line between the Central District and the South Side?

TO NIBBLE

Permission to Approach the Mic

156TH

Probably South Park. I have a lot of evidence with graffiti and from people I’ve been contacted by that various Sureño gangs pretty much run the South Park neighborhood, with a little influence from Crip gangs and Tiny Rascals, an Asian gang.

Also, Down Wit Tha Crew: Their main territory is 53rd and Henderson. Since as far back as I could track down, to the early ’90s, that’s been their territory. I read about a lot of crimes committed by their members there, and I’ve seen their graffiti.

The more sketchy areas are in West Seattle and White Center.

That tends to mix in a little of everybody, no matter where you’re at.

They’ll come to downtown to sell drugs and go home when the day is over.

It also kind of happens in the University District. I don’t know who is running the drugs there, but a lot of CD gangs will sell up on the Ave. It’s sort of uncharted territory; they go and sell their drugs and go back to their neighborhoods. All the research I’ve done [indicates] Seattle is just crazy when it comes to the gang territory. It’s so hard to keep track of everything and how all these gangs blend in with each other. Keegan hamilton

9

TURNINGYOURDREAM

Seattle weekly • February 15–21, 2012

INTOAREALITY!

10

Are you in grades 9-12 and interested in video game programming, 2D or 3D animation? Come to the Seattle Center and join the AIE Summer ʻCyber Campʼ. Here you can discover how games are designed, how animation is made and tools such as MAYA, C# and Toon Boom Studio work.

Classes are 30 hours long and run from 11-5 all week until the wrap-up ʻpizza partyʼ on Friday.

You can even earn .5 credits if your school has a Running Start program too! And donʼt forget we are still taking enrollments for our September college programs in animation & programming!

Visit us online for further details and enrollment.

Space is limited so register early!

SpringArts ❧ ALCOHOL, OPERA, FIRST DATES, AND MORE. OUR GUIDE TO THE NEW SEASON. Ksenia Popova of Opera on Tap (see page 19) raises a toast to spring.

G

AN MILLER

PHOTO BY JOHN KEA TLE

Y

Seat tle weekly • Febru ary 15–21, 2012

ALLERIES COME AN D GO. Museum shows change with the calendar. Ac tors pack up and lea ve town for Broadway and Ho llywood. Grants run out, and new fellowships are awarded. Bookstores close . . . er, no: Amazo open and n opens, and booksto res close. Musicians embark on tour, leavin g with wool hats and returning in shorts.

The arts are seasonal, ever subject to chang e. This spring seems remarkably colorful and fecund, mainly ow ing to the big Gauguin show at SAM, which presents a riot of tro pical hues and priap Tiki idols. But there ic are other new shoots and sprouts to celebrate. Intiman has raised its $1 million to avoid collapse; a sho mini-festival will pla rt y there this summer.

Pacific Northwest Ba is coasting on the acc llet laim and crowds tha t came to Don Quixo And Ludovic Morlot te. is doing well for him self at the Seattle Sym phony. So in the page s ahead, we focus on some smaller venues and first-timers on the local scene. Inside, we meet young opera singers who perform in bars, chat with an artist about her first solo museum show, and visit the Zen-est gallery in Seattle. Ov at the 5th Avenue (pa er rtnering with ACT), three young theater are staging a new mu folk sical. A writer tells us how a TV pitch didn’t work out, so he sold it as a novel instead.

And as always, we off a comprehensive cal er endar of events, all the way to Memorial Da when the next season y, begins. BRI

11

60 Classes & Workshops for Artists of All Levels this Spring Margaret Davidson

Amy Weiskopf

Michael Magrath

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Seattle weekly • February 15–21, 2012

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SpringArts ❧Visual Arts

GREATER SEATTLE AREA VINTAGE POSTCARD AND PAPER COLLECTIBLES SHOW

Entropy Artist

Approximately 25 dealers from throughout the Pacific Northwest and California will be displaying close to 1 million old postcards, paper collectibles and ephemera

SuSie J. Lee renderS duration and decay with video and diodeS. by brian MiLLer

O

Yet Still Lives isn’t meant to be morbid, and Lee is animated as she discusses the installation being set up at the Frye. The large vertical video monitor isn’t yet active, the benches aren’t in place, and she’s busily directing the build-out of a second larger work in the next gallery. Thinking back to the four months she spent in late 2010 at Washington Care, Lee says the best part of the project was “me getting to know the residents . . . most of them are widows and widowers.” (A teenage assistant also helped break the ice.) Working with her sitters meant respecting their limited energy, with a certain amount of deference and delay.

“It was on their timeline, not my timeline,” says Lee—appropriate, since her art has much to do with temporality and duration.

“There’s always a narrative structure,” she says of the videos. “Even when you think

WHEN: Saturday, Feb 18, 10am-6pm Sunday, Feb 19, 10am-4pm Lee frames her subjects, then lets the camera run.

there’s nothing happening, there’s something happening.” That something can be described as entropy or aging or simply “that idea of decay.” No matter how still her subjects (or we museum visitors), our cells are constantly and inexorably shedding those precious telomeres.

The body’s clock is ever-ticking, as the onetime medical student Lee is aware. Of the inevitable process of aging, she says, “It’s not always pretty. No one wants to see old people.”

Raised in North Dakota, educated at Yale, Lee came to the Northwest only because “my ex got a job at Microsoft.” After a brief stint in med school, she began studying ceramics at the UW, where she earned her MFA. Another one of her Still Lives videos is part of Tacoma Art Museum’s Northwest Biennial (through May 20), and she’ll debut a piece, Contact, at the Lawrimore Project in Pioneer Square, opening March 1 during the First Thursday art walk.

Time and its progression link Lee’s two pieces at the Frye, since her reconstructed Rain Shower—“version 2.0,” she calls it—is a recreation of a 2007 installation at the old Lawrimore space in the ID. All the original LEDs and related electronics were gone, so the grids of some 1,200 overhead lights had to be completely rebuilt, the software reprogrammed. The old Shower is but a memory, but the new Shower contains audio snippets of the first iteration—recordings from Lawrimore in which people talk about loss—along with piano and percussion. Five years later at the Frye, Lee explains, the LEDs will cast down “little droplets of light, kind of like raindrops . . . like a rain shower is remembering someone.” E bmiller@seattleweekly.com OF BREATH AND RAIN Frye Art Museum, 704 Terry Ave., 622-9250, fryemuseum.org. Free.11 a.m.–7 p.m. Thurs., 11 a.m.–5 p.m. Tues.–Wed. & Fri.–Sun. Ends April 15.

ADMISSION: Admission is $5 OR FREE WITH THIS AD For further information call Jeremy LeRoque at (626) 665-9435

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“it waS on their tiMeLine, not My tiMeLine,” SayS Lee—appropriate, Since her art haS Much to do with teMporaLity and duration.

WHERE: Kent Commons 525 4th AVE N.- Kent, WA

Ryan K. adams

rdinarily, when an artist arranges for a series of portraits and one of the models dies, he or she might consider it a bad omen. But for Susie J. Lee, death was part of the process—and perhaps the ultimate point—to her Still Lives video series. That work comprises 13 half-hour videos made of residents at Washington Care Seattle, a Rainier Valley nursing home. All the videos are on permanent display, open to the public, but only one segment—Exposure, featuring a woman named Annie—will be screened in in her first solo museum show at the Frye, which opens this Saturday.

Lee, who came to Seattle a dozen years ago with no plans on a career in the arts, says of her senior-aged subjects, “It’s not hard for them to be still” for 30 minutes. Some fell asleep during the sessions, and Lee let the camera continue to run. “These aren’t actors. There was never a second take,” she explains. She didn’t ask them to perform or specifically do anything; rather, she sought just to chronicle the passage of time, in a discrete unit, for those who know their time is running out. There’s a drama of sorts in waiting for death, Lee acknowledges. And there’s a reminder of what lies ahead for us, too.

“It’s almost a preview,” she says. “There’s kind of a poignancy. One [subject] slides down”— owing to the effect of a stroke—“and you want to reach out and help.”

13

SpringArts ❧Stage

February 17

A Perfect Couple of Three For a new stage musical about dating and romantic baggage, a talented young trio turns doubt into song.

RUSH HOUR:

Schumann’s

by steve wiecking

Y Symphony Robert Abbaddo, conductor David Gordon, trumpet Seattle Symphony With an earlier start time and no intermission, this shorter concert will keep you out of gridlock.

Come at 5:30pm for specialty drinks and small plates by Wolfgang Puck Catering.

Concert sponsored by American Express Media sponsor: Seattle Weekly

Seattle weekly • February 15–21, 2012

TICKETS FROM: $15

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206.215.4747 SEATTLESYMPHONY.ORG

Curt Doughty

No.4

ou know you’re on the path to success when you’re fresh out of high school and the first song you ever sell is put over by Pebbles and BammBamm. In 1996, animation giant Hanna-Barbera purchased “The Greatest Gift of All” from then-teenaged songsmiths Alan Zachary and Michael Weiner for an episode of a cartoon series in which the Flintstones progeny learn the true spirit of the holiday season.

“It’s in the grand tradition of Jews writing Christmas songs,” jokes Weiner. “And we sold it for a dollar.”

“Which we split two ways,” says Zachary.

“So we learned that songwriting was . . . ” “. . . a harsh mistress.”

Not a breath is wasted between them. Or an opportunity.

That’s how it goes with the guys who together wrote the music and lyrics for First Date, a new coproduction between The 5th Avenue Theatre and ACT, which begins previews next month.

Discussing the show over coffee at a West Hollywood eatery, Zachary and Weiner set up each other’s punch lines and end each other’s sentences. Their banter has clearly been honed over years of friendship and songwriting. Add to the table one Austin Winsberg, the show’s book writer, whom they’ve known since their 20s, and you’ve got three people who seem to speak as one—which, says Weiner, is perfect for making a musical involving real collaboration.

“The best musicals sound like a single person created the whole thing,” he explains.

“It’s about maintaining a tone,” says Zachary.

“We talk a lot about having a consistent tone,” says Winsberg.

First Date gives us just over an hour and a half in the company of Wall Street trader Aaron and SoHo artist Casey, a man and woman trying to get to know each other in a restaurant despite the nagging doubts and whispers in their heads: “She’s sort of hostile,” sings Aaron (Eric Ankrim, currently onstage at the 5th in Oklahoma!). “Her guns are drawn—is it weird or just screwed-up that I’m turned on?” The rest of the cast—all local except for Kelly Karbacz as Casey—play

Eric Ankrim stars as Aaron.

restaurant patrons who help embody the pair’s accompanying emotional baggage (e.g., visions of various exes).

The creative trio holds solid resumes for this gig. Zachary and Weiner moved on from the Bedrock clan of Cave Kids to commercial jingles, regional and touring musicals, and, most notably, work for Disney: made-forDVD sequels (The Fox and the Hound 2, Cinderella II and III), a cruise show, and tunes for theme-park attractions in both California and Japan. They’re also adapting the 2003 movie Secondhand Lions as a musical.

This is Winsberg’s first musical, but he’s been writing since he was a kid. After winning the Young Playwrights Competition in Los Angeles five times, he’s graduated to TV credits, including the romantic complications of the 2005–06 John Stamos sitcom Jake in Progress (which he also created) and the heavy-breathing Gossip Girl.

First Date came together because the three L.A. friends had always wanted to do a contemporary romantic comedy and liked the constraint of having it take place in one night.

They started talking about typical situations, Winsberg tossing around ideas with the songwriters, who generally each take turns at the piano while the other walks around struggling with lyrical notions. But how do you

keep a show moving forward when the two main characters are so trapped in their heads that they don’t sing directly to each other until the evening’s almost over?

“The songs come whenever one of the characters has a revelation based on what the other person is saying,” Weiner responds.

“So we’re following all these ‘lightbulb’ moments.”

“Anything,” says Winsberg, “that allows the relationship to deepen and progress.”

“We just keep finding new ways of conveying their baggage,” adds Zachary.

As for the music, well, that’s another challenge—even smashes like Rent occasionally struggle with just what “contemporary” sounds like.

“No saxophones,” quips Winsberg.

“You avoid a certain kind of chord change, for instance, that would not be evocative of someone living right now,” says Zachary.

“We’re not doing heavy metal, but we’re also not doing something that sounds like a Broadway show from the 1950s.”

After a reading in New York, First Date immediately attracted producers who, says Winsberg, saw Seattle as the only city to host a first staging: “They all thought Seattle was a good, safe place with the available talent and an audience that seems to know what works.

And you’ve got a real, supportive theater community.” (Shows like Hairspray and Memphis have used Seattle as a springboard to Broadway and touring success.)

The production, with costs shared equally

by ACT and the 5th, was refined over three weeks of private workshops here last summer. Thirty minutes were cut to keep First Date under two hours. “I think we knew emotionally what we wanted to achieve,” says Zachary. “How we were going to get there was another question.”

Where they go from here is yet another.

“The purpose of doing the show right now is just to see what we’ve got,” says Zachary. “We want to see how it plays.”

They’ll discover, too, if what they’ve got is “big” enough for the Big Apple. “You don’t have to be a spectacle to work on Broadway,” notes Weiner, citing the Issaquah-born, Pulitzer-winning family-dysfunction musical Next to Normal as a prime example. From the 5th Avenue’s creative team, Bill Berry will direct the show; he’s previously helmed Cabaret and West Side Story for the 5th (where he’ll also be staging Rent this summer).

Zachary, Weiner, and Winsberg welcome the three weeks of previews, when they’ll visit Seattle to tinker with the piece, though they’re also anxious about that initial curtain rising on their new musical. “You might as well torture me,” Weiner cracks. “I believe all those stories about writers who get drunk while their play is opening.”

Fortunately, there’s a bar—Sullivan’s—just across the street, where nervous first dates may also be occurring. E stage@seattleweekly.com FIRST DATE ACT Theatre, 700 Union St., 292-7676, acttheatre.org and 5thavenue.org. $15–$69. Previews begin March 10.

Opens March 29. Ends May 20.

Seat tle weekly • Febru ary 15–21, 2012

15

SpringArts ❧Books

Both Sides of the Mirror In hIs new thrIller, Matt ruff IMagInes the arab world under sIege by aMerIcan terrorIsts. by brIan MIller

M

Seattle weekly • February 15–21, 2012

16

Michael hilliard/MhhM

that scared a lot of people. This is somewhat sacred territory still.”

Moreover, his outline for a TV series would’ve spanned several continents and involved dozens of characters—some with recognizable names (more on that below). Here’s where we discuss influences, since, as the soft-spoken Ruff explains, “I’m a big pop-culture head—sci-fi and The Wire . . . and books by Richard Price. I’m kind of a Tom Clancy fan. I’m also a big Philip K. Dick fan. I do tend to be drawn to more risky ideas . . . going into uncomfortable places.”

As a TV series, The Mirage would’ve done exactly that, asking us to reverse our sympathies from the accepted us-and-them of terrorism. It also would’ve involved huge quantities of historical backstory to explain how this alternate world came to be—for instance, Lyndon Johnson is a Baptist dictator who ruled the Christian States of America from 1963 to 2003! “It’s as if Oliver Stone’s theories had been real,” Ruff chuckles.

To compress all that information into a novel, Ruff employs Wikipedia-like entries relating how, for example, Saddam Hussein is very much alive, “I’M perfectly happy a Baghdad gangster who trades not to know all the information for historical artifacts smuggled from America). answers, but I want to (some Osama bin Laden is a powerful belIeve there could be UAS senator with a secret agenda. one. they’re out there.” And across the Atlantic, Donald Rumsfeld and Dick Cheney are up to some familiar intrigues. This althistorical framework is in many ways the best And it is from America that Christian funand most entertaining part of the book, and damentalist terrorists (or “crusaders”) strike you want it to expand beyond the mere 400 on November 9, 2001 in the mirror-reversed pages of The Mirage, whose final resolution is world of The Mirage (Harper, $25.99), whose less satisfying. Even if it had been a TV series, main events take place a decade after those attacks. In response to the 11/9 attacks, the UAS it might’ve suffered from the same Lost-style letdown. Beginnings are often easier than invades America as part of the War on Terror, and the Green Zone is in occupied Washington, endings.

In a way, as we talk TV shows, Ruff D.C. The “good guys” are a trio of brave Arab considers The Mirage a post-Lost kind of Homeland Security agents—think Jack Bauer, novel. Before that series, with its burrowing only Muslim—who seek to prevent suicide complexity, byzantine plotting, and magical bombers from America and Europe. (“Why do elements, readers (or viewers) might not they hate us?” one character wonders.) have swallowed Ruff’s historical rewrite.

It was a pretty audacious pitch back in And within the big reversal, his three agents 2006, as Ruff concedes: “Reversing 9/11, att Ruff was woken early in his adopted city by urgent calls from his hometown, New York, on the morning of 9/11.

As news reports gradually filled in details about the al-Qaida attacks, he remembers, “We stayed in front of the TV all day.” The planes, the planning, the simple scheme that inflicted so much damage—who could believe it? It was like some kind of dream, or a movie.

When his friend and fellow novelist Neal Stephenson (The Baroque Cycle) subsequently told him “We’re out of a job,” Ruff’s response was “No, we’re not.” But how to find a fresh angle on such a fantastical terrorist tale? Let the opportunists and exploiters take the first swings in fiction, he decided.

Rather than address 9/11 immediately, Ruff embraced “the virtues of waiting,” he says.

“The first impulse isn’t the most thoughtful one. I’m, like, ‘Wait a while.’ ” So during the next decade, he finished two novels, 2003’s Set This House in Order and 2007’s Bad Monkeys—and it was the latter that led to a Hollywood invite to pitch some TV ideas, as he explained over a recent cup of coffee.

His idea was for a multiseason series that “was very close to what the novel ended up being,” says Ruff. It would be an alternatehistory spin on 9/11, in which the rich, developed, civilized part of the world is the United Arab States (or UAS). In this universe, the UAS won World War II. Israel is located in partitioned northern Germany. The Twin Towers are in Baghdad. And America is a backward, violent, religiously divided land, with various chunks of the continent ruled by warring Mormons, Pentecostals, etc.

Ruff reverses 9/11.

begin to discover other clouds and deceptions. In this way, too, The Mirage benefits from an X-Files effect, the sense that “the real explanation is something even wilder” than what Ruff’s protagonists first consider.

“I love those kinds of conspiracy theories,” says the author. “I’m perfectly happy not to know all the answers, but I want to believe there could be one. They’re out there.”

Ruff describes himself as a minister’s son with “a lot of experience with how people suspend their disbelief.” That has translated nicely into fiction, since the Queens native sold his first novel straight out of Cornell, and has been writing novels ever since. He and his wife, rare-books dealer Lisa Gold, moved to Seattle in 2000—after rejecting Portland, ha!—because “we wanted a place with four seasons,” says Ruff. Since he and his wife had portable careers, “We were able to go anywhere we wanted.” They currently live in the Ballard-Phinney neighborhood, where Ruff’s writing routine is undisturbed by kids or even cats. After holing up for many solitary months on The Mirage, he says, “I’m still getting the hang of speaking to other people.”

Might there yet be a TV series or sequel to The Mirage? It would be awfully tempting to set a second volume over in primitive, strifefilled America, where cannibals allegedly inhabit the Rockies. No, according to Ruff: “I’ve said what I have to say.” E bmiller@seattleweekly.com MATT RUFF Seattle Mystery Bookshop, noon, Thurs., Feb. 16; University Bookstore, 7 p.m. Thurs., Feb. 16; Third Place Books, 6:30 p.m. Fri., Feb. 17; Eagle Harbor Books, 3 p.m. Sun., Feb. 19.

Issaquah: Jan 18 - Feb 26 Everett: Mar 2 - 25

Issaquah: (425) 392-2202 • Everett: (425) 257-8600 www.VillageTheatre.org

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CHANGE YOUR EVITCEPSREP ACCEPTING TRANSFER APPLICATIONS FOR FALL 2012 APPLY BY MARCH 1 (priority deadline for scholarship/ financial aid consideration)

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Seat tle weekly • Febru ary 15–21, 2012

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Seattle weekly • February 15–21, 2012

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18

SpringArts ❧Music

Opera, Bar by Bar There’s life beyond Mccaw hall. loTs of iT.. and where drinks are served, Too..

by Gavin borcherT

“

I

Kevin ClarK/ Danielle Barnum

Co-divas Chenovick and Row.

More alt-opera

Opera On Tap is just one of several local clas-

sical groups cultivating a following among those daunted by the three-figure tickets at mcCaw hall. redmond’s inverse Opera performs revues of arias and ensembles in a theatrical cabaret setting.

Puget Sound Concert Opera performs complete operas—music only, without the trappings. Pacific musicWorks explores the pre-handel repertory in innovative stagings with some of the country’s top early-music specialists. even chamber-music organizations like the Seattle Chamber Players and music of remembrance have staged fascinating contemporary music-theater pieces. not only performers are driven to create opportunities for themselves. local composers

At the Blue Room, Popova (right) and company bring art to the masses.

Plus, Opera on Tap’s no-frills performances provide a chance to get to the core of what’s vital about the art—to set aside “costumes, makeup, and complicated staging,” says Bede, and “make it as fun as possible.” And, Row points out, this approach benefits not only new listeners but emerging performers: “It can be a way to get out of ‘audition mode’ for an evening . . . to try new pieces in a safe space, and to dramatically go where you might not go in an opera house.”

Later, beer in hand, Popova takes the stage herself for a catfight duet from Weill’s Threepenny Opera. Following are bonbons from Candide and Lakmé, plus the gorgeous final duet from Monteverdi’s Coronation of Poppea.

The evening’s centerpiece is a set from La bohème, including “O soave fanciulla,” the big Act 1 falling-in-love scene between Rodolfo and Mimì. Scattered throughout the bar, all the tenors and sopranos present chime in for the closing phrases, which everyone knows.

At the end, ever competitive even in such an informal setting, one soprano playfully trumps

interested in opera need to be their own impresarios, not only writing but mounting their works.

They’re also folding in all kinds of new and unusual elements—dance, visual art, non-Western instruments—stretching the term to its limit. notables include Tom Baker and Christian asplund, who founded SexO (Seattle experimental Opera) in the mid-’90s; Joshua Kohl and haruko nishimura, masters of the strange and evocative with their Degenerate art ensemble; and composer/performers like Byron au Yong, eric Banks, Garrett Fisher, Wayne horvitz, and hope Wechkin.

One last example: Jordan Corbin Wentworth’s Watershed Opera, which in a memorable December concert at Town hall combined favorite arias from Tosca and Carmen with excerpts from Wentworth’s own operas, the fairy tale

her colleagues’ high C’s with an even higher E. The voices are young and perhaps a bit rough, but ardent; what comes through, unmistakably, is a fervent love for the music and an evangelical desire to bring it to life, to sell it to the uninitiated. As Row puts it, “I do it to get opera in front of more people . . . Sometimes one experience like this is all it takes to create a lifelong opera lover.” E gborchert@seattleweekly.com OPERA ON TAP In the Red, 6510 Phinney Ave. N., operaontap.org/seattle.

Free. 8 p.m. Sun., Feb. 26.

The Day Boy and the Night Girl and her work in progress Doe Bay: Missing, set on the ferry to anacortes. (among the characters are a lesbian couple and smugglers who run a coffee stand as a front.) Wentworth’s versatile voice incorporates two distinct colors: full-on diva projection and a lighter musical-comedy ingenue style (sometimes shifting from one shade to the other within a single phrase). her intimate, DiY performance (she also played piano) was almost like a Tractor Tavern singer/songwriter gig—and that’s the vibe she’s after: “You know when you go see your friend’s band and you’re surprised by the opening act, and you get really thrilled, and you can’t believe you’re seeing them in a small space? i just wanted people to have that feeling with opera.” GB

Seat tle weekly • Febru ary 15–21, 2012

If anyone was startled to hear Bizet at the proudly louche Blue Moon, Seattle’s historical dive of dives—well, that’s why Opera on Tap is here. These young singers are just a few among a wave of local musicians attempting to broaden the public’s idea of what opera can be, counteract the intimidation factor of what’s for centuries been a mass-audience art, and make opportunities for themselves in a field in which there is no clear career path.

Launched in 2005 in New York City, Opera on Tap now has chapters in 12 cities. The three “managing divas” of Seattle’s branch, arranging venue bookings and programming, are Popova, Megan Chenovick, and Erica Row. Chenovick had performed with NYC’s Tap, and Popova approached her about starting one here; their first gig was last September at Phinney Ridge’s In the Red Wine Bar. There’s no set roster for Opera on Tap Seattle; the three send their singer acquaintances details of each month’s gig and the planned theme. (Coming up Feb. 26, back at In the Red, is “That Crazy Little Thing Called Love!”, tracing the emotional roller coaster of a relationship from infatuation to rage and

beyond.) Anyone who’s free and has appropriate repertory under their belt—meaning ready for public airing without rehearsal— can propose themselves. For example, at the Blue Moon, two singers pair off for a duet from Show Boat that they’ve never sung together before; reliable professionals that they are, you’d never know it. Tap singers have often crossed paths and boast similar resumes, working to stitch together a postcollege living through teaching, roles with smaller area companies (Tacoma, Vashon, Bellevue, Kitsap, and Skagit Operas), or in outreach performances with the Seattle Opera Guild.

The Blue Moon audience seems split between converts and newbies. As baritone Ryan Bede puts it, Opera on Tap draws “audience members who are regular attendees at Seattle Opera [and] some who are probably regular attendees at the Blue Moon.” He’s up next, as Mozart’s Don Giovanni. Out of context and untranslated, each number needs a little introduction, and Row explains what’s going on in this duet: Zerlina, whom the Don is trying to seduce, is already engaged to the hapless Masetto, who’s “not very smart,” she admits. (“But he’s cute,” counters an audience member.)

What makes opera such a hard sell? “They feel like it’s too fancy, basically,” Chenovick thinks. But guided past the perceived barriers of language, class, money, and the other baggage attached to opera, people find out it’s not so unfamiliar: “These story lines in many ways would be easily transferable to a contemporary soap opera,” she says. Or to personal experience—as Bede observes, “the life of the students in La bohème is a lot like a young group of college students after school, none of them having jobs yet.” (See? Opera is for 99-percenters too.)

Shane WilliamS

hope everyone’s having a double tonight,” emcee Ksenia Popova says to the 50 or so people loosely packed into the U District’s Blue Moon Tavern last month, “because it’s duet night.” Against low chatter and the clink of beer glasses, Jadd Davis and Ken Sabalza take the foot-high stage at one end of the cluttered room, joining husky, goateed Josh Brown, sitting behind a Kurzweil portable keyboard.

But what comes next is not indie rock, a string band, or anything else that regularly appears on the bar’s live-music schedule.

“Au fond du temple saint”—or as Popova calls it, “the bromance duet”—is the greatest hit from Georges Bizet’s 1863 opera The Pearl Fishers, the tale of two (yes) pearl fishers—one tenor, one baritone—who in honeyed, twining, climbing melodies recall, then renounce, their past conflict over a woman.

(Bros before sopranos.)

19

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SpringArts ❧Visual Arts

Indoor Plumbing Why Suyama Space iS the city’S moSt quietly intereSting gallery.

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Seattle weekly • February 15–21, 2012

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ALL BOUTS AT

Brian Miller

GOOD BOOKS, GREAT EVENTS

B

ig art installations are generally limited to museums, which can offer the square footage, trucks, and manpower necessary to deploy large sculptural objects that demand lots of room. Big art is expensive.

Western Bridge has done a great job with some enormous, challenging pieces over the years, but that former warehouse is scheduled to close at the end of this summer, after eight years of support from owners Ruth and Bill True. Maybe because it doesn’t throw the same kind of splashy opening parties, however, the quieter Belltown atrium that is Suyama Space has, with less fanfare, continued its mission for more than 13 years. Located in an old auto garage, the gallery is run by architecture firm Suyama Peterson Deguchi, whose George Suyama and curator Beth Sellars began housing large modernist works there in 1998.

The ongoing sculpture-and-sound piece Uprising makes excellent use of the creaky old building, with its high rafters and skylight overhead. At first glance it appears that Rick Araluce has bolted together a tangle of rusty old pipes of varying gauges. The steel seems to erupt from the floor and reach for the sky.

Take a picture, flip your camera over, and it’s like you’re peering up at the ceiling of your basement, preparing to unclog the shower line. From a normal perspective, the jumbled array could be mistaken for a jungle gym. (Parents with kids may have to physically restrain them from climbing the installation.) You can walk through, around, duck under, step across.

There’s the suggestion of Gas Works Park, drunken plumbers, or a convention of bassoons.

Which brings us to the other component of Uprising. Here’s where you stop walking, listen intently, and pick up an intermittent hissing or drone. There’s a pattern, but it’s not exactly regular. If your ears are acute, wandering around Uprising, the same pattern can be detected at various pipe-ends of varying diameter. More and more, you realize, they’re like trumpet bells or woodwind instruments—tubes resonating with noise . . . or possibly music? But what kind of music?

This is where Uprising’s co-creator, Steve Peters, comes in. The local musician and sound artist explains what we’re hearing: “It’s the HVAC system, it’s the building settling, planes flying overhead, the traffic outside. I go in, and I hit the record button, and I leave.”

The result is called room tone—what most of us think of as silence or the white-noise

You can listen to—but don't touch!— the pipes.

background of our daily lives. Peters collected the basic material with microphones at Suyama Space before Uprising was installed.

Later, “I also recorded new material in there and stuck some mikes in the pipes.” None of which would be very audible or interesting to visitors, when they near their ears to the open pipes, if not for Peters’ subsequent digital manipulation with filters and other software.

By way of analogy, he says “It’s like taking a beam of white light and putting it through a prism so you can see the color.”

With five different CD players on endless loop, the same 40-minute track emanates from within Uprising—though staggered and overlapping. The sound flows like water, as it were. “There are speakers in the pipes,” Peters explains. “The bigger the pipe, the more low frequencies you’re gonna get. The pipes are actually processing the signal.” In other words: big pipe, tuba; little pipe, piccolo.

And about those pipes. Local artist Araluce has as his day job the task of creating elaborate sets and props for Seattle Opera. Things must look big and impressive, but be easy to move. If you rap your ballpoint pen against the sculpture (but please don’t), he explains, you won’t hear the ring of iron. “It’s all faux, it’s all fake,” he laughs. The PVC pipes have been painted and rusticated to look like iron and metal. “It made it much easier to transport.”

He adds, “A plumber friend of mine said, ‘Those are like Dr. Seuss fittings.’ ” Which, when you think about it, is actually high praise. E bmiller@seattleweekly.com UPRISING Suyama Space, 2324 Second Ave., 256-0809, suyamapetersondeguchi.com/art. Free.

9 a.m.–5 p.m. Mon.–Fri. Ends April 13.

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9am-5pm M-F + First Thursday Art Walk.

May 31 – June 2, 2011 Shakespeare Plus Tour

Preview the Exciting Oregon Shakespeare Festival 2012 Season! Tour package includes: One Flight: Round trip Seattle to Medford, OR (includes hotel transfer) Two Nights: 3 Star Hotel Accommodations (double occupancy) Three Plays: Seagull, Animal Crackers, and Romeo and Juliet Three Extras: Backstage Tour, Play Prologue and Discussion Period with a Cast Member Led Four Meals: 2 Breakfasts and 2 Dinners (snacks provided at the hotel) Shake by s Innumerable Memories: All for only $955.00 per person and C peare h ekhov Student and Senior Discounts Available e

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McIntyre Hall, Mt. Vernon WA April 14-22, 2012 Friday and Saturday evening performances at 7:30pm Sunday afternoon performances at 2:00pm

Seat tle weekly • Febru ary 15–21, 2012

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

y

21

SpringArts ❧Calendar Denis Arndt (left) and Connor Toms in Red, at the Rep.

2012 at EMP MusEuM

Girls Are Not for Sale, an Activist Finds Her Calling and Heals Herself was herself briefly involved in that trade. Elliott Bay Book Co.

24 red Winner of six Tony ◆Awards, John Logan’s play stars

Denis Arndt as abstract expressionist painter Mark Rothko; Connor Toms plays his eager assistant. Seattle Repertory Theatre

Special Exhibitions Opening This Year

24–March 1 The lady ◆Vanishes From 1938, Alfred

Explore some of the most significant moments in rock music, science fiction, and popular culture at EMP Museum.

Hitchcock’s thriller grows from a friendly chat on a train to international espionage, with Europe’s future in the balance!

Grand Illusion Cinema, grandillusioncinema.org

24–March 1 my reincarnaTion In a Seattle premiere, Jennifer Fox’s family drama was filmed with the same actors over 20 years.

Northwest Film Forum 1 noir ciTy ◆Film24–March scholar Eddie Muller returns

Icons of Science Fiction opens June 2012 Explore the lives of science fiction’s most mind-bending creators, and see how the big ideas present in sci-fi stories are communicated through artifacts from literature, film, television, and art.

to introduce titles including Laura, Gilda, and Pickup. SIFF Cinema at the Uptown, siff.net

25 massy FerGuson Get out your John Deere caps for these local masters of the new Americana. The Triple Door

ANDRY LAuRENCE

AC/DC: Australia’s Family Jewels opens April 2012 Celebrate these head banging Australians who paved the way for heavy metal with blues-based riffs, power driven performances, and oodles of onstage antics.

and Vancouver, B.C.’s Triadic Dance Works. On the Boards, ontheboards.org

20 Julia Fischer The violinist plays Schubert, Debussy and more, with Milana Chernyavska on piano.

Benaroya Hall

Seattle weekly • February 15–21, 2012

Worn to Be Wild: The Black Leather Jacket opens October 2012 Witness jackets worn by superstars past and present, pieces plucked from the fashion runway, and handdecorated specimens that celebrate the rebel’s most defining garment.

22

Hear My Train a Comin’: Hendrix Hits London opens November 2012 Widely considered the greatest guitarist in history, the king of “Purple Haze” fame creatively redefined what amplified instruments could achieve.

Last Chance! Exhibits closing in 2012 AvATAr: The Exhibition closes September 3, 2012 Journey into Pandora! Explore the technology, imagination, science, and spectacle behind the 2009 groundbreaking blockbuster.

Also Featuring

Exhibits continuing through 2012

Nirvana: Taking Punk to the Masses The world’s most extensive exhibition of rare and unseen memorabilia celebrating the music and history of Seattle grunge luminaries, Nirvana.

Can’t Look Away: The Lure of Horror Film An original exhibition exploring the world of horror as expressed in film, featuring guest curators Roger Corman, Eli Roth, and John Landis.

325 5Th AvEnuE n AT SEATTLE CEnTEr • EMPMuSEuM.OrG

20 John nichols In his book Uprising, he discusses how Wisconsin Governor Scott Walker went to war with public-employee unions. Town Hall 20 eric Topol His book The Creative Destruction of Medicine addresses new technology in the old profession. Town Hall 21–26 BeauTy and The BeasT Disney’s smash Broadway musical is kid-friendly entertainment. The Paramount, stgpresents.org

25 adam Tendler John Cage’s delicate, slightly goofy Sonatas and Interludes for prepared piano invariably convert, through sheer charm, people who think they don’t like Cage. Chapel Performance Space, waywardmusic. blogspot.com seaTTle chamBer players The ◆ 25–26 Rick Steveses of Seattle’s classical scene present Icebreaker VI: New Music From the Mediterranean, featuring music from Portugal all the way around to Morocco, with stops everywhere in between.

Benaroya Recital Hall

10 orphÉe eT eurydice Seattle ◆ 25–March Opera follows the fabled lovers into the underworld in Gluck’s 1774 opera. McCaw Hall, seattleopera.org

26 don GioVanni Mozart on the big screen, thanks to San Francisco Opera. SIFF Film Center

22 William dieTrich The Pulitzer Prize–winning former Seattle Times journalist discusses our precious national parks. Town Hall

26 oKie noodlinG ii Men hunt really big fish without the benefit of rods or nets in this documentary sequel. Director Bradley Beesley will attend.

Northwest Film Forum

22 Vonda shepard Her mellow pop has sold 12 million albums and earned two Emmy Awards. Jill Cohn opens. The Triple Door

26–28 caTherine KarnoW The National Geographic photographer shows images and discusses her travels in Vietnam. Benaroya Hall

22–23 seaTTle symphony Violinist Itzhak Perlman, increasingly these days a conductor too, leads the SSO in Vivaldi, Mozart, and Beethoven.

Benaroya Hall 23–March 31 Tim roda shows elaborate new ◆ photographic tableaux, and Ben Waterman exhibits his sculpture and painting. Greg Kucera Gallery, gregkucera.com

24 asuW GBlTc draG shoW The annual student bash features the drag performers of tomorrow.

Wait, are kids still doing drag? Meany Hall 24 seaTTle symphony “Celebrate Asia” is a mixed program of Western (Gershwin, Tchaikovsky) and Eastern music. Benaroya Hall 24 michio KaKu He continues his pop-science crusade with Physics of the Future: How Science Will Shape Human Destiny and Our Daily Lives by the Year 2100. Town Hall 24 rachel lloyd Yes, sex trafficking is evil. The author of Girls Like Us: Fighting for a World Where

The exTraordinary VoyaGe A new ◆ 28 documentary about Georges Méliès’ silent sci-fi film A Trip to the Moon, as featured in Martin Scorsese’s Oscar-nominated Hugo and the recent album art of French band Air. Northwest Film Forum

28 Tupelo hassman Her acclaimed debut novel Girlchild is set in a trailer park near Reno, Nevada.

Elliott Bay Book Co. 28 daVid c. unGer His The Emergency State: America’s Pursuit of Absolute National Security at All Costs asks why we’re expected to trade our civil liberties for a constant state of fear—one abetted by FOX News, Bill O’Reilly, and company. Town Hall eric KlinenBerG The sociologist and ◆ 29 author (Going Solo: The Extraordinary Rise and

Surprising Appeal of Living Alone) should find a receptive audience in this town full of singletons and increased urban density. Town Hall

Joan riVers Only three days after the ◆ 29 Academy Awards, she’ll dish on all the winners and worst-dresseds. Benaroya Hall

March 1 The MonTage MonTage The best (and weirdest) montage sequences in the history of cinema are compiled into one giant 90-minute montage. Expect Stallone to punch frozen beef. SIFF Film Center 1 TiM Berne’s snakeoil The saxophonist’s quartet (“equal parts sonic structure and attitude”) opens Earshot Jazz’s spring four-concert series. Seattle Asian Art Museum, earshot.org 1–3 liMón Dance coMpany The 65-year-old company performs old and new works rooted in Brazilian and Cuban music. Meany Hall, uwworldseries.org 1–3 teeth The Portland company brings its odd spelling and dance/performance energy to a new work called Make/Believe. On the Boards 1–27 Making MenDs Homecoming, healing, and recovering from war’s trauma are addressed in several media by more than 16 national and international artists. Bellevue Arts Museum, bellevuearts.org 1–27 Dirk sTaschke: Falling Feels a loT like Flying The Canadian ceramics artist addresses human vanity, greed, and consumption with many delicious-looking but inedible pastries and cakes. Bellevue Arts Museum 2 oDair assaD From Brazil, he embarks on his first North American tour, with a repertoire of jazz, classical, and Latin music. Benaroya Hall

for the actress portraying Little Voice, a dormouse with huge vocal talents. ArtsWest, artswest.org

8 aManDa hesser Seattle Arts and Lectures presents the New York Times food writer and blogger.

Benaroya Hall, lectures.org 8 JoDi picoulT Tragedy afflicts a family, again, in her latest novel, Lone Wolf. Seattle Central Library, spl.org 8–9 leroy Bell anD his only FrienDs The homegrown X Factor contestant brings his song stylings back to town. The Triple Door 9 uw syMphony Stravinsky’s dryly devout Symphony of Psalms. Meany Hall, music.washington.edu 9–15 house oF pleasures Who doesn’t want to peek inside a turn-of-the-century Parisian brothel?

Grand Illusion 10 laDysMiTh Black MaMBazo The South African vocal group made famous (over here) by Paul Simon’s 1986 album Graceland. Meany Hall 10 The screwTape leTTers In his popular solo show, based on the works of C.S. Lewis, Max McLean argues for the Devil. The Paramount

Vowell will talk Hawaii, politics, and more.

2 Fran leBowiTz The subject of Martin Scorsese’s recent HBO documentary Public Speaking, she’ll complain about the usual stuff and tell us how much better everything was in New York during the ’70s. Benaroya Hall 2 VagaBonD opera Portland’s six-piece cabaret ensemble offers Balkan belly dance and more. The Triple Door 2–3, 10–11 The esoTerics New choral works evoking the myth of the Sirens, including one by director Eric Banks. Various venues, theesoterics.org

2–8 BeTTer Than soMeThing: Jay reaTarD The recently deceased garage rocker is profiled in this new documentary.

Grand Illusion 3 Benny carTer The jazz legend presents his fivemovement Peaceful Warrior Suite in tribute to Martin Luther King. Benaroya Hall

5 george Dyson His new book, Turing’s Cathedral, examines how gay Englishman Alan Turing laid the groundwork for our current digital age. Town Hall 6 The aMerican BeauTy proJecT The Grateful Dead’s Workingman’s Dead and American Beauty are given the symphonic treatment. Wear your tie-dye and tux. Benaroya Hall 7 Brian chrisTian His book The Most Human Human “examines how computers are reshaping our idea of what it means to be human.” Town Hall 7 garrick ohlsson Celebrate Liszt’s 200th with the acclaimed pianist. Meany Hall europeras 3 & 4 John Cage tossed doz◆ 7–10 ens of operas in a I Ching blender and pressed purée in this fantastical collage, staged for his centennial by the school that employed him from 1939–41. Cornish College of the Arts, cornish.edu

7–31 The rise anD Fall oF liTTle Voice Jim Cartwright’s proven English play offers a plum role

sarah Vowell The nerdy public-radio ◆ 10 favorite may talk about politics, current affairs, or her most recent book, Unfamiliar Fishes, a brief history of Hawaii. The Neptune, stgpresents.org

10–11 seaTTle pro Musica Religious tales elicited Bach’s most dramatic music—for example, his St. John Passion. St. James Cathedral, seattlepromusica.org 10–20 FirsT DaTe SEE RELATED STORY, PAGE 14.

A Contemporary Theatre, acttheatre.org 10–June 10 FroM puBlic To priVaTe Vintage prints demonstrate the evolution of portrait photography from 1850–1900. Henry Art Gallery 11 eManuel ax From this pianist, Copland’s crunchy Piano Variations. Benaroya Hall 11 winDs oF hope: BeneFiT concerT For Japan March 12 marks the first anniversary of Japan’s terrible earthquake and tsunami. Proceeds from this concert will help replace the musical instruments of students affected by the disaster. Benaroya Hall 14 choral arTs Premiering Seattle composer John Muehleisen’s evening-length Pietà. St. Mark’s Cathedral, choral-arts.org 14–TBD hiDe/seek Works by Eakins, Sargent, O’Keeffe, Warhol, Johns, and others are considered for their queer content. Tacoma Art Museum, tacomaartmuseum.org

Seat tle weekly • Febru ary 15–21, 2012

3 Trilogy Dance coMpany The local troupe gives a special Eastside showcase. Meydenbauer Center

RIVERHEAD BOOKS

2–8 winDFall Everybody loves windmills, until the giant towers show up in their backyard.

This new documentary looks at NIMBY-ism and the environmental movement. Northwest Film Forum

23

A Reader’s Guide

SpringArts

GOOD BOOKSTORES SPOTLIGHT ON

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15 Hari kunzru A lost child returns to his par◆ ents, but imbued with magical powers, in his new novel Gods Without Men. Elliott Bay Book Co.

15 norweGian ninja The true-ish story of a disgraced Norwegian diplomat during the ’80s is transformed into a sendup of the era’s action moviesa. SIFF Cinema at the Uptown 15–16 Mark siano His wacky new comedy cabaret, Modern Love, concerns romance in our age of TMI. The Triple Door 15–18 MicHeLLe eLLswortH The Colorado dance maker’s Phone Homer considers Clytemnestra, DNA, and hamburgers. Mmm, hamburgers! On the Boards seattLe jewisH FiLM FestivaL ◆15–25 Some two dozen titles will screen, including the

Argentine interfaith marriage rom-com My First Wedding; Dolphin Boy (about dolphins and PTSD!); and Rabies—described as “Israel’s first slasher movie”! Cinerama, Pacific Place, SIFF Cinema at the Uptown, seattlejewishfilmfestival.org

15–April 8 Moisture FestivaL The clowns, aerialists, mimes, and musicians are back! Various locations, moisturefestival.com 15–Aug. 5 coLors oF tHe oasis: centraL asian ikats Over 60 bright-hued textile pieces from Central Asia are on loan from the Textile Museum in Washington, D.C. Seattle Asian Art Museum 16 aLain de Botton Seattle Arts & Lectures ◆ presents the author of Religion for Atheists: A NonBeliever’s Guide to the Uses of Religion. Meany Hall

16 GeoFF dyer The wide-ranging English ◆ essayist turns his obsession with Andrei Tarkovsky’s

movie Stalker into Zona: A Book About a Film About a Journey to a Room. Seattle Central Library

16 savion GLover He started out as the “Tap ◆ Dance Kid,” a child prodigy among elder statesmen,

and has just kept developing. He’s both the heir of artists like Gregory Hines and Bill “Bojangles” Robinson and the leader of a new, lean generation of tappers.

His visits to Seattle are a window onto the latest thing in physical rhythm, and his touring show SoLe Sanctuary reflects his heritage. On a stage lined with photos of past tap greats, Glover quotes from their steps, mixing them with excerpts from his own, growing, history. SANDRA KURTZ The Moore

16 seattLe syMpHony Soprano extraordi◆ naire Renée Fleming sings the usual diva material (the “Jewel Song” from Faust) but also songs from her indie-pop Dark Hope album (Leonard Cohen, Death Cab, etc.) Benaroya Hall

16–18 cHipoLLino In which the son of a family of onions battles a tyrant known as Prince Lemon.

Yes, really. Presented by International Ballet Theatre.

Meydenbauer Center

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Books • Tarot • Goddess Magic • Astrology • Tibetan Statues • Sage • Crystals Candles • Incense • Oils Aromatherapy • Hemp Global Exchange • Fair-Trade & much, much more!!

15 Louise GLuck Seattle Arts and Lectures hosts the acclaimed poet. Benaroya Hall, lectures.org

16–22 adventures in pLyMptoons! Oscarnominated animator Bill Plympton is profiled in a new documentary. Northwest Film Forum 16–24 new works Pacific Northwest Ballet ◆ presents two world premieres: Annabelle Lopez

Ochoa’s Cylindrical Shadows and an untitled piece

by Victor Quijada; new to Seattle stages is David Dawson’s A Million Kisses to My Skin. McCaw Hall, pnb.org

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16–April 9 stuck In Jessica Hatlo’s new play, a young couple can’t seem to leave their apartment.

Apparently they’d rather watch Matlock and smoke dope; we know just how they feel. Washington Ensemble Theatre, washingtonensemble.org 16–April 14 Lark eden Natalie Symons reprises her play about an epistolary friendship among three women. Theater Schmeater, schmeater.org 17 ManueLa Horn’s nauGHty st. ◆ patty’s day party Sexy leprechauns,

sing-alongs, and green beer are part of the fun,

orchestrated by the tall, yodeling dominatrix who happens to be German, not Irish. Teatro ZinZanni, dreams.zinzanni.org

17–25 Snow white Pacific Northwest Ballet School tackles the fairy-tale romance, choreographed

by Bruce Wells. McCaw Hall 18 Philharmonia northweSt Michael Partington plays Bryan Johanson’s guitar concerto The Underdog. St. Stephen’s Episcopal Church, philharmonianw.org 18 SymPhonic StorieS Brand-new storytelling works by seven Seattle composers, many with impressive film and video-game scoring credits.

Benaroya Hall

Benaroya Recital Hall, seattlemetropolitanchamber orchestra.com

31–April 1 Seattle men’S choruS They’ll come together for music by the Beatles. McCaw Hall, seattlemenschorus.org 31–April 7 Seattle oPera Donizetti’s battleof-the-sexes farce Don Pasquale is the spring show from SO’s Young Artists Program. Meany Hall, seattleopera.org 31–Sept. 16 gary hill Founder of the video department at Cornish, he receives his first big solo museum show, called glossodelic attractors, with sound installations, videos, stereoscopic viewers, and more. Henry Art Gallery

April 1 orcheStra Seattle/Seattle chamBer SingerS Bach’s Easter Oratorio for a Palm Sunday concert, sure—but pairing it with music from Der Rosenkavalier, Strauss’ violet-scented candy box?

First Free Methodist Church, osscs.org 1–3 Searching For genghiS khan Albert Lin and Fredrik Hiebert journey to Mongolia with their cameras and other high-tech archeological tools. Part of the National Geographic Live! series.

Benaroya Hall Balanchine then and now George ◆ 3Balanchine began to choreograph during the heyday

of the Ballets Russes, and one of his earliest ballets, Apollo, was made for that legendary company in 1929. He returned to the piece several times during his career, constantly stripping away what he felt were merely decorative bits until the work that had originally been performed in costumes by Coco Chanel became a neoclassic masterpiece. Tonight, former PNB co-director Francia Russell and dance historian Doug Fullington examine this process in a lecturedemonstration with PNB talent, in preparation for the company’s April 13 staging of Apollo. SANDRA KURTZ PNB Phelps Center

rodrigo y gaBriela and c.u.B.a. ◆ 3They expand their already big sound with a backup band, in support of their newest record. The Paramount

magnetic FieldS Mr. Cheerful himself, ◆ 19–20 aka Stephin Merritt, leads his motley crew—possibly

to include Daniel Handler—in support of the band’s 10th release, Love at the Bottom of the Sea. And at the perfect nautical venue. The Neptune

20 the devil’S cleavage George Kuchar’s 1973 cult classic is screened with Hold Me While I’m Naked.

Northwest Film Forum mamma mia! ABBA, ABBA, ABBA. What ◆ 20–25 more do you need to know? The Paramount 23 Peter FramPton A three-hour performance of Frampton Comes Alive!, with additional highlights from his long career. Pantages Theater, broadwaycenter.org 23 talliS ScholarS Aristocrats of the earlymusic world, this vocal ensemble sings music from 1520. Blessed Sacrament Church, tudorchoir.org 23–29 gerhard richter Painting The great German artist is profiled in this new doc.

Northwest Film Forum 23–April 21 Freud’S laSt SeSSion C.S. Lewis squares off against the shrink in this thriller. Taproot Theatre, taproottheatre.org 23–April 22 or, Set in Restoration England, Liz Duffy Adams’ rollicking comedy stars Kirsten Potter as a bold playwright and secret agent. With Basil Harris and Montana von Fliss in support. Allison Narver directs.

Seattle Repertory Theatre 24–25 the Sound oF muSic How do you solve a problem like Maria? Everyone’s favorite musical is screened as a sing-along. Meydenbauer Center 24–April 1 South PaciFic Lyric Light Opera performs Rodgers and Hammerstein’s Polynesia-set classic. (Afterward, for context, go see the Gauguin show at SAM.) Kirkland Performance Center, kpcenter.org

29–April 1 count BaSie orcheStra Bigband performances of music by the giants of jazz.

Benaroya Hall 1 mark haim excels at the non ◆ 29–April sequitur, taking the formal, puzzle-making aspects of

postmodern dance and mixing them with the flotsam of everyday life. In 2010’s This Land Is Your Land, his dancers walk a simple repeating pattern, but their props and costumes illustrate a grim kind of evolutionary process, shifting from coffee cups to assault rifles, from fully clad to naked. Life does not improve as time marches on. In his first Seattle visit in six years, he also shows The Time. SANDRA KURTZ On the Boards

30 roy rogerS and the delta rhythm kingS Rogers is acknowledged as one of today’s premier slide guitarists. The Triple Door 30–31 PaciFic muSicworkS Presenting early music in thrillingly innovative ways, they’ll perform Handel’s The Triumph of Time and Truth. Daniels Hall, pacificmusicworks.org 31 Seattle metroPolitan chamBer orcheStra John Adams’ knotty Chamber Symphony spins off from Schoenberg and Carl Stalling.

Seat tle weekly • Febru ary 15–21, 2012

25 andy warhol’S Silver Factory Velocity’s annual fundraiser takes a decadent Factory theme, with music, food, drinks, and dancing. Nancy Guppy hosts; Matt Smith does the auctioning. Mount Baker Community Club, velocitydancecenter.org

25

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4 Troy Jollimore and John KoeThe The nationally recognized poets share new verse.

Presented by Seattle Arts & Lectures. Benaroya Hall 4 heidi JulaviTs A woman can’t escape her own psychic powers in her novel The Vanishers. University Book Store, bookstore.washington.edu 5 BoB Friel With the famous fugitive now in jail, he’ll discuss Barefoot Bandit: The True Tale of Colton Harris-Moore, New American Outlaw. University Book Store 5 voracious We take over the Paramount for ◆ our annual food bash, including samples from 40 restaurants, live music, and much more. seattleweekly.com

5–7 seaTTle symphony Gerard Schwarz returns for a guest shot with one of his specialties, Mahler’s young-man-in-a-hurry First Symphony. Benaroya Hall 5–May 12 Brion nuda rosch The San Francisco painter shows spare new work. Greg Kucera Gallery 6–12 once upon a Time in anaTolia ◆ From Turkish director Nuri Bilge Ceylan (Distant), his

Seattle weekly • February 15–21, 2012

sparse new missing-body drama won a big prize at Cannes last year. Northwest Film Forum

26

6–28 The TwilighT Zone: live! Theater Schmeater’s zany annual take on Rod Serling. ACT Theatre, schmeater.org 7 miKe doughTy He reads from his memoir, The Book of Drugs, and plays a musical set. The Triple Door 7 SpecTrum dance TheaTer’s 30Th anniversary gala The theme is Notte di Mistero (or “night of mystery”), with food, music, and more. Town Hall, spectrumdance.org 9 andrew Bird The onetime Squirrel Nut Zipper’s solo work is catnip to Seattle audiences, who have yet to get their fill of folk-tinged adult contemporary. The Paramount Good luck getting tickets. Really, ◆ 9weradiohead mean it. KeyArena, keyarena.com

An Unconventional Art Gallery

Prints & Paintings by NW Artists

206.525.2400 | www.theartstudy.com | University Village

10 Joseph lelyveld His biography Great Soul considers the life of Gandhi. Town Hall cosTello Backed by the Imposters, ◆ 12likelyelvis to sell out early, the gracefully aging rocker is

likely to play favorites from his spinning songbook— one of the largest back catalogs in pop music. The Paramount

chunKy move For its Seattle debut, the ◆ 12–14 Australian modern-dance company is bringing its

version of a Rube Goldberg machine. In Connected, the performers build a kinetic sculpture during the performance, but the twist is that they include themselves in the mechanism. Early modern dance was full of “ballets mécaniques” in which performers imitated the interconnected precision of the assembly line, but Connected feels more ominous—humans may have made the machine, but might not be the ones controlling it. SANDRA KURTZ Meany Hall

13–22 apollo & carmina PNB stages two repertory classics: George Balanchine’s Apollo and Kent Stowell’s Carmina Burana. McCaw Hall 13–21 peTruchsKa The puppet-loves-girl tragedy, set to the music of Stravinsky, choreographed by Donald Byrd. Spectrum Dance Theater rachel maddow Everyone’s favorite ◆ 14 MSNBC host sticks it to the man. If only Obama had her spine. (Her new book is Drift.) Town Hall

16 seoul philharmonic orchesTra Led

by Myung-whun Chung, they perform Debussy’s La Mer and a concerto for Chinese sheng. Benaroya Hall emerson sTring QuarTeT Mozart’s ◆ 17“Prussian” quartets were written for a cello-playing

monarch, so naturally Mozart put the cello in the spotlight. Meany Hall

shadid The Lebanese-American ◆ 17NewanThony York Times reporter delves into his family history

with House of Stone: A Memoir of Home, Family, and a Lost Middle East. Town Hall

17–22 caTs The longest-running, most popular North American touring production in history. The estate of T.S. Eliot must be making a fortune. The Paramount 18 visions in moTion: a reTrospecTive, 1954–2000 The recently deceased avant-garde filmmaker Robert Breer is honored with 16 short films.

Northwest Film Forum 18–May 13 exiT, pursued By a Bear Lauren Gunderson’s world-premiere comedy pits a longsuffering wife against her no-account husband.

ArtsWest 19 e. o. wilson His new book, Social Conquest of the Earth, considers how evolution is shaped by culture. Town Hall 19, 21 seaTTle symphony SW’s Gavin ◆ Borchert gives the pre-concert lecture, opining on Henri Dutilleux’s Symphony no. 1. Benaroya Hall

19–22 KYLE ABRAHAM Making his Seattle debut, the NYC choreographer’s Live! The Realest MC recasts Pinocchio as a kind of gay/hip-hop quest for authenticity. On the Boards 19–May 6 DOUBLE (XX) FEST 2.0 Eighteen new plays, written and directed by women. Stone Soup Theatre, stonesouptheatre.com 13 CLYBOURNE PARK In 1959 and ◆ 20–May 2009, a Chicago suburb struggles with integration and

gentrification in Bruce Norris’ Pulitzer winner. Seattle Repertory Theatre

20 PINK MARTINI The Portland-based makers of twee cocktail music join forces with the considerably bigger sound of the SSO. Benaroya Hall, seattlesymphony.org 20–26 THE TURIN HORSE Hungarian director Béla Tarr has said this typically, glacially slow film will be his last. Northwest Film Forum 20–May 20 THE PITMEN PAINTERS From Lee Hall, writer of Billy Elliot, comes the true but embellished story of British miners who unlock their artistic potential. ACT Theatre 21 SEATTLE REPERTORY JAZZ ORCHESTRA Works by Northwest composers and arrangers, including Quincy Jones and Bob Hammer. Benaroya Hall, srjo.org 22 ANDREW DADSON Winner of the ◆ 21–July Henry’s Brink Award, the Vancouver, B.C., artist paints lawns black and otherwise messes with icons of suburbia. Henry Art Gallery

21 DAR WILLIAMS If audiences play nice, perhaps they can get the singer/songwriter to drop a few words about one of her pet causes, “positive proximity”—something that will not be in short supply at Seattle’s most comfortable venue. The Triple Door 25 ETGAR KERET The Israeli novelist, filmmaker, and comic-book artist is welcomed by Seattle Arts & Lectures. Town Hall A.J. JACOBS After The Know-It-All and The ◆ 26 Year of Living Biblically, his latest witty, self-involved tome is Drop Dead Healthy: One Man’s Humble Quest for Bodily Perfection. Town Hall

26 ALARM WILL SOUND From this new-music ensemble, music by Adams, the Beatles, and much more, as part of the “Town Music” series. Town Hall 26, 28 SEATTLE SYMPHONY Shostakovich’s vast and somber, not to say grueling, Symphony no. 8, led by Gerard Schwarz. Benaroya Hall

1 SNOW PATROL The UK radio rockers are touring behind Fallen Empires, their first new record since 2009’s my-aunt-liked-that-record-too crossover hit, Up to Now. The Paramount 1–10 NOTES ON THE CINEMATOGRAPHER: THE FILMS OF ROBERT BRESSON Seven films, including The Trial of Joan of Arc, are screened.

Northwest Film Forum 2 CHIMAMANDA NGOZI ADICHIE The Nigerianborn novelist (Purple Hibiscus) is presented by Seattle Arts and Lectures. Benaroya Hall 3–6 JULIE ANDRÉE T. The French-Canadian performance artist makes her U.S. debut with Rouge, a mediation on color and blood. On the Boards 3–20 AN EVENING WITH GROUCHO Frank Ferrante has got the man down in this one-man show, from greasepaint mustache to speedy slouching walk.

ACT Theatre 4–6 SCUBA This touring dance program features local choreographer Allie Hankins and Alice Gosti, plus Philadephia’s Gabrielle Revlock. Velocity Dance Center 5 ONE-MAN LORD OF THE RINGS Down in Tacoma, Charles Ross performs Tolkien’s entire LOTR trilogy onstage, in an hour, with 40 different characters, special effects, and epic battles. Theatre on the Square, broadwaycenter.org 5–13 A LITTLE MERMAID StoryBook Theater presents the Disney musical. Good for the kids, right?

Kirkland Performance Center 5–19 SEATTLE OPERA Puccini’s Madama ◆ Butterfly opens the composer to charges of misogyny—not to mention racism; is the music luscious enough to justify it? McCaw Hall

11–28 BED SNAKE Performer/creators Noah Benezra and Hannah Victoria Franklin promise “a world of light and crunk.” We’re totally there. Washington Ensemble Theatre MARY CHAPIN CARPENTER AND ◆ 12SHAWN COLVIN The two longtime friends tell

stories through their music and, in perfect harmony, reinterpret their favorite songs. Pantages Theater

12 TEN GRANDS Grand pianos, that is, playing classical, jazz, and more. Benaroya Hall 13 DEATH CAB FOR CUTIE Their latest ◆ record, Codes and Keys, doesn’t leave the same

The Triple Door is invaded by cellos!

SUMMER AT

CORNISH

27 SEATTLE POETRY SLAM Local poets compete to be on a touring national squad. Town Hall, seattlepoetryslam.org

29–May 1 MATTIAS KLUM & JOHAN ROCKSTRÖM The National Geographic Live! series presents the two globetrotters.

Benaroya Hall

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28 SEATTLE BAROQUE ORCHESTRA Teaming with the Tudor Choir for Vivaldi’s sparkling, even fluffy, Gloria.

Town Hall, earlymusicguild.org

JUNE 25 – AUGUST 10, 2012

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Seat tle weekly • Febru ary 15–21, 2012

27 PORTLAND CELLO PROJECT Hommage—yes, that’s how they spell it—is the group’s new genrebending album. The Triple Door

May

27

SpringArts ❧Calendar 18–19 seattle syMphony Mozart’s Requiem, aka Franz Xaver Süssmayr’s greatest hit (he completed it after Wolfgang kicked, and it’s mostly his music).

Benaroya Hall

◆

JOAN MARCUS

Rockabilly legends are revived in Million Dollar Quartet.

impact as its recent predecessors. But Seattle’s biggest indie-rock band has a catalog filled with enough crowd-pleasers (“I Will Possess Your Heart,” “The New Year”) to make this uniquely intimate show a high point of the season. Youth Lagoon, the buzziest band to come out of Boise since Built to Spill, opens.

The Paramount

14 Music of ReMeMbRance The premiere of Jake Heggie’s song cycle Another Sunrise, settings of the satiric poems of a Polish Jew. Benaroya Hall, musicofremembrance.org 15 seattle syMphony An encore of their semistaged performance of Bartok’s lurid Bluebeard’s Castle, with huge glass Chihuly set pieces. Benaroya Hall 15–20 Million DollaR QuaRtet This touring jukebox musical centers on an actual recording session that included Elvis Presley, Jerry Lee Lewis, Carl Perkins, and Johnny Cash. Expect all their hits. The Paramount 17–19 seattle syMphony “MaDe in ◆ aMeRica” festival Three concerts of

Seattle weekly • February 15–21, 2012

homegrown music, including a new suite from Daron Hagen’s opera Amelia, premiered by Seattle Opera in 2009. Benaroya Hall

28

17–19 lauRen WeeDMan Returning to her old stomping grounds, the ever-irreverent performer has a new monologue, Denny’s World, about evading poverty and accepting her eccentric neighbors. Northwest Film Forum 17–20 the GuRs Zyklus Local musician/madman/genius Trimpin explores his family’s demise in the Holocaust via a trove of letters sent from the Gurs internment camp in Germany, by combining voice, sculpture, “fire organ,” and a libretto by director Rinde Eckert. On the Boards 17–June 12 seattle inteRnational ◆ filM festival Opening the largest film festival

in the U.S. is local director Lynn Shelton’s Your Sister’s Sister, starring Emily Blunt, Rosemarie DeWitt, and Mark Duplass. Following will be more than 200 features from around the world, with dozens of visiting actors, actresses, and directors. Multiple locations, siff.net

18–20 WhiM W’hiM With the esoteRics These two groups are combining forces for Approaching Ecstasy, a new work based on the poetry of Constantine Cavafy, whose repressed homosexuality expressed itself in passionate verse at the beginning of the last century. The new score is

by Esoterics director Eric Banks. Choreographer Olivier Wevers has been on a fast track since he founded Whim W’him in 2009, creating a series of dances that match technical finesse with emotional connection.

The Esoterics’ commitment to new work also follows that double path. Together, the two should do more than just approach the ecstatic. SANDRA KURTZ Intiman Theatre, whimwhim.org 18–June 16 leavinG ioWa A typical American family road trip is packaged into comedy, perhaps something like the movie Vacation. Taproot Theatre seattle MoDeRn oRchestRa Morton ◆ 19Feldman’s microcosmic Rothko Chapel and other music inspired by paintings. Chapel Performance Space, seattlemodernorchestra.org

19–20 univeRsity stReet faiR Forget about driving anywhere near the U District. Music, crafts, and more. udistrictchamber.org louDon WainWRiGht iii The veteran ◆ 20 singer/songwriter, patriarch of an entire gifted musical clan, draws on a career full of not-quite-hits spanning four decades. The Triple Door

20 seattle youth syMphony Some wags call Verdi’s lavish Requiem his greatest opera.

Benaroya Hall, syso.org 23–25 GainsbouRG, the Man Who loveD WoMen A new docudrama celebrates the late pop-music icon and emblem of general French dissipation. Northwest Film Forum paul kRuGMan The Nobel-winning econo◆ 24 mist and New York Times columnist looks back on the past year’s political follies—and will likely take a few shots at Republicans. Buy your tickets early.

Town Hall

coluM Mccann Seattle Arts & Lectures ◆ 24 presents the National Book Award–winning author of Let the Great World Spin , which reaches back from 9/11 to Philippe Petit’s audacious 1974 tightrope walk between the Twin Towers. Benaroya Hall

25 fouR6 Music by John Cage for a quartet led by avant-pioneers William O. Smith and Stuart Dempster, both of whom have histories with the composer.

Chapel Performance Space

17–June 30 Daniel caRRillo The Seattle ◆ photographer defies digital, making portraits using

wet-plate collodion photography and a huge 1939 view camera. Greg Kucera Gallery

25–28 noRthWest folklife The drum circles, epic beards, kilts, and Tevas. The smell of patchouli oil that marks the official beginning of summer. Plus plenty of family-friendly activities and food. Just remember to put a bandanna on your dog. Seattle Center, nwfolklife.org

18 Jack QuaRtet This avant-quartet’s weeklong residency culminates in a concert of music by UW faculty composers. Jones Playhouse, music. washington.edu.

25–28 sasQuatch! Jack White, Beck, and Bon Iver top the headliners at this annual four-day festival at the Gorge that’s more defined by its fans than its bands.

Tickets are going fast. sasquatchfestival.com E

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Around the Bend And over the edge Seattle CeramiCS

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Patricia Warashina. Serious Business. 1973. Henry Art Gallery, purchased with funds from Evelyn Howie, PONCHO and the National Endowment for the Arts, 77.44

Live On Stage!

© Disney

PLAYING NEXT WEEK!

FEBRUARY 21-26 • THE PARAMOUNT THEATRE 877-STG-4TIX • STGPresents.org Tickets available through Tickets.com and select Ticketmaster Locations ®

©

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© Disney

NETworks presents

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the»weekly»wire wed/2/15 BOOKS

Profit in Pink

“Girl power” has never looked more different and . . . well, more pink than it does today.

Building on her much-discussed 2006 New York Times essay, Peggy Orenstein examines the phenomenon of starter makeup and Disney Princesses in Cinderella Ate My Daughter: Dispatches From the Front Lines of the New Girlie-Girl Culture (Harper, $25.99).

Schumer invites you to sit close, then she pounces.

Journeying from Toys “R” Us to Club Libby Lu, she also charts the evolution of first-, second-, and third-wave feminism. While following the transition from play-clothing pastels to sexualized hot pinks (with designer labels), Orenstein finds a world defined by consumerism. This leads to a dilemma: In rejecting Princess dolls, is a mother rejecting the idea that “It’s OK to be a girl?” Either way, to women whose own mothers fought sexism and broke glass ceilings, this retro obsession with the ultra-feminine induces a cringe. You don’t need to be a parent to appreciate Orenstein’s frank admissions and often startling discoveries. Did you know there are 25,000 different Disney Princess products in existence today? Or that the line is a $4 billion annual business? Barbie was just a toy, but pink is an industry. Town Hall, 1119 Eighth Ave., 652-4255, townhallseattle.org. $5. 7:30 p.m.

sun/2/19 COMEDY

Funny by Either Name

JEVA LANGE

DESIGN

thurs/2/16 COMEDY

Racy Humor

Comedy shouldn’t bother with barriers, and New York comedienne Amy Schumer certainly doesn’t hold much back. At Bumbershoot last year, she shoved her microphone in my boyfriend’s face and asked him, “What’s your least favorite race?” (He was rendered speechless; I would’ve said “the marathon.”) After appearing on NBC’s Last Comic Standing, Schumer made television history of sorts by becoming the first woman to perform stand-up on the Jimmy Fallon and Ellen DeGeneres shows. She’s also played guest parts on 30 Rock and Curb Your

FILM

Cross-Purposes

In premise, plotting, and style, Alison Bagnall’s The Dish and the Spoon would seem like just another mumble-stumble down micro-indie lane. Averting makeup and employment, boho goddess Greta Gerwig tentatively inhabits a

» CONTINUED ON PAGE 32

KABOOM! AND NOTHINGNESS

Taken from a novel that Hitch himself wanted to adapt, Henri-Georges Clouzot’s The Wages of Fear was the Euro smash of 1953. Set in an unidentified country that suggests Venezuela, the godforsaken pueblo of Las Piedras is an ugly, buzzardridden dump populated by beggars, urchins, and cynical soldiers of fortune who amuse themselves with spitting contests in a sleazy cantina. The town is totally controlled by an American petroleum conglomerate, but the reigning prince is the layabout Mario (Yves Montand, with carefully knotted bandanna and a cigarette wedged in the corner of his mouth).

Mario and three others are hired to drive two truckloads of nitroglycerin across 300 miles of winding, mountainous, badly paved roads. This suicidal drive is the ultimate test of macho, and Mario is scared that he won’t measure up—every bump in the road a potential conflagration. What sets The Wages of Fear apart is its outrageous premise and the full-blown delirium of its pop existentialism. No movie before Shoah is more immersed in questions of being and nothingness—or more literal-minded. Reveling in the pure angst of its basic situation, featuring characters who can be vaporized at any moment, the film dramatizes every major

Wages propelled Montand beyond his pretty-boy singing career.

existential trope. The Wages of Fear is no less a representation of nuclear anxiety than Godzilla or On the Beach. (Through Thurs.) SIFF Film Center, 305 Harrison St. (Seattle Center), 324-9996, siff.net. $5–$10.

Call for showtimes. J. HOBERMAN

Seat tle weekly • Febru ary 15–21, 2012

pleases the eye, and helps navigate our way toward meaning. Kane Hall (University of Washington campus), 543-2280, henryart.org.

Free. 7 p.m. BRIAN MILLER

Is it Jeff or Jeffrey? In his regular celebrity roasts on Comedy Central, we’ve known the comic as Jeffrey Ross. But if he prefers the shorter, punchier iteration for his Jeff Ross Roasts America tour, who are we to argue?

He’s funny by either moniker, especially when trashing figures like Donald Trump and Charlie Sheen. And lately Ross has been expanding his humor to topics as much as people—not a bad idea, since you can only climb so far down the celebrity ladder until you run out of rungs. (Sample, while roasting David Hasselhoff: “What are the odds an alcoholic gets cast in a show about a car that drives itself?”) In fact, to demonstrate his new political engagement, Ross visited the Occupy L.A. protesters last fall to roast Wall Street.

“I’ve never been in the 99th percentile of anything,” he marveled at the motley throng.

“Is this a protest or a Phish concert?” And though he praised the cause and claimed solidarity with its free-speech rights (because, he noted, “I talk shit for a living”), he couldn’t resist tweaking his audience a little bit. “As a Jew,” he said, “it’s particularly hard for me not to side with the banks.” The Neptune, 1303 N.E. 45th St., 877-784-4849, stgpresents.org. $26. 7:30 p.m. BRIAN MILLER

*

FRI: FILM

CRITERION COLLECTION

Look very carefully, and you may be able to discern that this sentence is printed in a traditional Roman font called Alternative HTF2, 8.75 points in size. The headline immediately above unexpectedly shifts to a larger, 18-point, sans-serif Antenna Condensed Bold.

The abbreviated day (wed) reverts to a chunky 26-point Roman font (Salvo Serif Black), but with a sassy lower-case twist, in the same font family as the large “Weekly Wire” banner head up top. All of which Jean François Porchez could discern at a glance, since he’s (honorary) president of the Association Typographique Internationale. He’s designed clear, easy-toread signage for the Paris Métro, the fonts for Le Monde, and custom typefaces for Beyoncé (she can afford him; we can’t). In a curious corollary to our information age, with so many screens and portable devices to read, lettering has never been more prevalent or diverse. As office workers, it seems, all we do is read. This places a unique burden on Porchez and his peers: They must somehow make all that clutter clear, render all the stories and tweets and texts and ads more cleanly amid the constantly expanding flow of verbiage. We all know what it’s like to be lost inside a bad website or subway station, where your path to value is impeded and misdirected. Porchez will speak tonight about how good design leads the eye,

NATALIE BRASINGTON

Letter-Perfect

Enthusiasm. Schumer recently tweeted, “The hardest part about being a female comedian is being asked if it’s hard.” She finds an admirable balance between being feminine and funny: She recently posed for Cosmopolitan wrapped in a bedsheet with smudgy mascara and bed head, but the image was for her article “How to Win a Guy Over— How to Get Laid.” Her advice included tips like “Let him know that you don’t swallow because of your nut allergy.”

More recently, at a Comedy Central roast for Charlie Sheen, she deadpanned, “Banging you is on my bucket list. That’s a list of guys I would bang if they agree to wear a bucket over their head.” (Through Sat.) The Parlor Collection, 700 Bellevue Way N.E., Bellevue, 425-289-7000, parlorlive.com. $15–$25. 7:30 p.m. ERIN K. THOMPSON

31

theweeklywire

AROYA HALL EN B AT m p 0 :3 7 t ,a 6 h c r a M , Tuesday

The American Beauty Project Ollabelle Jim Lauderdale vocals & guitar

Catherine Russell DAVID MANSFIELD

BOOKS

guitar, mandolin & violin

An all-star lineup of performers brings new life to the music of the Grateful Dead, in a concert celebrating two of the band’s groundbreaking albums — Workingman’s Dead and American Beauty.

Seattle weekly • February 15–21, 2012

beach house off-season, while the camera, as well as the action it records, has that telltale unsteadiness. But things turn less predictable when a pretty wee English teen (Olly Alexander) shows up and quietly falls for Gerwig’s Rose, pushing the film’s ambiguities away from affect and into inherently sketchy truths. Distraught over her unfaithful husband, Rose is first seen driving to the Delaware coast in her pajamas. Boozily scooping up a shivering hipster boy on the beach, she decamps to her parents’ vacation house and plots revenge on her husband’s yoga-instructor paramour.

Dressing boorish Gerwig in baggy outerwear and dainty Alexander in Wes Anderson– worthy undersized sweaters and high-waters, Bagnall marvelously exploits both Gerwig and Alexander’s gender dexterity. A scene of actual drag literalizes things, but for a purpose: It reveals the cruelty in Rose’s slumming roleplay and the unrequited desire behind the little boy’s mascara. Bagnall will attend the screenings. (The film plays as part of the American.

Film. Week. series, with six other features running Fri.–Thurs.) Northwest Film Forum, 1515 12th Ave., 267-5380, nwfilmforum.org. $6–$9 (individual), $40–$60 (series). 8 p.m. ERIC HYNES

tues/2/21

vocals

32

The Weekly Wire » FROM PAGE 31

Performance includes an introduction and post-concert Q&A with official Grateful Dead archivist, David Lemieux.

Performance does not include the Seattle Symphony ...or the Grateful Dead.

TICKETS FROM:

$35

2 0 6 . 2 1 5 . 4 74 7

SEATTLESYMPHONY.ORG

Way, Way Outside the Key

It’s a rite of passage for the male journalistic elite to write at length about sports (see: Remnick, David). Add to the ledger Brave Dragons: A Chinese Basketball Team, an American Coach, and Two Cultures Clashing

(Knopf, $26.95), in which New York Times Pulitzer winner Jim Yardley follows Shanxi’s struggling CBA squad for the entire 2008–09 season. At the center of Yardley’s story is one Bob Weiss, who both played for and coached the dearly departed Seattle SuperSonics. (He’s also expected at tonight’s event.) Shanxi is a small market trying to compete against titans like the Shanghai Sharks (owned by recently retired NBA star Yao Ming) and the Beijing Ducks, where Stephon Marbury has found unlikely redemption. Yardley explains how most squads are limited to two American players, some paid more than $2 million per season, none speaking Mandarin, and all living separately from their teammates in luxury hotels.

Yet since NBA games were first broadcast in China, making Michael Jordan an idol in that country, the sport’s popularity has soared. We also learn that it has a 100-year history in China, since American missionaries brought it with them. And another fun fact: Yardley’s brother, Bill, is the NYT’s Seattle bureau chief. So if Brave Dragons is to resonate anywhere outside China, it should here. And if we ever get our Sonics back, in a new SoDo facility, maybe there will be a Chinese player good enough to be drafted to the squad. Seattle Central Library, 1000 Fourth Ave., 386-4636, spl.org. Free. 7 p.m. MIKE SEELY

BEFORE PICASSO...

BEFORE MATISSE...

PreSidentS week SPecial!

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

oPen late until 9Pm MoNdAy 20–thurSdAy 23 FeB $3 off after 5Pm Visit 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 • F EBRU A RY 15–21, 2012

GauGuin PolyneSia

33

GauGuin & arts»Opening Nights P I Am My Own Wife

SEATTLE REPERTORY THEATRE, 155 MERCER ST. (SEATTLE CENTER), SEATTLEREP.ORG. $12– $59.

RUNS WED.–SUN. ENDS MARCH 4.

The phrase “a clear choice” becomes a public mantra every election cycle, because politicians understand that America likes its alternatives writ large—faithful versus godless, blue versus red, or the one-percenters pitted against us wage slaves.

That’s the one element missing from I Am My Own Wife, and that is its masterstroke. The transvestite at the show’s nucleus—who somehow survived both Hitler’s Third Reich and the postwar purges of East Germany—makes an imperfect icon, and this finely etched character won playwright Doug Wright a slew of awards in 2004 (including the first Pulitzer accorded a one-man show). His muse is a study in contradictions, a real person born as Lothar Berfelde in 1928 and reborn as Charlotte von Mahlsdorf. (She died 10 years ago.)

Wright’s text calls for only one actor, but one who can grapple with nearly 40 roles of varying nationalities, genders, and dialects. In a real way, I Am My Own Wife

and challenges us to make up our own minds about her.

Garrison—who has played both the emcee in Cabaret and the Hedwig of Angry Inch fame—is ideally suited to the tasks before him.

His men are manly, his women range from frail and fragile to butch, and his gay guys are cerebral and sensitive. Director Jerry Manning deftly guides his star through Jennifer Zeyl’s minimalist set, but leaves it to the actor to provide a constellation of emotions and gestures and a truly elastic set of vocal cords. As flawed as Charlotte may be, Garrison’s performance is flawless and triumphant. KEVIN PHINNEY

Oklahoma!

5TH AVENUE THEATRE, 1308 FIFTH AVE., 625-1900, 5THAVENUE.ORG. $29– $119.

RUNS TUES.–SUN. ENDS MARCH 4.

Three major flaws in the 5th’s otherwise vigorous production of the Rodgers and Hammerstein classic: 1) Many cast members do a terrible job Juan Enriquez with their accents: just generic Southern hick, sometimes so absurdly twangy as As the Future Catches You to get in the way of intelligibility, at best The Impact of Genetic, Digital and Knowledge Innovations condescending, at worst offensive.

Co-founder of Synthetic Genomics, a company developing breakAs a Texas-raised friend observed, through genomic-driven solutions for major global issues. Guest I Am My Own Wife: “Where did they get the idea people Garrison’s heroine curator from the 2011 TED conference. in Oklahoma talk like that?” plays back an 2) Do you recall the scene in Kane Hall, Room 130 at 6:30pm unreliable history.

The Birdcage where Robin Williams does rapid-fire parodies of choreographers’ signature moves? “An eclectic celebration of the dance! Fosse Fosse Fosse! Martha Graham, Martha Graham, Martha Graham . . . ” A similar three-second sendup of Donald Byrd’s Oklahoma! choreography would be a sort of spasmodic groin thrust, like a Jack Russell terrier in the throes of passion, which he asks the male dancers to do more than once. Inexplicably awful moments like this stood out among much lovely dance work, fluently performed by members of Byrd’s Spectrum Dance Theater.

3) Much is made in this production of the presence of African-American is a detective story, as both audience and actors in the cast, particularly Kyle Scatliffe playwright—Wright is also a character, since as the heavy, Jud. It’s left ambiguous, though, he interviewed Charlotte to research the whether we’re therefore supposed to read play—are seeking to uncover who she might Jud as a black character. If so, it raises serious really be and how much she says is actually plausibility issues—obviously it would have Chris Lintott true. Wright readily admits that Charlotte been unthinkable for a black Jud to be allowed What to do With 500,000 Scientists confounded him in their interviews, where to squire a white Laurey to a box social in OklaA researcher at the University of Oxford, where he is also a Junior he slowly won her confidence, and we experi- homa in 1907. And if not, so what? Color-blind Research Fellow at New College, focuses on the nature of star forence each discovery much the way he did. casting’s been routine in opera for decades, and mation in galaxies beyond the Milky Way. He is passionately comBeyond dispute is that Charlotte (played nobody makes a virtue of it. Funny to think the with delicate precision by Nick Garrison) mitted to promoting the public understanding of science, being best musical-comedy world has some catching up to began cross-dressing under the Nazis, do as regards progressive attitudes. known as co-presenter of the BBC’s long-running Sky at Night series, continued under the Commies, and never That said, Scatliffe is fantastic—a mite overand as co-author of Bang!: The complete history of the Universe. surrendered her identity. But Charlotte did pay heated, maybe, but what a stage presence—and a price for her not-so-rugged individualism— Kane Hall, Room 130 at 6:30pm the strongest vocally among some excellent singand so apparently did the close friends whom ers. Eric Ankrim and Alexandra Zorn, as Curly she betrayed to the Stasi to survive (recall and Laurey, sound charming together, though 6:30 P.M., HALL 130, UW SEATTLE All lectures are freeKANE and open to the public. the 2006 movie The Lives of Others). She’s it took a while to warm to this Curly. (Ankrim | SEATING FREEonline, IS LIMITED IS REQUIRED Register beginning March |7,REGISTRATION 2012, admirable and yet she’s not. A passionate isn’t shy about playing him much younger and collector of antiques, Charlotte could well slightly more abrasive than usual.) And the to guarantee your seat: be one of the damaged curios she speaks of chorus’ sonic grandeur in the title anthem, since www.grad.washington.edu/lectures with such reverence—an artifact of blurred the show’s 1943 premiere one of the genre’s most OR BY CALLING 206-543-0540 206-543-0540 provenance and much moral ambiguity. thrilling, was a genuine goosebump/tear-up Wright allows every one of her tics to moment. GAVIN BORCHERT E As a courtesy, stand by seating will be offered on the day of the events. annoy and fascinate us, as they did him, stage@seattleweekly.com

April 11, 2012

DR. GRO HARLEM BRUNDTLAND

FORMER PRIME MINISTER OF NORWAY FORMER DIRECTOR GENERAL, WORLD HEALTH ORGANIZATION

Seattle weekly • F E BRU A RY 15–21, 2012

CHRIS BENNION

Our Common Future Sustainable Developmen in a Deteriorating Worl

34

April 17, 2012

Join acclaimed global health advocate Gro Harlem Brundtland as speaks about encouraging sustainable development and increasin environmental awareness. Dr. Brundtland is UN Special Envoy on Climate Change and is also a member of The Elders, an independ group of global leaders brought together by Nelson Mandela to h tackle the world’s toughest problems.

REGISTER ONLINE AT UWALUM.COM

9.27.11

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By George Bernard Shaw | Directed by Jeff Steitzer

A barbed comedy

Low-Priced Preview Feb. 23 Feb. 23–Mar. 11, 2012

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Seat tle weekly • F EBRU A RY 15–21, 2012

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35

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Seattle weekly • F E BRU A RY 15–21, 2012

feb 3- Mar 4, 2012

Oklahoma! soars in this glorious all-new production. An unrivaled score and exhilarating dance from Spectrum Dance Theater tell the story of true love in a land where possibilities are as big as a dreamer can dream them.

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36 Seattle weekly.indd 1

2/6/12 11:22 AM

arts»Performance

BY GAVIN BORCHERT

Stage OPENINGS & EVENTS

BEAUTY AND THE BEAST Based on the film that revital-

ized Disney’s animation legacy. Paramount Theatre, 911 Pine St., 877-STG-4TIX, stgpresents.org. $25 and up.

7:30 p.m. Tues., Feb. 21–Thurs., Feb. 23; 8 p.m. Fri., Feb. 24; 2 & 8 p.m. Sat., Feb. 25; 1 & 6:30 p.m. Sun., Feb. 26.

PORK FILLED PLAYERS This comedy revue celebrates the new Year of the Dragon. Theater Off Jackson, 409 Seventh Ave. S., 800-838-3006, porkfilled.com. $10.

7:30 p.m. Wed., Feb. 15.

JEFFREY ROSS SEE THE WIRE, PAGE 31.

AMY SCHUMER SEE THE WIRE, PAGE 31.

•

SEATTLE FESTIVAL OF IMPROV THEATER Wing-It

Productions hosts 27 troupes for five nights of shows. See seattleimprov.com for complete schedule and venue info. $15–$18 (pass $50).

8 p.m. Wed., Feb. 15–Fri., Feb. 17; 8 & 10:30 p.m. Sat., Feb. 18–Sun., Feb. 19.

WEB Brendan Mack’s dark T H I S CO D E drama reimagines characters TO DOWNLOAD THE FREE from Charlotte’s Web into SEATTLE WEEKLY a tale inspired by Susan IPHONE/ANDROID APP Smith’s 1995 child-murder FOR MORE EVENTS OR VISIT trial. Freehold Theatre, 2222 seattleweekly.com Second Ave., Suite 200, 800838-3006, seattlestageright. org. $15. Opens Feb. 17. 8 p.m. Fri.–Sat. (except March 3). Ends March 10.

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

Opens Feb. 17. 8 p.m. Thurs.–Sat., plus 4 p.m. Sun., Feb. 26 & March 4. Ends March 10.

SCAN

CURRENT RUNS

THE BELLS Theresa Rebeck’s 2005 ghost-haunted mystery

•

ROSENCRANTZ AND GUILDENSTERN ARE DEAD

Tom Stoppard’s witty 1966 comedy centers on two minor players in Hamlet, rendering Shakespeare’s tragedy from their limited, rather dim-witted perspective. Director

Send events to stage@seattleweekly.com, dance@seattleweekly.com, or classical@seattleweekly.com = Recommended

•

Dance

CORNISH BFA DANCE CONCERTS Choreography

and performance by a few dozen Cornish students and by guest artists. Broadway Performance Hall, 1625 Broadway. Free, but reserve tickets at cornish.edu. Opens Feb. 16. 8 p.m. Thurs.–Fri., 2 & 8 p.m. Sat. Ends 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. 18 & 25.

POETRY + MOTION We know poems can be set to music; they can be set to dance, too, in this bi-genre performance. Town Hall, 1119 Eighth Ave., 800-838-3006, myworld-df.com. $20–$25. 6:30 p.m. Sun., Feb. 19.

12 MINUTES MAX A mostly-dance showcase, curated

by Allie Hankins and Aaron Grady-Brown. On the Boards, 100 W. Roy St., 217-9886, ontheboards.org. $8. 7 p.m. Sun., Feb. 19–Mon., Feb. 20.

Classical, Etc.

Savion Glover’s SoLe Sanctuary West Coast Premiere!

• RITZ CHAMBER PLAYERS This mixed ensemble pre-

mieres a work by James Lee III, plus Beethoven, Dvorak, and more. Meany Hall, UW campus, 543-4880, uwworld series.org. $20–$34. 8 p.m. Wed., Feb. 15.

SEATTLE SYMPHONY Luciano Berio’s Rendering takes an unfinished Schubert fragment and spins it off into his own time-traveling fantasy world. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17–$110.

7:30 p.m. Thurs., Feb. 16, 8 p.m. Sat., Feb. 18.

UW OPERA Albert Herring, Britten’s comedy about a May festival in an English village. Meany Studio Theater, UW campus, 543-4880, music.washington.edu. $10–$15.

7:30 p.m. Thurs., Feb. 16–Sat., Feb. 18; 2 p.m. Sun., Feb. 19.

JOSEPH ADAM St. James’ resident organist plays Bach, Widor, and more. St. James Cathedral, 804 Ninth Ave., 382-4874, stjames-cathedral.org. $15. 8 p.m. Fri., Feb. 17.

LAKE UNION CIVIC ORCHESTRA Christophe Chagnard conducts his own Opre Roma! for gypsy jazz guitars and tabla. Town Hall, 1119 Eighth Ave., 343-LUCO, luco.org. $10–$15. 7:30 p.m. Fri., Feb. 17.

BYRD ENSEMBLE Choral music by Part, Peter Hallock, and director Markdavin Obenza. With aerialist Naomi Hummel. (!) Youngstown Cultural Arts Center, 4408 Delridge Way S.W., 397-3627, byrdensemble.com. $20–$25. 7:30 p.m. Sat., Feb. 18.

AUBURN SYMPHONY Craig Sheppard plays Liszt’s Piano Concerto no. 2. Auburn Performing Arts Center, 700 E. Main St., Auburn, 253-887-7777, auburnsymphony.org. $10–$34. 7:30 p.m. Sat., Feb. 18, 2:30 p.m. Sun., Feb. 19.

CYNDIA SIEDEN A recital from this high-flying soprano, with Stephen Stubbs and Maxine Eilander on guitar and harp. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 8 p.m. Sat., Feb. 18.

JULIA FISCHER With pianist Milana Chernyavska, this acclaimed violinist plays Debussy, Schubert, and more. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $17–$110. 7:30 p.m. Mon., Feb. 20.

UW PERCUSSION ENSEMBLE John Cage’s 1939 First Construction in Metal—written in Seattle, btw—to celebrate his centennial. Meany Hall, UW campus, 543-4880, music.washington.edu. $10–$15. 7:30 p.m. Tues., Feb. 21.

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Seat tle weekly • Febru ary 15–21, 2012

is set on the bleak Alaskan frontier toward the end of the Gold Rush. There, Mathias (Peter Crook) and his daughter (Brenda Joyner) maintain an inn. With the arrival of a bounty hunter (Patrick Allcorn), past misdeeds are dredged up. Although Rebeck’s dialogue can be overdrawn and sentimental and her characters unsympathetic archetypes, the talented cast brings intensity to this hermetic examination of guilt, sacrifice, and personal demons. IRFAN SHARIFF Strawberry Theatre Workshop, 1524 Harvard Ave., 800-838-3006, strawshop.org. $30 ($15 on Thurs.) 8 p.m. Thurs.–Sat. Ends Feb. 18.

COCKTAILS AT THE CENTRE OF THE EARTH Set in four different bar scenes (on a giant zeppelin, at the bottom of the ocean, near the Earth’s core, etc.), Simon Astor’s shoestring extravaganza is equal parts musical travelogue and whimsical farce, drawing on a pre-World War II world of dime novels, movie serials, and sci-fi comics. By the end, we’ve met a robot, a fox who speaks in an odd convolution of poetry and English, and a feisty lesbian aviatrix who zooms around by jetpack. It’s too much of a good thing, all mirth and mayhem, even if you’re a fan of such fancy. KEVIN PHINNEY Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$15. 8 p.m. Thurs.–Sat. Ends Feb. 25.

CRADLE AND ALL Daniel Goldfarb’s cautionary tale is anchored by the captivating Alyson Bedford. In Act 1, she’s Claire, a 41-year-old actress trying to convince her younger boyfriend Luke (Matthew Middleton) to have a baby with her. Act 2 takes us to the neighboring apartment of Nate and Anna—also Middleton and Bedford, now transformed into haggard, dorky baby-slaves. With sheer vigor and commitment, the two actors somehow manage to make the play’s potentially irritating beforeand-after premise enjoyable. MARGARET FRIEDMAN Theater Schmeater, 1500 Summit Ave., 800-838-3006, schmeater.org. $15–$23. 8 p.m. Thurs.–Sat. Ends Feb. 18.

I AM MY OWN WIFE SEE REVIEW, PAGE 34.

OKLAHOMA! SEE REVIEW, PAGE 34.

Shana Bestock’s twist is to cast Rosencrantz and Guildenstern as women, the charming Angela DiMarco and Alyssa Keene. Stoppard’s writing can seem overly cerebral and too familiar, but the players plunge themselves into an engaging and thought-provoking revival.

IRFAN SHARIFF Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300, seattlepublic theater.org. 7:30 p.m. Thurs.–Sat., 2 p.m. Sun. Ends Feb. 19.

TARTUFFE If you find yourself longing for over-the-top characters who joke in rhyming couplets, then Tartuffe will be your cup of tea. If you find Molière’s plots dull and his style grating, you know what to expect. Directed

by Karen Lund, Taproot’s Tartuffe won’t impress the latter group but should satisfy the former. The story is simple: A patriarch, Orgon (Don Brady), is infatuated with the outwardly pious Tartuffe (Frank Lawler)—so much so that he offers Tartuffe his daughter’s hand in marriage.

Everyone else thinks this is a terrible idea, because a) his daughter (Charissa Adams) is in love with someone else, and b) Tartuffe is a creepy old man trying to seduce Orgon’s wife (Jesse Notehelfer). Persuading Orgon to change his mind is more challenging than it ought to be, and a little bit of hilarity ensues. The acting is uniformly big and broad and occasionally elicits laughter. As for the 350-year-old French satire’s deeper meaning, it isn’t far from the surface. Molière’s criticism of self-righteous religious hypocrisy is as relevant today as it ever was.

BRENT ARONOWITZ Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $22–$37. 7:30 p.m. Wed.– Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends March 3.

For many more Current Runs, see seattleweekly.com.

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SUNDAY, FEBRUARY 26, 2012 SEATTLE CENTER EXHIBITION HALL seattlewineandfoodexperience.com

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LUCKY GREENHOUSE AND LIGHT

By Angus MacLachlan (writer of Junebug), winner of the 2012 ACT New Play Award Directed by Anita Montgomery A quirkily humorous look at the big existential questions of loss, impermanence, and the notion of home.

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Mainstage Tickets on Sale Feb 14

Purchase tickets in person and take home a coupon* for a free Trophy Cupcake. *While supplies last.

Short Stories Live: Cat Tales March 4

Seattle weekly • February 15–21, 2012

Join us at Town Hall for short stories about the sometimes unsettling relationships between people and cats.

38

First Date: A New Musical March 10 – May 20

A Co-production with the 5th Avenue Theatre

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

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

A Very Special Acoustic Performance by

RICHARD

MARX

Saturday, February 25 Show 8 pm Grammy Award-nominated Richard Marx will be bringing his #1 songs including “Right Here Waiting For You” to Bremer ton.

at Bremerton’s

ADMIRAL THEATRE

TICKETS www.admiraltheatre.org 360.373.6743

515 Pacific Ave = Bremerton

arts»Visual Arts

BY KAT CHOW

Openings & Events ABSTRACT OPEN JURIED SHOW A statewide juried

art exhibition showcases local work. Note awards ceremony and reception 5–8 p.m. Thurs., Feb. 16.

Seattle Design Center, 5701 Sixth Ave. S., 762-1200, seattledesigncenter.com. Mon.–Fri., 9 a.m.–5 p.m.

Through Feb. 24.

BELLTOWN ART WALK Every third Thursday of the month, neighborhood galleries (including Roq La Rue and others) and non-galleries (Yellow Leaf Cupcakes, Whiskey Bar, Pintxo, etc.) extend their hours so you can check out work by local artists. bedlamite.com/ bawm. 6 p.m. Thurs., Feb. 16.

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! Note opening reception 6–8:30 p.m. Fri., Feb. 17.

Kirkland Arts Center, 620 Market St., 425-822-7161, kirklandartscenter.org. Opens Feb. 17. Mon.–Fri., 11 a.m.–6 p.m.; Sat., 11 a.m.–5 p.m. Through March 22.

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

group show features the photographs by Jane Fulton Alt, Mark Lyon, and others. Note opening reception with the artists, 6–8 p.m. Sat., Feb. 18. Photographic Center Northwest, 900 12th Ave., 720-7222, pcnw.org. Opens Feb. 18. Fri.–Sat., noon–8 p.m.; Mon.–Thurs., 11 a.m.–10 p.m.

Through Feb. 23.

SUE DANIELSON The Truth of What I See collects her new acrylic paintings. Note artist talk, 1 p.m. Sat., Feb. 18. Core Gallery, 117 Prefontaine Place S. (Tashiro Kaplan Building), 467-4444, coregallery.org. Wed.–Sat., noon–6 p.m. Through Feb. 25.

DEVOURING TIME DEVOURING TIME This group show, with a focus on “the end” (since the gallery closes this year), features the work of Kutlug Ataman, Kara Tanaka, and others. Western Bridge, 3412 Fourth Ave. S., 838-7444, westernbridge.org. Opens Feb. 17.

Thurs.–Sat., noon–6 p.m. Through April 7.

JON GIERLICH Currents represents the late Cornish design professor. Note opening reception 5–8 p.m.

Tues., Feb. 21. Cornish College, Main Campus Center, 1000 Lenora St., 726-5069, cornish.edu. Opens Feb. 21.

Mon.–Fri., noon–5 p.m. Through March 21.

UW FACULTY EXHIBITION Featuring the ceramic, glass, and mixed-media sculptures of five UW faculty members, including Doug Jeck, Amie Laird McNeel, and others.

Note opening reception 5–8 p.m. Thurs., Feb. 16. William Traver Gallery, 110 Union St., 587-6501, travergallery.com.

Opens Feb. 16. Tues.–Fri., 10 a.m.–6 p.m.; Sat., 10 a.m.– 5 p.m.; Sun., noon–5 p.m. Through April 1.

Ongoing

• AROUND THE BEND AND OVER THE EDGE

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

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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.

CARINA A. DEL ROSARIO Balik/Ibalik presents del Rosario’s new photographs of her homeland, the Philippines, taken after a 22-year absence from that country. Call for ongoing gallery hours. IDEA Odyssey Gallery, 666 S. Jackson St., ideaodysseygallery. blogspot.com. Through March 31.

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.

• FUNNY VALENTINES: A TRIBUTE TO JACK DAVIS

Peter Bagge, Art Chantry, Charles Krafft, Pat Moriarity, Josh Agle (aka SHAG), Jim Woodring, and other artists show work influenced by Davis, a veteran of both MAD magazine and EC Comics. (His original work is also on view.) The exhibit is inspired by Davis’ “Funny Valentines” series, created during 1959 and 1963 for the Topps trading card company. Fantagraphics has just published Jack Davis: Drawing American Pop Culture, with some signed copies for sale.

Fantagraphics Bookstore & Gallery, 1201 S. Vale St., 658-0110, fantagraphics.com. Mon.–Fri., 9 a.m.– 5 p.m. Through March 7.

THEASTER GATES In The Listening Room, the Chicago artist has rearchived the albums from a defunct R&B record store as a kind of tribute to the Civil Rights era.

Flag-like arrangements of flattened fire hoses cover the walls, and he’s set up a DJ’s console on an old church altar, too. Visitors are encouraged to browse through another trove of old vinyl on the floor, where turntables also invite your use. Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org. $12–$15. Thurs.– Fri., 10 a.m.–9 p.m.; Wed., Sat., Sun., 10 a.m.–5 p.m.

Through July 1.

GAUGUIN & POLYNESIA Subtitled “An Elusive Paradise,” SAM’s big spring show showcases 60 paintings, sculptures, and works on paper. (Also note free talk with SAM curator Pam McLusky at Seattle Central Library Feb. 22.). Seattle Art Museum. Through April 22.

LISA GEERTSEN Perfect for Valentine’s Day, Show of Heart offers a variety of iterations of that organ, rendered in metal and other materials. Pratt Gallery at Tashiro Kaplan Studios, 312 S. Washington St., Ste. 1A, 328-2200, pratt.org. Wed.–Sat., noon–5 p.m. Through Feb. 25.

GIRLS GONE WILD Patricia Ariel, Lea Barozzi, and Hera Won are among the dozen-plus female artists represented in this group show. Tasty, 7513 Greenwood Ave. N., 706-3020, shoptastyart.com. 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.

MARY LEE HU The local jeweler presents 90 earrings, rings, brooches, and neckpieces. Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, 425519-0770, bellevuearts.org. $7–$10, Fri., 11 a.m.– 8 p.m.; Tues.–Thurs., Sat., Sun., 11 a.m.–5 p.m.

Through June 17.

LIGHTS, CAMERA, ACTION Featuring photographs taken by students at the Children’s Institute for Learning Differences, which promotes social and academic development for children with special needs.

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.

LOOKING FORWARD—LOOKING BACK Big names included in this 20th-century photography show include Walker Evans, Diane Arbus, Ansel Adams, and Edward Weston. G. Gibson Gallery, 300 S. Washington St. (Tashiro Kaplan Building), 587-4033, ggibsongallery.com.

Wed.–Sat., 11 a.m.–5 p.m. Through Feb. 18.

SEAN MCFARLAND The San Francisco photographer is known for very dark, murky views of the city. Greg Kucera Gallery, 212 Third Ave. S., 624-0770, gregkucera. com. Tues.–Sat., 10:30 a.m.–5:30 p.m. Through Feb. 18.

NORTHWEST BIENNIAL TAM celebrates 30 different artists from the region. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, 253-272-4258, tacomaartmuseum. org. Wed.–Sun., 10 a.m.–5 p.m. Through May 20.

PRETTY, SEXY, DIRTY, GIRLY More than a dozen female artists are featured in this group show, including Crystal Barbre, Cat Davis, and curator Siolo Thompson. Bherd Studios, 8537 Greenwood Ave. N., 234-8348, bherdclothing.com. Through March 2.

Meydenbauer Center, Bellevue

MARCH

24 TH& 25 TH

Sing-a-long to the most successful movie musical of all time.

Tickets: 800-838-3006 Information: 425-450-3810 WWW.BROWNPAPERTICKETS.COM/EVENT/221251

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Second Store Opening 2.15!

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Seat tle weekly • Febru ary 15–21, 2012

Featuring ceramics from Seattle, from 1964 to 1977.

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

AT HOME FROM AMERICA This new exhibition features American prints from the 1930s to 1950s. Tacoma Art Museum, 1701 Pacific Ave., Tacoma, 253-272-4258, tacomaartmuseum.org. Wed.–Sat., 10 a.m.–5 p.m.

Through Feb. 26.

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 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.

• KARIN DAVIE & GUY TILLIM The Canadian-born

Sing-a-Long Sound of Music

39

“The PeRfecT daTe mOVie!”

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Rachel McadaMs & channing TaTuM are amazing.”

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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

40

2 col. (4.813") x 11" = 22" seattle weekly

thur 2/16

NEIL DAVIDSON/IFC FILMS

“rOmanTic

Declaration of War RUNS FRI., FEB. 17–THURS., FEB. 23 AT VARSITY. NOT RATED. 100 MINUTES.

The gorgeously scruffy Juliette (director/ co-writer Valérie Donzelli) and Roméo (co-writer Jérémie Elkaïm)—yes, the improbability is noted—move from divebar love at first sight to proud parents of a newborn boy in the first few minutes of Declaration of War. Then their 18-month-old son, Adam, is diagnosed with a brain tumor.

Shot in the actual hospital where Donzelli and Elkaïm’s actual son was treated for cancer, Declaration of War turns autobiography into thrilling expressionist art. In other words, it’s a “true story” that steers clear of aesthetic realism. Always privileging feeling over story, Donzelli answers key narrative questions via anonymous, clinical voice-over and condenses the passing of huge swaths of time into montage. This frees her to explore specific moments in the couple’s struggle to cope with their son’s sickness in microscopic detail, heightening Juliette and Roméo’s moment-by-moment reactions to each ensuing obstacle. Adam’s diagnosis coincides with the 2003 invasion of Iraq, a fact Donzelli mentions outright once but mercifully doesn’t strain to parallel.

Although inherently narcissistic, Declaration of War is more generally about the emotional chaos of a prolonged struggle against an unfathomable threat. With baby Adam’s fate a foregone conclusion (Donzelli and Elkaïm’s real-life son plays “himself” in the first scene, clueing in the audience that both he and his fictional counterpart survive), the film is most successful as an exploration of the incomprehensibility of death in the mind of the living. KARINA LONGWORTH

McGregor’s chef contemplates the end of his vocation (with Bremner behind) in Perfect Sense.

P Perfect Sense

OPENS FRI., FEB. 17 AT SIFF CINEMA AT THE UPTOWN. NOT RATED. 92 MINUTES.

Ewan McGregor previously worked with director David Mackenzie on the 2003 Young Adam, which featured frank sex, frontal male nudity, and a memorable gross-out scene with pouring paint and the trashing of an apartment. Would you be disappointed to know there’s more of the same here? I think not.

Perfect Sense might initially appear a parable— like 2008’s similar, inferior Blindness, in which the world’s population mysteriously loses its sight. That punitive plague was because of our lack of social connection; blindness then brought us closer together, restored community. Here, a Glasgow chef (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—seen at SIFF last year—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. (Bonus: McGregor’s old Trainspotting buddy Ewen Bremner has a comic supporting role.) BRIAN MILLER

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The Secret World of Arrietty OPENS FRI., FEB. 17 AT METRO AND OTHER THEATERS. RATED G. 95 MINUTES.

Thin Ice OPENS FRI., FEB. 17 AT SEVEN GABLES. RATED R. 93 MINUTES.

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OPENS FRI., FEB. 17 AT METRO AND OTHER THEATERS. RATED PG-13. 95 MINUTES.

Hostilities in This Means War are declared as two workmates compete for the affection of the same woman. The contested objective is Lauren (Reese Witherspoon), a product tester who decides to apply comparative-shopping techniques to dating. Her would-be beaus, FDR (Chris Pine) and Tuck (Tom Hardy), are best friends who sit across from each other at work. The hook is that their desks are in the

A TALE WITH TWISTS

“

WORTHY OF HITCHCOCK AND DIALOGUE WORTHY OF THE COEN BROTHERS.” -David D’Arcy, SCREEN DAILY

“ Meant for each other?

Pine and Witherspoon in This Means War.

slate-colored guts of the CIA’s Los Angeles field office—and that the boys will put the agency’s entire arsenal to work in their pursuit. Aside from the high-concept novelty, This Means War prefers to keep things as familiar as possible.

By the time the line “Was this some kind of bet?” arrives, it’s clear that this is timetable script writing, plain and simple. The familiarity of the material extends to Lauren’s decision between the well-oiled ladies’ man (FDR) and the solid, dependable type (Tuck). Quite recently, Witherspoon was looking at the same choice in How Do You Know. But where James L. Brooks’ great, humane film searched out emotional individuality within Owen Wilson and Paul Rudd’s bad-boy/nice-guy archetypes, War’s temperamentally shallow director, McG, deals strictly in ready-mades. The onetime music-video director has never evolved past trying to make every scene “pop”; consequently, he’s much more comfortable crosscutting between control-room antics and date nights than staying with intimate moments. But such constant, coercive insistence on what a rollicking good time we’re having is inevitably smothering. NICK PINKERTON E

WITTY, INTELLIGENT AND SLY.’’ -Jeffrey Lyons, LYONS DEN RADIO

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Seat tle weekly • Febru ary 15–21, 2012

Working the long con and damn near getting away with it, this kissing cousin to Fargo, Cedar Rapids, and last year’s Win Win makes a surprisingly entertaining and nonderivative February time-passer, its wretched midwinter Wisconsin setting notwithstanding. (Minnesota subs in convincingly.) 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.

Thanks to a helpful but gormless colleague (David Harbour), Mickey foists a policy on seemingly naive 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), and continue to devolve despite—or because of—a sweet claim payoff from the agency home office.

There’s nothing in Thin Ice that hasn’t been done before, and it’s far from eye candy, but director Jill Sprecher gets impressively loose, funny, yet respectful performances from her cast and generally keeps the film moving along. Until it, like Mickey’s plan, crumbles under the weight of its own contrivances, that is; suffice to say that nothing—as the opening

SA s

BLARNEY STONE • ISLAND SOUL ONE-EYED JACK’S ROADHOUSE SOUND ORGANIZING ULI’S FAMOUS SAUSAGE • VENIK

This Means War

KIMBERLEY FRENCH/20TH CENTURY FOX

Although Japanese animation virtuoso Hayao Miyazaki (Spirited Away) serves only on the periphery as co-writer and production supervisor, his soulfulness still radiates through this hand-drawn adaptation of Mary Norton’s ageless kid-lit series The Borrowers, about 4-inch-high humanoids who live beneath the floorboards of those dangerous “human beans.” Fourteen years old and literally knee-high to a kitty cat, inquisitive emblem of purity Arrietty (voiced by Bridgit Mendler) ventures to the idyllic rural home above to forage with her somber father, Pod (Will Arnett, playing against type). Among her pop’s golden rules of “borrowing” is that only necessary items that won’t be missed should be pilfered. Grappling to ledges with a fishhook and string, a grand nighttime kitchen heist—the front-loaded film’s most thrilling sequence—yields one measly sugar cube . . . which Arrietty loses when spooked by the gaze of Shawn (David Henrie), a giant boy with a bum ticker who has been sent to the house for pre-op care. Back in the teenier kitchen, anxiety-prone mom Homily (Amy Poehler) flips out over her daughter’s being spotted by the sickly enemy, who is obviously destined to become Arrietty’s only friend and unspoken first crush.

Perhaps too fittingly small-scale, the story is trouble-free to the point of feeling slight, but the animation is beautiful, as in a scene when Shawn matter-of-factly explains the permanence of death to Arrietty while lying in a field alive with lush watercolors. AARON HILLIS

voice-over telegraphs—is quite what it seems.

Fair enough for off-season, but ending the movie with a protracted, mostly verbal explanation of the ways in which we’ve been duped somewhat erodes the goodwill Thin Ice has built, and accentuates its many improbabilities to boot. MARK HOLCOMB

DINING GIFT CERTIFICATES AND MORE!

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film»

BY BRIAN MILLER

Local Film AMERICAN. FILM. WEEK. SEE THE WIRE, PAGE 31.

BED AND BOARD François Truffaut’s 1970 feature contin-

ues the adventures of Antoine Doinel (Jean-Pierre Léaud), now married and lured into adultery. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $59-$66 series, $8 individual, Opens Feb. 16, Thursdays, 7:30 p.m. Through March 1.

BREAKFAST AT TIFFANY’S A certain kind of classic for a certain kind of viewer. Audrey Hepburn stars in the 1961 adaptation of the Truman Capote novel. And, boy, does she star in Breakfast at Tiffany’s. George Peppard barely registers more than the wallpaper as the kept man/aspiring writer—actually gay in the novel—who hopes to win Holly Golightly’s hand. Mickey Rooney stoops to racist caricature as her Japanese neighbor upstairs, but at least Patricia Neal keeps dignity intact as Peppard’s lusty employer. An Oscar went to the Henry Mancini-Johnny Mercer standard-to-be, “Moon River,” famously written to suit Hepburn’s one-octave singing voice. Call for showtimes. (NR) BRIAN MILLER Central Cinema, $6-$8, Feb. 17-20.

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, Feb. 18-19, noon; 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 (this in the era before online dating). (R) Grand Illusion, $5-$8, Opens Feb. 17, Fridays, Saturdays, 11 p.m. Continues through Feb. 25.

HESHER Spencer Susser’s initially rousing 2011 Hesher introduces an engimatic stranger into a fractured family with equivocally redemptive results. The titular tattooed pyromaniac (Joseph Gordon-Levitt) crashes the grotty L.A. home of Paul Forney (Rainn Wilson) after a tussle with the latter’s bullied teenage son, T.J. (Devin Brochu), and stirs up the grief and resentment simmering there from a recent family tragedy. T.J.’s live-in grandmother (Piper Laurie) and a do-gooder grocery clerk (Natalie Portman) try to shake father and son from their mutual funk, but only the expulsive, potty-mouthed metalhead makes a dent. Hesher finds uncommon sympathy for people at loose ends, and although Hesher himself is sentimentalized and backhandedly inspiring, he never softens into an actual role model. For better or worse, he remains what he is. (R) MARK HOLCOMB SIFF Film Center, $5, Sat., Feb. 18, 9 p.m.

HOT COFFEE Remember that little old lady driver from Albuquerque who sued McDonald’s after spilling its coffee in her lap? The one who, after that 1992 mishap, won millions in a lawsuit? Ridiculous, right? Or maybe not. Susan Saladoff’s HBO documentary reveals how much the public didn’t know about the infamous case.

For instance: 79-year-old Stella Liebeck (now deceased) wasn’t even driving; she was parked and sitting in the passenger seat. Also, ignoring hundreds of previous complaints, McDonald’s was brewing its coffee at a temperature (over 180 degrees!) far above its own standards. And Liebeck sustained serious injuries (horrifying photos are shown), requiring millions of dollars’ worth of surgery and skin grafts. Liebeck v. McDonald’s wasn’t so frivolous as the media made out. Made by a former plaintiff’s attorney, this fascinating film also explores how the Liebeck case prompted a big-business campaign for damage caps and tort reform, which restricts people’s rights to go to court. (NR) ERIN K. THOMPSON Keystone Congregational Church, 5019 Keystone Place N., 632-6021, Free, Fri., Feb. 17, 7 p.m.

ABBAS KIAROSTAMI’S KOKER TRILOGY Nothing, it seems, is black-and-white in Iran, and the ambiguities launch out of the films like bottle rockets. For the newcomer, here’s an to see Kiarostami’s Koker Trilogy over three days: Where Is the Friend’s Home? (1987), And Life Goes On. (1991), and Through the Olive Trees (1994).

Each subsequent film rises from the fictional essence of its predecessor, and yet tangles with an authentic rural Iranian universe; the trilogy constitutes a uniquely profound act of cinema. J. Hoberman calls the films “an exceptional suite of movies that refer both to Iran’s devastating 1991 earthquake and to one another.” (NR) MICHAEL ATKINSON Northwest Film Forum, $6-$9 (individual), $15-$25 (series), Through Feb. 16, 8 p.m.

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Seattle weekly • February 15–21, 2012

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COLUMBIA PICTURES AND HYDE PARK ENTERTAINMENT PRESENT IN ASSOCIATION WITH IMAGENATION ABU DHABI A MARVEL ENTERTAINMENT/CRYSTAL SKY PICTURES/ASHOK AMRITRAJ/MICHAEL DE LUCA/ARAD PRODUCTION “GHOST RIDER™ SPIRIT OF VENGEANCE” CIARÁN HINDS VIOLANTE PLACIDO JOHNNY WHITWORTH MUSIC CHRISTOPHER LAMBERT AND IDRIS ELBABASED BY DAVID SARDY EXECUTIVE PRODUCERS E. BENNETT WALSH DAVID S. GOYER STAN LEE MARK STEVEN JOHNSON ON THE MARVEL COMIC STORY SCREENPLAY

BY DAVID S. GOYER

BY SCOTT M. GIMPLE & SETH HOFFMAN AND DAVID S. GOYER DIRECTED PRODUCED

BY NEVELDINE/TAYLOR

BY STEVEN PAUL ASHOK AMRITRAJ MICHAEL DE LUCA AVI ARAD ARI ARAD

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STARTS FRIDAY, FEbRuARY 17

CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES

SEE IT ON A bIG SCREEN

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

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2 col. (4.813") x 11" = 22" seattle weekly

thur 2/16

MUHAMMAD ALI: THE LONG-LOST MOVIE Apparently

an old documentary or TV show about the boxing great.

(NR) Seattle Art Museum, $8, Fri., Feb. 17, 7:30 p.m.

RUN LOLA RUN True to its title, this 1998 German movie

by Tom Tykwer is a high-octane pulse-pounder driven by style, speed, and a throbbing techno soundtrack. It contains not so much a story as a premise: Lola’s got 20 minutes to come up with 100,000 deutsche marks to save her boyfriend from the local mob boss. Whether or not she makes it is played out in three parallel versions in which Lola’s destiny is completely altered by the difference of a few seconds. While there’s no dramatic weight of a story, Run Lola Run is an exhilarating rush of clever ideas and ingenious sequences—a film that’ll leave you pleasantly exhausted. Movie screens at midnight. (R) SEAN AXMAKER Egyptian, $8.25, Fri., Feb. 17; Sat., Feb. 18.

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.

STUNT ROCK In this 1979 oddity, essentially a drive-in movie, an Australian stunt man/rocker (yes, really) arrives in L.A. to work in Hollywood. There he wows he locals with his daring and guitar shredding in the band Sorcery.

Why has this not been adapted a stage musical? (R). SIFF Cinema at the Uptown, $5-$10, Thu., Feb. 16, 9 p.m.

THEY LIVE! In the satirical horror of John Carpenter’s They Live! (1988), aliens have taken over the planet and conspired with yuppies to keep the working man— championed by wrestler Roddy Piper—in his place. Mind control is achieved through coded TV and advertising that Piper can discern, along with the aliens, thanks to magical eyeglasses. But it’s also the economic structure that has him living in a crowded Hooverville. And the film’s bleak end, like that of Carpenter’s The Thing, implies the system will prevail. Call for showtimes. (R) BRIAN MILLER Central Cinema, $6, Feb. 17-22.

THE TROUBLE WITH HARRY Based on a story by Jack Trevor, this 1955 Technicolor comedy is perversely lighthearted, unique in the canon of Alfred Hitchcock. A half-century later, the device of the inconvenient corpse is routinely treated for black humor (think of the not-quitedead Dan Hedaya in Blood Simple). But in the Eisenhower years, it must’ve seemed shocking for death to carry so little weight. Set in a New England town where the leaves are changing in a fall blaze, Harry leans too heavily on the droll and the whimsical. Hitchcock amps up the local color in an exaggerated fashion. In a sly way, he’s making fun of the Vermont scenery and wholesome Americana.

It’s a fine place to visit and have a little fun, but his next film would return to a more worldly and cynical milieu: The Man Who Knew Too Much. Here, John Forsythe and Shirley MacLaine play the couple romantically entangled by the body; Jerry Mathers, of Leave It to Beaver, is a kid who stumbles across the mortal remains. Note: No early show on Weds. (PG) BRIAN MILLER Grand Illusion, $5-$8, Fri., Feb. 17, 7 & 9 p.m.; Feb. 18-19, 5, 7 & 9 p.m.; Feb. 20-23, 7 & 9 p.m.

THE WAGES OF FEAR SEE THE WIRE, PAGE 31.

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Ongoing

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

Hollywood, 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 (Berenice Bejo), a chorine with big ambitions. Borrowing heavily from A Star Is Born, The Artist tracks both Peppy’s ascent (through amusing montage) and George’s decline as he refuses to acknowledge synchronized-sound as more than a passing fad. By 1932, Peppy’s attracting lines around the block for her latest, while George spends his afternoons passed out on a barroom floor, his Jack Russell terrier his sole remaining fan. Or so he thinks: Peppy has never forgotten him. (PG-13) Melissa Anderson Harvard Exit, Kirkland Parkplace, Lincoln Square, Majestic Bay Theatres, Thornton Place 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.

What saves the film is actor Fiennes’ steadfastness to the character of 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. They make every line seem personally conceived, surprising yet inevitable, and in the process, reaffirm that exquisitely articulated words are where the drama is. (R) Eric Hynes SIFF Cinema at the Uptown

film» 206.324.9996 | www.siff.net

• CRAZY HORSE At the titular French classy nudie

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cabaret, Frederick Wiseman focuses on the dancers’ taut, perfectly proportioned bodies. None of the nonfiction master’s previous works have ever been as dominated by “nice, round buttocks.” That many of the dancers have been trained in ballet is apparent not only in their graceful movements but also in the catty glee they share backstage when watching a Bolshoi blooper reel. The beauty captured by Wiseman and his longtime cinematographer, John Davey is summed up in the club manager’s definition of eroticism: “The ultimate thing is to suggest without offering oneself.” Every shot and edit in Crazy Horse also suggests without over-explaining. (NR) Melissa Anderson 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 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

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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 Bainbridge Cinemas, Big Picture Redmond, Guild 45th Theatre, Kirkland Parkplace, Lincoln Square, Meridian, Thornton Place 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. 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 brought back 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 Cinemas, Pacific Place

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

Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. , 425672-7501; 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), 425-636-5601; Kirkland Parkplace, 404 Park Place, 425-827-9000; Lincoln Square, 700 Bellevue Way N, 425454-7400; 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.

Events

PLAYING FEBRUARY 17–23

SAT. FEB. 15-19

511 Queen Anne Avenue North

SEATTLE FESTIVAL OF IMPROV THEATRE

Ewan McGregor & Eva Green in David Mackenzie’s

Perfect Sense

Fri 4:45, 7:00, 9:15 / Sat & Sun 12:15 Mon–Weds 6:00, 8:15 / Thurs 8:15 See them before the Awards!

2012 Oscar® Nominated Documentary Shorts Fri 4:15, 6:45 / Sat & Sun 1:00, 6:45 / Mon–Weds 6:15 / Thurs 9:15

Free Stuff

“A work of art!” –A.O. Scott, NY Times

Frederick Wiseman’s Crazy

Horse

WIN TOWER HEIST

Fri–Sun 9:15 / Sat & Sun 2:15 / Mon–Weds 8:45

Ralph Fiennes in William Shakespeare’s

Coriolanus Daily 5:45, 8:30 | Sat & Sun 12:15, 3:00 FINAL SHOWS! Anna Paquin in Margaret Sat & Sun 3:30

ON BLU-RAY

Seattle Center Northwest Rooms

Richard Garriott: Man on a Mission

Photo of the Week

with director Mike Woolf in person! (Fri & Sat 6:30) Sun 6:30 / Tues 6:30 / Weds & Thurs 9:30

VALENTINE’S DAY DASH

New 35mm print! Henri-Georges Clouzot’s

Wages of Fear Fri 8:30 / Sat 3:00 / Sun & Tues 8:30 Films4Families: All seats only $4.00

The 5000 Fingers of Dr. T Sat & Sun 12:00

WHERE:

(1) Month of Joseph Gordon-Levitt

Hesher Sat 9:00 | $5 Youth 22 and under San Francisco Opera: Don Giovanni Mon 6:30

GREEN LAKE PARK

WHEN:

SAT. FEB. 11

Reel Grrls presents Not Chick Flicks Lynne Ramsay’s Ratcatcher Weds 7:00

Video Killed the Radio Star:

6048_IPIC_RedmondSeattleWeeklyAd.pdf The Best of ’80s Music Videos Thurs 7:00

1

1/17/12

4:42 PM

 NOW SHOWING 

TICKETS AVAILABLE AT WWW.CINERAMA.COM

Fresh Chocolate Popcorn, Cupcake Royale, Theo Choc & so much more

Seat tle weekly • Febru ary 15–21, 2012

2100 4TH AVENUE, SEATTLE WA • (206) 448-6680

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Special screening Feb 17 8pm Logos Q&A with Wim Wenders following the show

Palette

Primary

SEATTLE’S WIDEST SCREEN SUPERIOR TECHNOLOGY

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Seattle weekly • February 15–21, 2012

food&drink»

Counter Intelligence

At a crowded mezcal-and-goat emporium, it’s best to belly up.

BY HANNA RASKIN

I

Young Oaxacans must use these joints the way Midwesterners use Denny’s.

W

ith its sleek bar and honeyed lighting, Mezcaleria Oaxaca’s front room looks extraordinarily polished, even though it’s furnished with more tchotchkes than auctioneers uncover in abandoned storage lockers. There’s a stuffed turkey and leather suitcases in nooks above the bar, and the yellow-slatted walls are covered with shadow boxes, mirrors, and black-and-white photographs of agave, shot from various angles. The riot of dissonant, colorful objects spawns the sensation of being cocooned in a lotería card box.

The cocktail list is short, probably because it takes a strong liqueur or a bushel of supporting ingredients to cut through mezcal’s persistent smoke. Mezcaleria Oaxaca makes a lime margarita with mezcal, which serves mostly to persuade drinkers that it’s a better idea to take the stuff straight. Every mezcal approved for sale in Washington state is on Mezcaleria Oaxaca’s list, and $15 buys a flight of three, giving first-timers the chance to decide whether they belong to the white, dorado (golden), or reposado (aged) camp.

The mezcals are served in traditional footed clay cups, a tangible reminder that the centuries-old drink—which owes its existence to the Moors or a bolt of lightning, depending on which creation story you prefer—is meant to be sipped, not shot. The older, more complex, low-valley mezcals are a bear to match with food; like single-malt scotches, they’re best enjoyed with cheese, perhaps in quesadilla form.

Also like single-malts, mezcals vary tremendously according to where they’re produced. But there’s very little information on the menu to guide a drinker who’s craving a mezcal with notes of vanilla and fig. A spirits list doesn’t have to be detailed if there’s a staffer on hand to explain the differences among various drinks, but that was never the

case when I visited Mezcaleria Oaxaca. The Kitchens can’t take shortcuts servers are perpetually swamped, in proper with this level of scrutiny. greasy-spoon fashion, and the lone bartender is usually preoccupied with muddling.

His muddling duties are multiplied by a pretty good, as this is not a restaurant where list of fresh non-alcoholic options, including a $10 chicken enchilada suffices as a meal.) a limeade and a lemonade that strikes exactly The pork ribs slathered in a fine-tuned mole the right balance of tart and sweet. Now negro, earthy and aromatic, are fantastithat fried chicken is gracing food-magazine cally tender. A seafood stew, brimming with covers, it would be terrific if folks started shrimp, bony fish, and a slender crab leg, thinking about well-made lemonade: prickles with chili and brine. The soup can Mezcaleria Oaxaca’s version is a model be attacked with a spoon or sopped up with worth copying. a warm white-corn tortilla, the single best While the lemonade wasn’t too sugary, thing at Mezcaleria Oaxaca. nearly every dish I tried was sweet, possibly Most meals start with tortilla chips and a calculated response to the smokiness a swirl of knobby guacamole, but it’s almost of the restaurant’s signature spirit. A a shame to fry these specimens. Mezcaleria grilled steak was nearly Oaxaca’s tortillas are handobscured by a heap of stewed patted by a crew of masa tomatoes and onions rife with mavens in potters’ smocks, » PRICE GUIDE SHRIMP COCKTAIL ...... $8 natural sugars. Shrimp cockwomen who’ve mastered the SEAFOOD STEW........... $10 tail usually bends toward the art of imbuing ground parched MOLE NEGRO ................ $10 STEAK............................... $11 far end of the sweet meter in corn with plushness and froth.

GOAT .................................$13 Mexican traditions—a popular The tortillas have a subtle online recipe suggests goosspringtime sweetness and a ing the appetizer with orange soda—but the gratifying chew. The math which led to so tomato sauce sharing a stout glass with half many seats in the back dining room may a dozen quarter-sized shrimp had an intense have been faulty, but customers free to do candied flavor. A roasting spit harpooned their own figuring will find the counter, with flaps of glistening pork, framed between corn tortillas, and a cup of mezcal add up to a bisected pineapple, looked appealing, an experience worth having. E but the tacos made from its aggressively hraskin@seattleweekly.com marinated meat and fruit tasted like a confection Betty Crocker might have designed MEZCALERIA OAXACA for a Mexican dinner party.

2123 Queen Anne Ave. N., 216-4446, Yet for every dish that doesn’t hit the mezcaleriaoaxaca.com. 5–11 p.m. Mon.–Tues.; mark, there’s one that works wonderfully. noon–3 p.m. & 5–11 p.m. Wed.–Thurs; (Your odds of encountering the latter are noon–3 p.m. & 5 p.m.–midnight Fri.–Sat.

Seat tle weekly • Febru ary 15–21, 2012

spied a Canlis.) They’ve lapped up the goat with a fervor born of countless meals of mushroom tarts and caramelized carrots, often neglecting to leave any for fellow diners who have the temerity to show up after 7 p.m.

Like them, I wanted to love the barbacoa de cabrito, but I wasn’t wowed by my serving of shredded goat. The sweated puddle of grease and chili marinade that encircled the plate was rich with the jagged flavors of fat and heat, but the meat itself was dry and overwhelmed by a slightly stale smokiness, the sort which sticks to clothes after a campfire. The plate’s a pie chart of Oaxacan staples, with equal portions of goat, black beans puréed to a pudding consistency, and masa scribbled with red chile sauce. At its edges, there’s a lime wedge and a clump of diced white onions to help the goat along.

But Mezcaleria Oaxaca’s success isn’t contingent upon goat. The restaurant excels at basic dishes which elude lesser kitchens, and the stylish bar’s so spunky that it probably wouldn’t matter if it didn’t. My favorite experience at Mezcaleria Oaxaca didn’t involve ambitious meats or the aggravatingly crowded rear dining room: Late on a Saturday night, I had an off-menu quesadilla and a Pacifico at

the busy kitchen counter, and couldn’t imagine a better venue in which to end the evening. A mezcalería is a showcase for the finest smoky distillates of the maguey plant, of course, but if the Perez family’s rendition of the genre is any indication, young Oaxacans must use these joints the way Midwesterners use Denny’s. Mezcaleria Oaxaca is a locus of evenhanded hospitality and salty comfort food.

JOSHUA HUSTON

f a few glasses of mezcal don’t scrub empathy from your emotional repertoire, please take pity on the diners seated in the back room of Mezcaleria Oaxaca, the vibrant uphill offshoot of Ballard’s tremendously popular La Carta de Oaxaca. Removed from the open-kitchen hubbub that consumes the trunk of this T-shaped restaurant, the aft annex houses a counter set with a trio of self-service salsas, a clear barrel of horchata—positioned so closely to the salsas that you’ll wonder if you’re meant to help yourself—and a water station. Smack in the center of the room is a table big enough to accommodate most wedding rehearsal parties. Tables for two are pressed against the cramped room’s perimeter, an afterthought arrangement that forces servers to take orders from five paces and deliver plates over other guests’ heads.

Enhancing the studio-apartment feel is a silver goat roaster wedged in the back corner, monopolizing precious elbow room.

The meat that emerges from that roaster, however, has riveted residents of Queen Anne, a neighborhood rarely associated with culinary bravery. Since its opening last fall, Mezcaleria Oaxaca has drawn a steady crowd of eaters equally intent on demonstrating their gustatory bona fides and not straying too far from home. (On my first visit, I

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COMFORT CLASSICS Why DINE AROUND when you can FEAST IN YOUR NEIGHBORHOOD?

2 courses for $13 in March

Seattle weekly • February 15–21, 2012

ADD A DESSERT FOR JUST $3

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Homestyle Cooking Like Momma Made! www.neighborhoodgrills.com 10% OF COMFORT CLASSIC SALES GOES TO TREEHOUSE FOR KIDS!

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

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

DOWNTOWN

BAYOU ON FIRST 1523 First Ave., 624-2598. There’s

zydeco on the sound system, and the red beans and rice with chicken sausage will heat up a mild-mannered mouth or two, but Bayou on First’s service is a bit oddly paced. Focus not on your waiter but on the ample menu, a who’s who of Cajun classics like crawfish étouffée, gumbo, jambalaya (seafood or vegetarian), and muffaletta sandwiches.

Bayou’s humble dishes have a homemade wholesomeness. $ BELLE EPICUREAN 1206 Fourth Ave., 262-9404. Belle Epicurean not only has a très T H I S CO D E bien cafe in the Fairmont TO DOWNLOAD THE FREE Hotel, it also sells pastries at SEATTLE WEEKLY a farmers market near you.

IPHONE/ANDROID APP Belle’s variously dressed FOR MORE RESTAURANTS OR VISIT brioche buns are the signature seattleweekly.com items; a bevy of sweet and savory pastries are made with the same extra-rich dough. Sandwiches and salads are served up for lunch, and more than 10 different, exactingly beautiful desserts wink at you from the case. $

SCAN

BERNARD’S ON SENECA 315 Seneca St., 623-5110.

Bernard’s is an underground dungeon-style bar with a “lords and ladies” theme. If that isn’t enough to charm you, they’ve got sausages. The “assorted sausage for two” platter includes the odds and ends from various bratwurst and knockwurst links. $ THE CRUMPET SHOP 1503 First Ave., 682-1598. Too many Americans associate crumpets with British society at its stuffiest. Pike Place Market’s Crumpet Shop may not be a hipster hot spot, but the crumpets are fabulous: softer than English muffins and riddled with a sponge-like network of holes that are magnificent at absorbing melted butter. Few breakfasts are finer than a toasted crumpet with tea—the shop serves several varieties, all presteeped, or infused when you order them. If you’ve got a dawdling kind of lunch, the in-house crumpet toasters can (slowly) build up mountainous sandwiches with roast meats and thick slabs of wonderful oat-groat bread. $ THE GEORGIAN 411 University St. (in the Fairmont Olympic Hotel), 621-7889. What was called the Georgian Room is now just the Georgian, having undergone a paint job (seven shades of yellow) and a charge by the Fairmont Olympic to make the space and the menu more “accessible.” It’s nice that they’re not going to force a loaner tie on you at the door anymore, but what is and always will be great about the Georgian is the splendorous formality. The cuisine now concentrates on Northwest ingredients, with dishes like wild Alaskan salmon with warm potato and wild mushroom salad and Kobe beef filet with oxtail “braisage.” High tea, which is served daily at lunchtime, includes a pot of tea and a three-tiered silver tray of sweets and savories. $$$ PLACE PIGALLE 81 Pike St., 624-1756. There comes a point in every relationship that brings you to the Pike

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seattle: 206.624.6248 • bellevue: 425.747.9012 renton 425.277.1635 • beaverton: 503.643.4512

Cherry Brandi

LAURA ONSTOT

Moery makes you see double.

She pauses. “It makes tequila bearable.”

The Verdict: I don’t expect much from my unnamed drink, but it’s perfect. The lime, the honey, the salt, and the Tabasco all complement the tequila perfectly.

Perhaps inspired by my “Oh my God, that’s great!”, other patrons start to ask for the same drink. Apparently this isn’t unusual.

“Once I start making them, they go like crazy,” Moery says.

She suggests trying it with a bit more juice and ice, essentially in margarita form—but still with the hot sauce. Without a hint of cynicism, one of my drinking companions declares it the best margarita she’s had in Seattle: “We need to learn [Moery’s] schedule.” All swaggering Seattle pirates would do well to cast off your rum biases and do the same. E food@seattleweekly.com

Seat tle weekly • Febru ary 15–21, 2012

The Watering Hole: Pillagers Pub, 8551 Greenwood Ave. N., 706-2779, GREENWOOD The Atmosphere: This spacious piratethemed pub is something of a cross between a dive bar and a favorite local tap room. Some of the boozers bellied up to the bar brought with them the odor of persons not overly concerned with regular bathing, and reek of tobacco from their regular trips outside for a smoke. But as the home of Three Skulls Ales and Baron Brewing, local brew aficionados are also on the stools, enjoying pints alongside their harder-living brethren. The result is a vibe that mixes grit with a hint of snobbery. The combination might seem a little incongruous, but really it’s the perfect blend for a treasure-seeking pirate.

The Barkeep: “Oh, criminy,” Brandi Moery says when I ask her to make her favorite drink.

She’s equally comfortable using old-timey expletives or leaning into the camera cleavage-first.

Like the bar, she refuses to be defined. She’s got good technique, but isn’t the kind of mixologist who turns her nose up at a Cosmopolitan order.

After a bit of hemming and hawing, alternating between looking at the liquor behind the bar and sizing me up, Moery comes to a decision. “All right, it’s on!” she proclaims.

The Drink: She juices a lime into a tumbler and adds some honey. In goes a dash of salt, a shake of hot sauce, and tequila. My stomach flips just watching.

Slowly stirring to completely dissolve the honey, she explains that the drink doesn’t have a name. It’s just something she concocted to get a complete flavor palette into one small glass.“It’s sweet, savory, spicy, and sour,” she says. “To me it’s the most heavenly way to sip tequila.”

47

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food&drink»Featured Eats Place Market: Either things have gotten very new or very old. With its checkered floors and unbeatable views, Place Pigalle doesn’t have to show off. You, on the other hand, are likely in the position of needing to pick up a few points, which is where this tucked-away respite comes in handy. The French-inspired menu will back up your presumable good taste, with enough breadth and flair to encompass both old-fashioned rabbit roulade and fusion ingredients like jicama and daikon. Chilled crab, half or whole, is a satisfying splurge of a starter; if Alaskan halibut is on the menu, order it. $$$ SAZERAC 1101 Fourth Ave., 624-7755. A Sazerac’s a cocktail highly favored by cultivated New Orleanians, and there’s a strong Creole accent to Jason McClure’s menu: catfish, crawdads, and spicy andouille sausage served with everything from breakfast eggs to late-night pizza. Even the West Coast influence can’t lighten up the food—truth be told, the more time your dish has spent in hot oil, the better. Duck breasts and roasted vegetable platters, no. Beignets and shrimp cakes, yes. $$$ VON’S ROASTHOUSE 619 Pine St. (in the Roosevelt Hotel), 621-8667. For visitors, Von’s is the Roosevelt Hotel restaurant, but for locals, it’s the home of the big martini. They flow freely here, with $3.50 doubles at all hours. Dinner and pub menus feature lots of red meat and appetizers. Stick with the basics: Their burgers, smaller than the menu would have you believe, are accompanied by sauteed onions and a tangy special sauce. $$

onion encased in a pillowy batter. Four of these plus a creamy shake (nine flavors!) add up to a meal in itself. $ I LOVE SUSHI 1001 Fairview Ave. N., 625-9604. People love I Love Sushi. It’s bright and clean, with a bright and clean staff, and bright, clean-tasting sushi. The popular spider roll surrounds a soft-shell crab with avocado, cucumber, mayonnaise, rice, and flying fish eggs; the I Love Roll, with unagi (broiled eel), is equally well loved.

I Love Sushi leans toward the upscale—both atmosphere and food are reliably lovable for I Love Sushi lovers, who crowd into both the South Lake Union and Bellevue restaurants to love them. $

EASTLAKE & SOUTH LAKE UNION

ful as a box of Fruit Loops, tiny Barriga Llena (translation: full stomach) serves up big honkin’ tortas, Mexico City style. The cooks stuff grilled soft rolls with all manner of meats, from a few slices of ham to grilled steak with pineapples and Oaxacan string cheese (the “Jarocha,” and not recommended). All come with lettuce, tomato, avocado, and sides of pickled chiles and salsa. The

BLUE MOON BURGERS 920 Republican St., 652-0400.

This airy, split-level South Lake Union spot offers a long list of satisfying burgers and burger-substitutes (veggie, chicken, and King salmon). True hedonists will skip the main course and head straight for the onion rings: deep-fried circles of sin made with fat, slices of red

FREMONT

BAGUETTE BOX 626 N. 34th St., 632-1511. We love a

cheap banh mi as much as the next Joe, but, hell yeah, we’re willing to spend a little more to get a way better sandwich. Thanks to Monsoon’s siblings—Sophie and Eric Banh—Seattle residents have that tasty option in two locations. The second sandwich spot in this mini-chain features a slew of hot and cold sammies including the famous Drunken Chicken, bird fried right and doused in a spicy sweet sauce on a crusty baguette. While other local sandwich joints claim to be “homegrown”, Baguette Box walks the walk by using Painted Hills beef and Carlton Farms Berkshire pork.

Boxed lunches are available for delivery. $

GREENWOOD & PHINNEY RIDGE BARRIGA LLENA 7815 Aurora Ave. N., 782-1220. As color-

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WWW.SEATTLEWEEKLY.COM/VORACIOUSTASTING

BottomFeeder

» by mike seely

48

Toward the end of 2011, when the Turf’s owner announced he would be changing the workingclass downtown restaurant’s name, certain publications that hadn’t devoted any ink to the Turf in eons (aside from the occasional crime recap) began to eulogize the place as though the whole of Seattle’s underclass was about to be sent into the great hereafter (i.e., Tukwila) with a 21-gun salute.

In a piece titled “Good-Bye, Turf: the End of an Era,” one melodramatic scribe bemoaned the fate of the bar’s patrons, wondering: “Where will all those people go now?”

They’ll keep going to the Turf, in fact. While a handful of more expensive items have been added to the menu, the Turf of new is still very much the Turf of old. It’s just called Ludi’s now.

There’s a $16 rib-eye on Ludi’s menu. It may or may not have been on the Turf’s menu. It doesn’t much matter, because no Turf (er, Ludi’s) customer is ever going to walk into the Turf (oops, Ludi’s) looking to order a $16 rib-eye. If they’re looking for food, they’ll be ordering a grilled ham and cheese, fries, or a Filipino appetizer, like lumpia. I ordered all of the above, and my total bill—which still bore the words “The Turf Restaurant”—was under $10.

As for the decor, it’s identical to the Turf’s. A photo of a meat sandwich on one of the walls used to say “Turf” on it. As with the restaurant, only the name has changed. In fact, when asked what Ludi’s (the name is from the owner’s family) has

LUCINDA SWAIN

Seattle weekly • February 15–21, 2012

Name-Gamed

that the Turf didn’t, my server quickly and confidently replied: “Everything is the same.”

During a recent Friday lunch hour, business was booming. Actual black people, an increasingly endangered species north of Spokane Street, enjoyed affordable lunches in the diner portion of the space and cocktails in the back bar. A slightly inebriated middle-aged gentleman stumbling around with a glass of whiskey took credit for playing the Temptations on the jukebox, announcing that it was “old-school, like back in Harlem.”

This gentleman was of Caucasian descent.

If we’re to dispense with ethnocentric political

At the erstwhile Turf, only the sign has changed.

correctness for a moment, his claim that he knows what it was like “back in Harlem” is a dubious one.

But nowhere near as dubious as the notion that some sort of era has ended at Second and Pike. E mseely@seattleweekly.com LUDI’S 200 Pike St., 682-2324, DOWNTOWN

food&drink»Featured Eats restaurant’s acme, which would daunt even the most ravenous of stoners, is the Barrigona, with breaded steak, chorizo, sausage, pork, and cheese. $ BETH’S CAFE 7311 Aurora Ave. N., 782-5588. Beth’s is the archetypal greasy spoon—a Peter Pan restaurant that opened in 1954 and never grew up. 58 years in business means that, if you’ve got some generational history in the area, your grandmother probably behaved badly at Beth’s back in her day—tooled up on corn mash, running with a rough crowd, climbing on the tables and showing bikers her lady business. It survived a fire years ago. Every night is like a riot on the floor. Nothing will ever kill Beth’s, despite the fact that the menu (full of 12-egg omelets, huge plates of hash browns and pancakes the size of placemats) seems, in certain places, custom-made to kill you. $

INTERNATIONAL DISTRICT

BEARD PAPA’S 600 Fifth Ave. S., 623-0892. Behind a

counter at the Uwajimaya Food Court you can get delicious, light-as-air pastries with your choice of filling in the middle (custard, green tea, pumpkin, etc.) and a light dusting of powdered sugar on top. Go in a pack so you can sample multiple sweet goods. $

LESCHI & MADRONA

BISTRO TURKUAZ 1114 34th Ave., 324-3039. Bistro

Turkuaz is a long, yellow breadbox ending in a blood-red wall, behind which is a magical kitchen that produces some of the most nuanced Turkish cuisine in town. At the top of Union Street on 34th Avenue in Madrona, this family-run spot is quietly fantastic. Hummus and pita and grape leaves might all be considered casual Mediterranean staples, but not here. The pace is slow, the mood mellow, and the dishes are very thoughtfully prepared. Your waitress might razz you, and her mother, the chef, may cast an approving smile at your appetite—but the biggest characters can be found on your plate. A meze platter is decked out with hummus and baba ghanouj, triangles of pita, and tightly rolled grape leaves, with all the flavors very nicely balanced.

Make sure to try the acuka, a blend of red peppers and walnuts, rich with garlic and lemon. There are

kebabs among the entrées, but the best dishes are the appetizers. And afterward, dessert might just have to be a piece of baklava, stuffed with pistachios and housemade chocolate. $$

MAGNOLIA & INTERBAY

BAY CAFE 1900 W. Nickerson St. Ste. 108, 282-3435. The

cafe no one knows about, but—as Yogi Berra sorta said—it’s so crowded no one goes there anymore. And the reason? Quality breakfast, efficient servers, and splendid views of the docks at Fishermen’s Terminal; the memorial to those who died at sea is just out the window. Service is typically quick, and breakfasts, served all day, arrive all hot and bothered (try the vegetarian or California omelets). Open seven days a week, but only until 2:15 p.m. $ KINNAREE THAI CUISINE 3311 W. McGraw St., 285-4460. This intimate place, decorated with fish prints, is Magnolia’s own neighborhood Thai restaurant (every neighborhood gets one!). The menu runs the gamut from tangy, delicious tom kah soup to sweet, spicy forest curry and an incendiary basil rice. With the exception of an exceptional papaya salad, it’s pretty typical neighborhood Thai fare. $ PALISADE 2601 W. Marina Pl. (in the Elliott Bay Marina), 285-1000. Palisade is a great place to take out-of-towners and aged aunties (especially if they’re paying): It’s got its own inland sea with a bridge, a waterfall, and tide pools, as well as an unbelievable view of the city and the Sound. The menu favors grilling: Try the spit-roasted prime rib and grilled prawns combo, or anything alder- or cedar-planked. $$$ SZMANIA’S RESTAURANT 3321 W. McGraw St., 284-7305. After years of running what he termed a “European bistro”, chef-owner Ludger Szmania (pronounced Smahn-ya) recently decided to reinvent his homey Magnolia dining room as a steakhouse. The neighborhood restaurant now turns out a mean New York strip, punched up with a proprietary seasoning blend that’s heavy on paprika. Szmania’s serves potatoes five different ways, but there’s no better match for steak than its bronzed, hand-cut fries. And for menu nostalgics, there’s still schnitzel and sausage on the menu. $$$

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food&drink»Featured Eats

Urban Tiki House & Taiwanese Cantina

NORTH SEATTLE

BARK! ESPRESSO 11335 Roosevelt Way N.E., 364-0185.

Add to the exemplary coffee an airy room of pistachio-colored walls and adorable art from Cowbelly Pet Photography, a menu including offerings from Macrina and Skydottir, and a Saturday morning filled with health-code-abiding puppies and freshly baked cinnamon rolls . . . and I think we may have found the perfect cure for whatever ails you. $

Early & Late Night Happy Hour Sun – Thurs 4pm to 6pm & 10pm to Midnight

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Weekly Specials Include Mon: Industry Night Tues: Tiki Tuesday

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For just under nine bucks, you can get one of the nicest Dungeness crab half-sandwiches in town plus a refreshing little salad. The bistro segment of the restaurant faces First Avenue, so sitting outside means competing with buses, cars, and other street noise just to make yourself heard. Instead, slip downstairs to the cafe and slide into an indoor booth, ordering off Bacco’s simple menu of sandwiches. $-$$ BEECHER’S HANDMADE CHEESE 1600 Pike Place, 956-1964. Beecher’s isn’t a restaurant per se, as you might infer from the substantial cheese-making operation going on inside the retail space. But you can still order from one of the friendly (even to tourists) counter staff, grab a stool, and sit down. The macaroni and cheese, made with a blend of Beecher’s handmade jack and their signature Flagship cheese, is super-rich.

A small cup of it isn’t enough and a large is too much, but there are far worse problems to have. Just bring a friend and share. Bring someone you hate and form a

ALittLeRAskin » by hanna raskin

Nothing But Nets

Evening Delivery to Belltown

206.805.0133 2630 1st Ave. Belltown (Corner of 1st and Cedar)

Seattle weekly • February 15–21, 2012

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50

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When Mike Dye joined the Deep Sea Fishermen’s Union in the late 1970s, the organization had 300 members. Its current registry lists fewer than 100 crewmen representing just 15 boats.

But if the union’s membership has dwindled, its longevity is becoming more impressive: The Deep Sea Fishermen’s Union of the Pacific (DSFU) is now celebrating its 100th anniversary, marking its milestone this month with a bash that Dye promises will recall the Flatfish Balls that the union used to host in its heyday.

“Some people are very negative about the union and feel it has no influence whatsoever, but we’re still here,” Dye says. “We show up, we have a credible voice, and we’re carrying on the good work that’s gone before.”

The halibut industry was in nasty shape in 1912, when fishermen from three steamships gathered in a Seattle meeting hall to form the DSFU. Halibut were tough to find, and fishermen were forced to chase them through sometimesfatal storms. The union’s founders demanded higher wages and safer working conditions, and led a number of strikes against boat owners, who organized themselves as the Fishing Vessel Owners Association.

Striking is one of many tactics that doesn’t readily translate from the shop floor to the open sea, Dye points out. “A boat is not a picketable thing,” he says. The industry’s fractious nature and relative invisibility have worked against union organizing; the DSFU is currently the only union in the U.S. representing crewmen.

Crewmen involved in other fisheries periodically ask DSFU members for organizing advice, but typically give up upon realizing how easily

truce. Bring the leftovers home and eat them in front of the television in your underwear. $ IL BISTRO 93A Pike St., 682-3049. This longtime resident of the spacious grotto under the Pike Place stairs positions itself as a romantic destination: The red-sauce joint’s staffers have seen their share of teary wedding proposal scenes at candlelit tables. But the food sometimes threatens to interfere with the mood, since it’s nearly impossible to feel amorous after downing mounds of rustic rigatoni bolognese, laden with veal, or a portion of lasagna so hefty that a burly server warned: “I can only finish it when I’m hungover.” Still, the restaurant does right by classic dishes and makes good use of fresh fish and seafood from the market overhead. $$$ MATT’S IN THE MARKET 94 Pike St. Ste. 32, 467-7909.

Twice as grand as as it used to be, Matt’s is still the tiniest great restaurant in Seattle. The chef and staff are your buddies without being unctuous, and the pithy, seasonal menu reflects what’s fresh in the Pike Place Market just downstairs, be it seared scallops with winter-squash hash to lamb cassoulet. These days, reservations are a must—even for lunch. $$$ MAXIMILIEN 81A Pike St., 682-7270. Announcing itself to Market visitors in pink neon swirls, the nearly 40-yearold Maximilien has the look of a long-loved restaurant.

Few diners pay attention to the interior once the waiter opens the shutters, revealing a spectacular view over the Sound. The kitchen leans toward bourgeois French fare like escargots and butter sauces; sometimes it comes off as classic, other times as dated. Service this good, like the view, never goes out of style. $$$

boat owners with a globe’s worth of willing workers can replace them. At sea as on land, interest in unions has tapered as new legislation has helped curb the worst labor abuses.

“Most of the union battles were won a long time ago,” Dye says. For the DSFU, those fights included the adoption of catch limits to stabilize halibut prices; the prohibition of bottom trawlers; and the re-establishment of the international boundary further offshore.

The DSFU once had offices in Vancouver and Petersburg, Alaska, but scaled back its operations as the Fishing Vessel Owners Association shrank. “A lot of people sold their boats and cashed out,” explains Dye. Throughout the demographic changes, the DSFU has continued to represent members’ interests at meetings of the North Pacific Fishery Management Council.

Dye recently returned from a council meeting in Anchorage. “One of the problems is the producers always want more, more, more,” Dye says. “They’ll brush away science. We very much back science and try to be protective of the fishery. The union is a political voice.”

Dye attributes the strength of the union’s voice to “Scandinavian rectitude” and its members’ tenacity. “You get things if you stay with it,” he says. “Fishing tests you like nothing else. You hate it when you’re doing it and you love it when you’re not doing it. Being out on the water for 18-, 19-hour days, the overwhelming pride you feel, it’s such a fulfilling, wonderful thing.”

This month’s party at the Waterfront Marriott is closed to the public, but the DSFU plans to issue a commemorative history later this year.

“We’ll have a nice coffee-table book for the Christmas season,” Dye promises. E hraskin@seattleweekly.com

aBLOG ON »FOOD VORACIOUS

SEATTLEWEEKLY.COM/VORACIOUS

music»

presents at

DIMITRIOU’S

»PROFILE

Skate or Die

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

When punk gave way to rap, La picked up a board.

G

Brian Culbertson

BY KEEGAN HAMILTON

and Das EFX for the first time on a video for the skate company Shorty’s. “I wanted to sound like those artists before I even really knew who they were.”

This deep-seated bond inspired La and partner/producer DJ Olee to dedicate an entire record to capturing the relationship between skating and rapping. Each of the seven songs on the EP Ocean Howell—a reference to the early-’90s street skate legend—is named after a different “unsung hero” of the skate world. With a twist that elevates the concept from contrived to creative, none of the tracks mention kick-flips,

Regina Carter’s Reverse Thread

Genius jazz violinist, classically trained, exploring African folk melodies February 21 - 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

half-pipes, or any other skate terms or tricks.

Rather, the music and lyrics are intended to evoke each eponymous skater’s individual style. “We would play our beats to their videos on YouTube, play our songs to see which of them fit,” Olee says. “It’s almost like it would be the music for their skate park.”

The project is La’s fourth release (after three full-lengths), and the first produced exclusively by his longtime collaborator Olee. While the songs retain La’s intricate wordplay, rapid-fire pop-culture references, and ferocious tales of life in the ’hood, the skateboarding theme and overall feel of the songs is a departure from his previous work.

This is the first time he has trumpeted his love of skating on a record, and several tracks eschew the grandiose beats employed by his past producer, Jester, in favor of a more subdued sound.

With boom-bap beats and soulful vocal samples, several cuts on Ocean Howell borrow heavily from the old school. “Sean Sheffey” features a vintage 6/8 swing rhythm and a high-pitched operatic chorus sampled from the ’70s singer/pianist Laura Nyro.

A tinkling piano and a smooth saxophone groove back the song “Kareem Campbell,” over which La sings the refrain “All I want to do is ride low and stay high.”

“When I’m skateboarding I feel the smoothness, like jazz or funk,” La says of Ocean Howell’s aesthetics. “That’s what we’re doing here. I don’t put a concept to a song, I put a feeling.”

The only track that overtly mentions skateboarding, “Milton,” includes the lines “Everything I’m on is a fucking classic/

La, cozied up behind his other board.

You posers tryna get exposure acting Bucky Lasek/But you ain’t skating no grinding why the Vans ho/Make me wanna cut my own ear off like van Gogh.”

The sort of guy who rhymes “yayo” with “Yale,” La says the elaborate cadence and heady blend of high- and lowbrow in his verses are the product of his background in spoken-word poetry. After dropping out of high school at 16, he spent several years hustling before a friend introduced him to poetry.

He took up the pen, and went on to coach teams in the national competition Brave New Voices and work as a mentor for at-risk youth.

These days he focuses exclusively on his music career (following this week’s release of Ocean Howell, he plans to drop a full-length project later this summer), but says his experience as a poet has shaped the way he crafts rhymes as a rapper. “It’s so many layers of rhymes where I just double and triple up with the meaning,” La says. “That’s part of the craft, the layering, where you can listen to a song a thousand times and hear one thing before you hear it a different way. You still get it either way, but it’s like there are little gifts for the people who are really listening.”

Although he is still an avid skater, La says he rarely journeys from Seattle to Everett to visit the park where he learned to ride and, in a way, to rap. “Skating is a counterculture thing,” La says. “Everybody can get involved, no matter where you come from, much like hip-hop.” E khamilton@seattleweekly.com

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

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

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March 22 - 25

Spectrum Road June 21 -24

Walk-ins Always Welcome!

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Military, Senior and Student Discounts

Seat tle weekly • Febru ary 15–21, 2012

“Skating is a counterculture thing.

Everybody can get involved, no matter where you come from, much like hip-hop.”

February 15 - 19

COZELL WILSON

rowing up, young Kyle Ricci was a regular at the only skate park in suburban Everett. Trouble was, the park was located in a seedy part of town frequented by dope fiends and their dealers. But to hear him tell it, his board was better than a bodyguard.

“You could go there and skate and you wouldn’t have to deal with those elements in your face,” the rapper now known as La says, “because they respected that you were there expressing yourself.”

Born in the Philippines and adopted as a toddler by a blue-collar family in Everett, La was one of the ’80s babies first exposed to hip-hop through skate videos. Like others his age, the 27-year-old says he could more easily relate to rappers like Biggie Smalls than to the punk rockers who wrote the early soundtracks to skating. These days, although rock is still very much a part of skate culture, hip-hop is the genre of choice for sidewalk surfers.

It should come as little surprise that 808s and bass claps have largely supplanted three-chord thrashing in the headphones of skaters. Not only is skating almost exclusively an urban activity; from the misanthropic rhymes of Odd Future to the skinny-jeaned swagger of groups like The Knux, the younger generation of MCs was raised in the era of the X Games and the ubiquitous image of Tony Hawk.

Relaxing in a Beacon Hill recording studio, puffing on one of the potent joints about which he often raps, La recalls hearing formative music like Gang Starr

Little Bit of Jazz, Little Bit of Funk & a Little Bit of R & B

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Seattle weekly • February 15–21, 2012

music»Reverb»

DISPATCHES FROM OUR MUSIC BLOG AT SEATTLEWEEKLY.COM.REVERB

Dystopia

»SEATTLE SOUNDS

»QUESTIONS/ANSWERS

I Finally Made a Record I Like

SpoKangeles Review

Damien Jurado tells us about his roots-inspired new album, Maraqopa.

SARAH JURADO

“

I literally spent, I think, the good portion of my career making records I didn’t like.

It wasn’t until I made [2010’s] Saint Bartlett that I enjoyed my studio experience.

I think for years I’ve been put [in]—I’m guilty of this as well—sort of the singer/songwriter folky box. Being alongside other people who I love and admire—people like Bill Oldham, Mark Kozelek— they’re great songwriters, but it’s nothing that I listen to. I got in this long discussion with [producer] Richard [Swift], and he was like, ‘Why are you making records you don’t want to make? There’s no need to just, like, be in this box and pretend to be someone you’re not.’

I’m not saying every one of my albums wasn’t genuine, ’cause they were—those songs all came from a real heartfelt place. It wasn’t really me. I

”

AS TOLD TO CHRIS KORNELIS AND JOSH KERNS

This is an excerpt from Jurado’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. E

ckornelis@seattleweekly.com DAMIEN JURADO The Neptune, 1303 N.E. 45th St., stgpresents. org. All ages. $14. 9 p.m. Fri., Feb. 17.

In the new documentary SpokAnarchy!, filmmakers capture Spokane’s ’80s punk scene and the tribe that coalesced around it. Here, co-director and editor David W. Halsell, who was there to take his beatings with the rest of the Eastern Washington miscreants, took a few questions about the documentary, available on DVD and showing at the Grand Illusion through Thursday.

SW: You refer to a lot of booze-induced bisexuality in the scene. Did that eventually get sorted (I didn’t say straightened) out? Did most people sober up?

Bisexuality was kind of the “in thing” in general in the early ’80s, but unfortunately there was some predatory and/or exploitative sexual behavior in our little scene as well. Not a lot of people wanted to address that in the interviews, but we felt if it was left out, it wouldn’t tell the whole story. I think most people in the scene had some concept of being freaky bohemian libertines, so there was a lot of lifestyle experimentation going on. Remember that the scene was so small, anyone unusual or oddball gravitated to it, so there were some unscrupulous people as well as harmless hedonists.

Did the scene take a bigger hit from the shutdown of the original club that served as its epicenter, or from the infusion of heroin a few years later?

One of the things we tried to get across in the film

was the cyclical nature of such a small scene—that a club closing or losing a few key players for whatever reason changed the landscape significantly. The hard drugs did make a steady creep inward, and was really devastating to a lot of people. But one of the things about being in a smaller town is that if you want anything to happen, it’s all DIY all the time. So when things went awry, people just started over again from scratch, with new venues, bands, or what have you.

Have things changed? Can a Spokanite dressed in irregular clothes walk down the street now without risking at least one punch in the face?

I haven’t lived there since 1986, but it seems like things have certainly improved. There’s generally more more cultural exchange; part of that is due to grunge, the success of the Makers, and indie rock, but also the Internet and the general normalizing of the fringe. It’s probably easier to be a weirdo in any small town these days, but Spokane is still a pretty conservative place.

A friend who in the film told a story about getting called “Faggot!” by rednecks on a regular basis had the same thing happen last summer while taking a photo of one of the SpokAnarchy! billboards that were up around town. Some things never change! E music@seattleweekly.com

Mirth! Melancholy! Marsalis! Portland!

Last year, Branford Marsalis talked to Seattle Weekly about “The Problem With Jazz”: why old records sound better than new ones, why the genre feels too much like an exclusive club, and how there’s so little good jazz these days that when he hears something good, “it shocks me.” The interview went viral, sparking myriad Internet debates. At the time of our interview, Marsalis was headed to Jazz Alley with his band in support of Songs of Mirth and Melancholy, the phenomenal record he made with his piano player, Joey Calderazzo. The duo have played precious few shows on their own, but one of the few dates they have booked is at the Portland Jazz Festival on Sunday, February 26. And if you want to hear again about his problems with jazz, Marsalis will be interviewed on Saturday the 25th as part of the festival. Expect both performances to be fiery, and well worth the drive—or Amtrak ride. CHRIS KORNELIS

»INDUSTRIAL NOISE

Down Stream McCartney snubs Rhapsody.

Paul McCartney “shocked” Rhapsody last week when the former Beatle pulled his music from the Seattle-based music subscription service on the same day he released his new album of standards, Kisses on the Bottom. We were shocked this week when his label, Concord, called McCartney and his managers “pro-streaming.”

“This wasn’t done because [McCartney’s] people are anti-streaming,” says Phillip Bailey, Concord’s director of digital and mobile sales. “A lot of people like to bang on Spotify and streaming services. That is not what this is about. This is about how to best profile this catalog.

Streaming is absolutely viable. I’m a huge proponent of it. Even McCartney’s camp is.”

When asked if the music was pulled at the request

of McCartney’s management, Bailey said he didn’t want to point fingers. He did say, however, that McCartney’s is the only Concord catalog not available for streaming, and that the move was made in part because McCartney’s “management has decided they would really like to have some sort of unveiling” to mark the release of the catalog to subscribers. “They want, more than anything, to make it an event,” Bailey says.

In other words: After pulling the catalog from Rhapsody subscribers who had been streaming it for four years, McCartney’s management wants to make an event out of giving it back. Bailey says that day is most likely to come in the spring, sometime around the reissue of McCartney’s second post-Beatles release, Ram. McCartney’s publicist declined comment, and at press time his manager had not yet responded to a request for comment.

When McCartney brought his solo and Wings catalogs to Concord from EMI in 2010, his new label chose to withhold a few key titles—such as Band on the

Iced Earth guitarist Jon Schaffer talks 1984, the demise of the West, and the Tampa band’s 10th piece of metal.

SW: Many of the songs on Dystopia were inspired by dystopian films like Soylent Green. What makes that theme so interesting to write about?

Schaffer: I think there’s so many parallels between these works of fiction and what’s going on in real life. As with everything in the Iced Earth catalog, as a songwriter I have to be passionate about whatever subject matter I’m tackling, so this was a really cool way to get the message out in a way that’s not overtly political.

What parallels do you see between those fictional dystopias and today’s society?

If you read books like Brave New World and 1984, it just feels like we’re living in that. We’re headed down the wrong path bigtime, not only as a country—most of the governments around the world are engaged in the same criminality against the people. I think you can see the whole thing unfolding, and it’s very concerning.

Tell me about the epic, six-month world tour for this record.

Our goal is to take Iced Earth further than it’s ever gone before, and not just geographically. I believe that the West is in serious trouble of a major collapse of society. I think planting seeds in places around the world is going to ensure our survival in some very uncertain times. DAVE LAKE E music@seattleweekly.com ICED EARTH With Symphony X, Warbringer. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. All ages. $28. 7 p.m.

Wed., Feb. 15.

Run and McCartney—that had previously been available on subscription services. McCartney is the latest in a string of artists, such as the Black Keys and Coldplay, who have withheld music from subscription services, which have received heightened attention since the popular UK service Spotify entered the U.S. last year.

After pulling the catalog from Rhapsody subscribers, McCartney’s management wants to make an event out of giving it back.

“What’s great is that people are paying more attention to streaming services, and want to monetize them when they get popular,” says Rhapsody spokesperson Jaimee Minney. “It’s early days, and these are things that need to be worked out.” CHRIS KORNELIS E ckornelis@seattleweekly.com

Seat tle weekly • Febru ary 15–21, 2012

wasn’t making the records I wanted to make. We dabbled in that with Saint Bartlett, and then we definitely did that with Maraqopa.

I think I spent years trying to craft records that fit into a certain genre that would—I hate to admit this—that would get me good reviews in songwriter magazines, that would put me alongside these other artists I wasn’t listening to. That was a purposeful and conscious decision that I did. I think it worked, and then I think a lot of the times it didn’t work.

I think I took Richard’s advice: Make records I want to make. Include part of the influences I grew up with, and incorporate those into what I like, that’s what I did.

BY ANDREW HAMLIN

STEPHEN SHEFFIELD

I spent years trying to craft records that fit into a certain genre that would get me good reviews in songwriter magazines.

A new documentary gives ’80s punks in the Eastern Washington capital a moment of glamour.

»ROAD TRIP!

»TELL ME ABOUT THAT ALBUM

53

music»TheShortList brings a bit of mist to the eye. With Vultures 2012, Skelator, Motorthrone, Dominus Sabbata. El Corazon, 109 Eastlake Ave. E., 262-0482. 8:30 p.m. $15 adv./$20 DOS. GWENDOLYN ELLIOTT

Big Head Todd & the Monsters SATURDAY, FEBRUARY 18

Big Head Todd recently released a Robert Johnson tribute album, but it’s another Johnson—Jack—who owes the bulk of his success to Todd Park Mohr & co. The imposing Korean frontman proved that it was possible to be a collegiate smooth-jam fave without having to send one’s guitar into elongated fits of acid-soaked noodling.

Along with the Samples and Dave Matthews, Big Head Todd epitomized the safer, fleecevested sector of the ’90s groove-tune scene, leaving the serious degenerates to tour with the Dead and Phish. There once was a time when seeing Big Head Todd play a venue as intimate as the Neptune would have been a real coup. Yet there’s no real reason that time can’t be now, as “Bittersweet” still sounds more sweet than bitter. With Roger Clyne.

Seattle weekly • February 15–21, 2012

COURTESY OF DIE ANTWOORD

54

The Grizzled Mighty

Buck 65

WEDNESDAY, FEBRUARY 15

FRIDAY, FEBRUARY 17

The Grizzled Mighty is a blues-rock duo with a female drummer—Whitney Petty, formerly of Deerhunter—who plays simple, bare-bones beats, and a frontman, Ryan Granger, whose guitar work and vocals are raw and distorted.

Anyone who’s been paying attention to rock over the past 10 years can tell where this is going, but White Stripes comparisons don’t entirely hold up. On their self-titled debut album, The Grizzled Mighty instead recalls the early work of the Black Keys, lacking the pop sensibilities that graced White Stripes songs like “Fell in Love With a Girl” but making up for it with a hard-nosed punk edge. In short, The Grizzled Mighty play gritty, garage-leaning rock—a sound with plenty of referents besides Jack White—and play it well. With Sundries,

Nova Scotian Richard Terfry is an unlikely figure in hip-hop. He was raised in a rural setting and heralded as the next great Yankee shortstop before his baseball career was cut short by a shoulder injury. On record, Terfry has always spun his personal experiences into semi-self-referential poetry, and his lyrics frequently touch on both baseball and his former country way of life, accentuated by his mock-cowboy rasp. Now a seasoned veteran on the indie-rap circuit, he most recently released 20 Odd Years, an album which features left-field collaborations from a number of non-hip-hop artists (notably Mister Heavenly/Islands frontman Nick Thorburn); although his delivery is still as stop-start as ever, it’s some of his better work. Though his collaborators probably won’t all be in tow tonight, his sizable cult following should be, so grab a ticket ahead of time. With Busdriver, Metal Chocolates,

Mystery Ship. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599. 9 p.m. $6. ANDREW GOSPE

Phalgeron THURSDAY, FEBRUARY 16

When it comes to local black metal, few ensembles are grimmer or more monstrous than Phalgeron. Roaring guitars, earsplitting drums, and dueling black- and death-metal vocals—from Tyler Splurgis and Lane Storli, respectively—coalesce into the Seattle trio’s thunderous sound. The metal quotient is maximized tonight as the band is joined by comrades-in-arms Shaded Enmity, Sacrament Ov Impurity, Royalty in Ruins, and Deathbeat.

It’s sure to be a neck-breaking evening of headbanging and whirlwinds, drenched in the evening’s cheapest beer. El Corazon, 109 Eastlake Ave. E., 262-0482. 7:30 p.m. $8 adv./ $10 DOS. All ages. LAURA SWARTZ

Sadistik. Tractor Tavern, 5213 Ballard Ave. N.W., 789-3599. 9:30 p.m. $15. TODD HAMM

Damien Jurado FRIDAY, FEBRUARY 17

Few artists capture the Pacific Northwest’s piercing light, haunting shadows, and brooding, moody stillness as masterfully as Damien Jurado. For 17 years, he’s humbly churned out stark but sweeping masterpieces that have rarely risen above a dull roar, but whose ripples can be felt for miles around. On his 10th full-length album, Maraqopa (out Feb. 21), Jurado gracefully slides away from sparse, somber folk arrangements to incorporate lusher,

Neptune, 1303 N.E. 45th St., 877-784-4849.

9 p.m. $27.50. All ages. MIKE SEELY

The Fresh and Onlys SUNDAY, FEBRUARY 19

John Appleby. Neptune, 1303 N.E. 45th St., 877-784-4849. 9 p.m. $15. All ages. GREGORY FRANKLIN

The Fresh and Onlys are part of a closely connected faction of rock bands burning bright in San Francisco right now that includes Thee Oh Sees, Sonny and the Sunsets, the Sub Pop–signed Kelley Stoltz, and the Hardly Art–signed Sandwitches, all of whom draw influences from raw ’60s garage pop and freewheeling psychedelia.

The four-piece releases recordings in a prolific stream; their latest is last year’s Secret Walls EP, brooding and thickened with walls of reverb. Their music sometimes hints at folk with its loose and languid melodies, but later this year they’ll release a new full-length that will break another mold by including what the band’s bassist calls “Nashville-tuned guitar[s].” With Disappears,

Anvil

Grave Babies. Chop Suey, 1325 E. Madison St., 324-8005. 8 p.m. $10. ERIN K. THOMPSON

South African ninjas Die Antwoord.

more diverse sounds. Maraqopa finds Jurado expanding his wingspan with quiet confidence, bringing spaced-out psychedelia and the atmospheric ramble of Ennio Morricone’s high-lonesome spaghetti-Western soundtracks into his sonic fold. With Gold Leaves, Bryan

SATURDAY, FEBRUARY 18

I’m not a big sports fan, but when I find Spaceneedles SUNDAY, FEBRUARY 19 myself watching a game, I often root for the underdog. Seeing Anvil! The Story of Anvil, If all the 2011 grunge-anniversary nonsense director (and former roadie) Sacha Gervasi’s made you a little sick to your stomach, who 2009 documentary about a beloved but can blame you? The movement that changed down-on-their-luck Canadian metal band, this town for better or worse (depending extracted a similar emotional response: on whom you talk to) and then spawned a Here’s a group who toured with Bon Jovi, million terrible imitators certainly has its Whitesnake, and share of detractors. the Scorpions in the Perhaps the biggest beef early ’80s and influwith the scene was that Tune in to 97.3 KIRO FM every Sunday at 3 p.m. enced everyone from it hasn’t really been to hear music editor Chris Kornelis Metallica to Anthrax, properly rebooted by a on Seattle Sounds. but who despite all their new generation—ours. heart, stamina, and big Spaceneedles may hair never achieved a similar lasting change that. A tight outfit including members success. Their 14th LP, Juggernaut of of Feral Children and Grand Archives, these Justice, was released last year, and while kids understand their flannel-clad legacy it hardly captures the one-two punch of but take it to a fresher, sexier, more inspired 1982’s Metal on Metal or 1983’s Forged in place, keeping it simultaneously heavy and Fire—widely considered their best—the easy on the ears. With Pony Time, Slow Dance. thought that the band’s back on the road, Cha Cha, 1013 E. Pike St., 322-0703. 9 p.m. rocking out and making the music they love, Free with donation. MA’CHELL DUMA LAVASSAR

e

Die Antwoord MONDAY, FEBRUARY 20

Hipster Runoff once called Animal Collective “a band created for/by/on the Internet,” but that distinction might be more appropriate for Die Antwoord. The South African hip-hop group emerged into the Internet’s collective consciousness in early 2010 when its video for “Enter the Ninja” began to go viral. The clip introduced the world to Ninja, Yo-Landi Vi$$er, and DJ Hi-Tek’s “next-level beats,” but from Ninja’s white trash/Vanilla Ice aesthetic to Yo-Landi’s pixieish vocals, it all seemed like an elaborate joke. But it wasn’t: The group went on to score a record deal, though its most recent album, Ten$ion, was self-released.

It’s this combination of cheekiness and ability (Ninja, the MC, is a veteran in the South African hip-hop community) that makes Die Antwoord so interesting; if tonight’s show lives up to the videos that vaulted the group to success, it’ll be a spectacle worth getting up from your PC to check out. Showbox at the Market, 1426 First Ave., 628-3151. 8 p.m. Sold out. All ages. ANDREW GOSPE

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Seat tle weekly • Febru ary 15–21, 2012

MONDAY, FEBRUARY 20

This Canadian vocalist/keyboardist, aka 23-year-old Claire Boucher, came through Seattle a couple of times last year as a opener for fellow synth princesses Lykke Li and Austra. This time she’s headlining in anticipation of her first full-length album. After releasing three EPs with Montreal indie label Arbutus Records, Grimes signed a deal with 4AD, which will put out Visions Feb. 21. Via Twitter, Grimes rejoiced over 4AD’s Cocteau Twins connection, saying “goth is sick,” but her gorgeously ecstatic new single, “Genesis,” is actually brighter and bubblier than her previous chilly, moody material; with its scintillating synth rhythms and sparkling beats, it’s positively euphoria-inducing.

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seven»nights

RCA RECORDS

Concerts This Week FRIDAY, FEB. 17

DAMIEN JURADO: SEE SHORT LIST, P. 54.

NATALIE COLE: 8:30 p.m., $40-$90. Emerald Queen Casino,

2024 E. 29th St., Tacoma, 253-594-7777.

SATURDAY, FEB. 18

BIG HEAD TODD AND THE MONSTERS: SEE SHORT

LIST, P. 54.

TUESDAY, FEB. 21

MEGADETH: With Motorhead, Volbeat, Lacuna Coil All

ages., 6:30 p.m., $38-$48. ShoWare Center, 625 W. James St., Kent, 253-856-6999.

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

441-9729. Brian Culbertson, Feb. 15-19, 7:30 & 9:30 p.m., $32.50.

HIGHWAY 99 BLUES CLUB: 1414 Alaskan Way, Seattle, 382-2171. Lisa Theo, with Kim Field & The Mighty Titans of Tone., 8 p.m., $7.

TULA’S: 2214 Second Ave., Seattle, 443-4221. Hal Sherman’s Bellevue Community College Jazz Band, 7:30 p.m., $7.

VITO’S: 927 Ninth Ave., Seattle, 397-4053. The Leeni and Love Show, 9 p.m., NC.

AFROPOP/REGGAE/WORLD MUSICQUARIUM LOUNGE: 216 Union St., Seattle,

838-4333. Kane Mathis, 4:30 p.m., NC.

Thursday 16

Wednesday 15

ROCK/POP/INDIE

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

Wrongs, with Apollos, Bang Sha Bang, Beehive., 9 p.m., $6.

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

Jose Fang, with Whywolves, Bullets Or Balloons., 9 p.m., $5.

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

723-0088. Downpilot, with Kristin Chambers., 8 p.m.

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

Girls, with Out On The Streets, Roman Holiday, No More Knives., 8 p.m., $6 adv./$8 DOS. JEWELBOX/RENDEZVOUS: 2322 Second Ave., Seattle, 441-5823. FRO, with The Montegos., 10 p.m., $5.

NEUMOS: 925 E. Pike St., Seattle, 709-9467. Anthony Green, with The Dear Hunter, Kay Kay and his Weathered Underground All ages., 7 p.m., $15.

SHOWBOX AT THE MARKET: 1426 First Ave., Seattle, 628-3151. Iced Earth, with Symphony X, Warbringer All ages., 6 p.m., $25 adv./$28 DOS. SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 784-4880. Yay Conifers, with Death By Stars, Umber Sleeping., 9:30 p.m., $6.

TRACTOR TAVERN: The Grizzled Mighty: SEE SHORT LIST, P. 54.

Constant Lovers, with Blood Orange Paradise, Baltic Cousins, Confetti Kids., 9 p.m., $7.

EL CORAZON: Phalgeron: SEE SHORT LIST, P. 54.

FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. The Starlight Girls, with Detective Agency, Branden Daniel & the Chics., 9:30 p.m., $5.

NEUMOS: 925 E. Pike St., Seattle, 709-9467. Viper Creek Club, with Sports, The Fascination Movement, Tito Ramsey., 8 p.m., $8.

THE RAT AND RAVEN: 5260 University Way NE, Seattle, 524-3166. Diminished Men, with Geist & The Sacred Ensemble, Terminalfuzzterror, Mood Organ., 8 p.m., $5.

SHOWBOX AT THE MARKET: 1426 First Ave., Seattle, 628-3151. Mat Kearney, 7:30 p.m., $23 adv./$25 DOS. SKYLARK CAFE & CLUB: 3803 Delridge Way S.W., Seattle, 935-2111. The Silent Numbers, 9 p.m., $5.

STUDIO SEVEN: 110 S. Horton St., Seattle, 286-1312. WSD, with Ryot, Clockswork End All ages., 7 p.m., $7 adv./$9 DOS. SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 784-4880. Craig Extine and the Exiles, with Charles Leo Gebhardt IV., 9:30 p.m., $6.

COUNTRY/FOLK/ROOTS

COUNTRY/FOLK/ROOTS

Certain Inertia, 9 p.m.

CROCODILE: 2200 Second Ave., Seattle, 441-7416. Blue Star Creeper, with Radioshark, Countrycide., 8 p.m., $5.

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

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

Roth, with The Golden Ghosts., 8:30 p.m., $17 adv./$20 DOS.

Seattle weekly • February 15–21, 2012

JAZZ/BLUES

Club Listings ROCK/POP/INDIE

56

Hot Chelle Rae takes over the Showbox SoDo on Saturday, February 18.

FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. IQ9,

9:30 p.m., $5.

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

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

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

•

CAFE RACER: 5828 Roosevelt Way N.E., Seattle, 523-5282.

Earl Brooks, 9 p.m.

3640. Past Impending, with Ten Speed Music, Andrew Norsworthy, Highway Evangelism., 9 p.m.

LITTLE RED HEN: 7115 Woodlawn Ave. N.E., Seattle, 522-1168. Highway 9, 9 p.m., $3.

TRACTOR TAVERN: 5213 Ballard Ave. N.W., Seattle, 789-3599.

Ari Hest, with Lucas Field., 8 p.m., $12 adv./$15 DOS.

CONCERT SERIES

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Seat tle weekly • Febru ary 15–21, 2012

BALKAN BEAT BOX

57

58

seven»nights THE TRIPLE DOOR: 216 Union St., Seattle, 838-4333.

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

DANCE/DJ/ELECTRONIC

HIP-HOP/R&B

Andy McKee, with Antoine DuFour All ages., 7:30 p.m., $18 adv./$20 DOS.

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

Run DMT, with Novatron, Northstar, Darwin., 8 p.m., $10.

JAZZ/BLUES

88 KEYS: 315 Second Ave. S., Seattle, 839-1300. The

Descendants Live, 8 p.m., NC.

HIGHWAY 99 BLUES CLUB: 1414 Alaskan Way, Seattle,

382-2171. Hot Rod Holman Blues Band, 8 p.m., $7.

MUSICQUARIUM LOUNGE: 216 Union St., Seattle,

838-4333. Black River Blues, 9 p.m., NC.

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

906-9920. Yada Yada Blues Band, 8 p.m. continues through Feb. 23, NC. SMOKIN’ PETE’S BBQ: 1918 N.W. 65th St., Seattle, 783-0454. Cheri Adams, 6:30 p.m., NC. TULA’S: 2214 Second Ave., Seattle, 443-4221. Fred Hoadley’s Sonando, 8 p.m.

VITO’S: 927 Ninth Ave., Seattle, 397-4053. The Ron Weinstein Trio, 9 p.m., NC.

Lucciauno “Respect” CD Release and Birthday Bash, with 3rdz and DJ Action Jackson., 9 p.m., $8.

CROCODILE: 2200 Second Ave., Seattle, 441-7416. The Coup, with Theoretics, DJ Funkscribe., 8 p.m., $13.

FAIRE GALLERY CAFE: 1351 E. Olive Way, Seattle, 652-0781. Ganjaology, 9 p.m., NC. NECTAR LOUNGE: 412 N. 36th St., Seattle, 632-2020. Open Mike Eagle, with The MC Type, Sarx + Graves 33, Three Ninjas., 8 p.m., $5.

SKYLARK CAFE & CLUB: 3803 Delridge Way S.W., Seattle, 935-2111. Urban Seeds, with Chad Knight., 9 p.m., $5.

TRACTOR TAVERN: Buck 65: SEE SHORT LIST, P. 54.

JAZZ/BLUES

CAFE RACER: 5828 Roosevelt Way N.E., Seattle, 523-5282.

The Imagination Ensemble, 9 p.m.

HIGHWAY 99 BLUES CLUB: 1414 Alaskan Way, Seattle,

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

CAIRO: 507 E. Mercer St., Seattle. Case Studies, with

FUNK/SOUL

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

Shaprece, with Reva Devito, Zach Bruce., 8 p.m., $10.

Friday 17 ROCK/POP/INDIE

Halcyon Daze, with Purple, Country Lips., 10 p.m., $8.

Perpetual Ritual, Baby Guns All ages., 8 p.m., $5.

CENTRAL SALOON: 207 First Ave. S., Seattle, 622-0209.

Sea of Misinformation, with The Whywolves., 9 p.m., $5.

COLUMBIA CITY THEATER: 4918 Rainier Ave. S., Seattle, 723-0088. Margone, with Wilt, Cynerae, Countdown to Armageddon, Squalora., 9 p.m., $5.

COMET TAVERN: 922 E. Pike St., Seattle, 322-9272. Dead Ship Sailing, with The Tight Wigs, Pressed., 9 p.m., $7.

DARRELL’S TAVERN: 18041 Aurora Ave. N., Seattle, 542-6688. The Finger Guns, with The Stereo Creeps, The Jesus Chords., 9 p.m., $6.

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

Super Geek League, with Quickie All ages., 8 p.m., $10 adv./$12 DOS. FUEL: 164 S. Washington St., Seattle, 405-3835. Sue Quigley, with Late September Dogs, Jamie Nova., 9:30 p.m., $5.

FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Master Musicians of Bukkake, with Darsombra, Fungal Abyss., 9 p.m., $8.

HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. Man Without Wax, with The Get, Buzz Brump, Ironwood Run., 9 p.m., $7.

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

628-3151. George Clinton & Parliament Funkadelic, 8 p.m., $20 adv./$25 DOS.

Saturday 18 ROCK/POP/INDIE

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

Ghost Lobby, with Prat Attack., 10 p.m., $6.

CAIRO: 507 E. Mercer St., Seattle. Footwork, with JBVM,

Psychic Feline, Formica Man, Stickers All ages., 8 p.m., $5.

DANIEL MULLER

JEWELBOX/RENDEZVOUS:

Seattle weekly • February 15–21, 2012

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

382-2171. The Fat Tones, with James King & The Southsiders., 8 p.m., $12.

MUSICQUARIUM LOUNGE: 216 Union St., Seattle, 838-4333. Ranger and the “Re-Arrangers”, 5 p.m., NC. THE ROYAL ROOM: 5000 Rainier Ave. S., Seattle, 906-9920. Painting The Town Red: The Music of Billie Holiday, with Johnaye Kendrick, Craig Flory, Matthew Weiner., Fri., Feb. 17, 8:30 p.m.; Fri., Feb. 24, 8:30 p.m., NC. SORRENTO HOTEL: 900 Madison St., Seattle, 622-6400.

Brazilnova, All ages., 7:30 p.m., NC. TULA’S: 2214 Second Ave., Seattle, 443-4221. Stephanie Porter Quartet, 7:30 p.m., $15.

HIP-HOP/R&B

58

Thunderbird Motel, with Armed With Legs, Hero Cop., 9:30 p.m., $5.

2322 Second Ave., Seattle, 441-5823. Hot Seat, with The Pack Mules, The Turpentines., 10 p.m., $5.

NEUMOS: 925 E. Pike St., Seattle, 709-9467. Cursive, with Ume, Virgin Islands., 8 p.m., $15.

THE PINK DOOR: 1919 Post Alley, Seattle, 443-3241.

Johnny Astro, 9 p.m.

THE RAT AND RAVEN: 5260 University Way NE, Seattle, 524-3166. Local Dudes, with Branden Daniel & The Chics, The Piniellas., 8 p.m., $6.

SHOWBOX AT THE MARKET: 1426 First Ave., Seattle, 628-3151. The Presidents of the United States of America, with No-Fi Soul Rebellion., 8 p.m., $20 adv./ $25 DOS.

SLIM’S LAST CHANCE CHILI SHACK & WATERING HOLE: 5606 First Ave. S., Seattle, 762-7900. The Satellite

4, with Rabbit Skin Glue., 9 p.m.

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

Swamp Doctor, with Kool Stuff Katie, Johnny Hoffman & The Residents, Losing Daylight, Sundaes on Monday, Ambition Brings Fire, At Athens Alone, The Morels, So-Low & Cory Spitz, The Lot Lizard and Deadly Poets All ages., 5:30 p.m., $8 adv./$10 DOS. THE TRIPLE DOOR: 216 Union St., Seattle, 838-4333. Bob Mould, All ages., 8 p.m., $25.

THE VERA PROJECT: 305 Harrison St. (Seattle Center), Seattle, 956-8372. Polica, All ages., 7:30 p.m., $11.

Cursive headlines Neumos on Friday, February 17.

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

723-0088. NighTrain, with Watch it Sparkle, The Black Tones., 9 p.m., $6.

COMET TAVERN: 922 E. Pike St., Seattle, 322-9272. St. James Society, with Yuni In Taxco, Western Haunts., 9 p.m., $7.

CROCODILE: 2200 Second Ave., Seattle, 441-7416. Bombay Bicycle Club, 8 p.m., $16.

EL CORAZON: Anvil: SEE SHORT LIST, P. 54.

FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Dreadful Children, with The Triple Sixes, 9lb Beaver., 9 p.m., $6.

HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. The Strange Nails, with Left Coast Country, Friends of Knuckleshead, Iosis., 7 p.m., $7.

NEUMOS: 925 E. Pike St., Seattle, 709-9467. The Asteroids Galaxy Tour, with Vacationer., 8 p.m., $13.

THE RAT AND RAVEN: 5260 University Way NE, Seattle, 524-3166. Wah Wah Exit Wound, with Spirit of the Radio, Crawlin., 9 p.m., $5.

seven»nights SHOWBOX AT THE MARKET: 1426 First Ave., Seattle,

628-3151. The Presidents of the United States of America, with The Legendary Duo: Sean Wheeler and Zander Schloss and Mike Phirman., 8 p.m., $20 adv./$25 DOS. SHOWBOX SODO: 1700 First Ave. S., Seattle, 652-0444.

Hot Chelle Rae, with Cady Groves, Electric Touch All ages., 6 p.m., $15 adv./$18 DOS. SKYLARK CAFE & CLUB: 3803 Delridge Way S.W., Seattle, 935-2111. The Last Great Love, with No Ghost, Like Lightning., 9 p.m.

SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 784-4880. A Tribute to Greg Cartwright and the Reigning Sound, with members from The Tripwires, The Cops, The Golden Blondes, Mutiny Fires, The Riffbrokers., 10 p.m., $8.

COUNTRY/FOLK/ROOTS

CAFE RACER: 5828 Roosevelt Way N.E., Seattle, 523-5282.

Lonesome Shack, 9 p.m., NC.

America, with Tilson, Daydream Vacation All ages., 7 p.m., $20 adv./$25 DOS. SKYLARK CAFE & CLUB: 3803 Delridge Way S.W., Seattle, 935-2111. Sound of Speed, with City By Storm, Black Beast Revival All ages., 7 p.m., $5.

COUNTRY/FOLK/ROOTS

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

675-9116. Lost River String Band, with Cowbell West, Eric Freeman., 7 p.m., NC. COLUMBIA CITY THEATER: 4918 Rainier Ave. S., Seattle, 723-0088. Jonathan Kingham, with Andy and Peter Kingham of Feverton., 7 p.m., $10 adv./$14 DOS. LITTLE RED HEN: 7115 Woodlawn Ave. N.E., Seattle, 522-1168. Robbie Walden, 9 p.m., $3.

PIES & PINTS: 1215 N.E. 65th St., Seattle, 524-7082. Sunday Night Folk Review, 8 p.m. continues through March 25, NC.

JAZZ/BLUES

88 KEYS: 315 Second Ave. S., Seattle, 839-1300. Freedom Project’s 11th Anniversary Party, with Elnah Jordan, Jimmy Holden, Ayron Jones & The Way., 4 p.m., $15.

MUSICQUARIUM LOUNGE: 216 Union St., Seattle, 838-4333. Jargon, 8 p.m., NC.

WED 2/15

THUR 2/16

ROCK/POP/INDIE COMET TAVERN: 922 E. Pike St.,

NETTWERK RECORDS

Jenny Owen Youngs plays the Tractor on Monday, February 20.

CENTRAL SALOON: 207 First Ave. S., Seattle, 622-0209.

CD Woodbury, 9 p.m., $5.

DARRELL’S TAVERN: 18041 Aurora Ave. N., Seattle, 542-6688. The Black Crabs, with The Roy Kay Trio, Blacktop Deceiver., 9 p.m., $6.

LITTLE RED HEN: 7115 Woodlawn Ave. N.E., Seattle, 522-1168. Knut Bell & The Blue Collars, Fri., Feb. 17, 9 p.m.; Sat., Feb. 18, 9 p.m., $5.

Seattle, 322-9272. Sebastian & The Deep Blue, with Fierce Creatures, Animal Eyes., 9 p.m., $6.

FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Schiphazoa, with Tamagaywa, Drone A Clochettes., 9:30 p.m., $5.

TRACTOR TAVERN: 5213 Ballard Ave. N.W., Seattle, 789-3599. Jenny Owen Youngs, 8 p.m., $10.

HIP-HOP/R&B

SHOWBOX AT THE MARKET: Die Antwoord: SEE SHORT

LIST, P. 54.

DANCE/DJ/ELECTRONIC

SUNSET TAVERN: Grimes: SEE SHORT LIST, P. 54.

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

Jam, with Zions Gate Sound., 10 p.m., $5.

JEWELBOX/RENDEZVOUS: 2322 Second Ave., Seattle, 441-

5823. Alchymeia, with Les Pamplemousses., 9 p.m., $12.

JAZZ/BLUES

ROCK/POP/INDIE

652-0781. Owuor Arunga, 9 p.m., NC. HIGHWAY 99 BLUES CLUB: 1414 Alaskan Way, Seattle, 382-2171. Randy Oxford Band, with Christine Harvilla., 8 p.m., $15.

THE ROYAL ROOM: 5000 Rainier Ave. S., Seattle, 906-9920. Skerik’s Bandalabra, 9:30 p.m., NC.

CHA CHA LOUNGE: Spaceneedles: SEE SHORT LIST, P. 54.

CHOP SUEY: The Fresh and Onlys: SEE SHORT LIST, P. 54.

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

Redrick Sultan, with Silicon Girls, Buster Austero., 8:30 p.m., $8 adv./$10 DOS. FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Chains Of Love, 9:30 p.m., $6.

HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. Irukandji, with Black Plastic Clouds, Fat Kids., 8 p.m., $6.

SONIC BOOM RECORDS BALLARD: 2209 N.W. Market St., Seattle, 297-2666. Damien Jurado, All ages., 6 p.m., NC. STUDIO SEVEN: 110 S. Horton St., Seattle, 286-1312.

English Dogs, with The Casualties, Toxic Halocaust, Havok, The Bloodclots, Encourager, Sledgeback All ages., 6 p.m., $17 adv./$20 DOS. SUNSET TAVERN: 5433 Ballard Ave. N.W., Seattle, 7844880. Neutral Uke Hotel, with Golden Bloom, Michael J. Epstein., 9:30 p.m., $8 adv./$10 DOS. TRACTOR TAVERN: 5213 Ballard Ave. N.W., Seattle, 7893599. Veronica Falls, with Bleached, Seapony., 8 p.m., $10.

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

COUNTRY/FOLK/ROOTS

Sunday 19 ROCK/POP/INDIE

88 KEYS: 315 Second Ave. S., Seattle, 839-1300. Sightseer,

with The Juliettes, Rob Marcus., 7 p.m., $5.

Lifestyles of the Poor & Unknown, 4 p.m., $5.

The Maddigans, with Right Your Wrongs, Radumus, Moral Of The Story, MayFourthMovement All ages., 7:30 p.m., $8 adv./$10 DOS. FUNHOUSE: 206 Fifth Ave. N., Seattle, 374-8400. Tyler Jakes & The Bootleggers, 9:30 p.m., $5.

HIGH DIVE: 513 N. 36th St., Seattle, 632-0212. For the Birds, with Neon State., 7 p.m., NC. SHOWBOX AT THE MARKET: 1426 First Ave., Seattle, 628-3151. The Presidents of the United States of

CHARLES LEO GEBHARDT IV DEAN JOHNSON

FRI 2/17

C-LEB & THE KETTLE BLACK DJ MIKE NIPPER & YET

10PM • $8 ADVANCE / $10 DAY OF SHOW

A TRIBUTE TO GREG CARTWRIGHT AND THE REIGNING SOUND SAT 2/18

WITH MEMBERS OF THE FUCKING EAGLES • THE COPS DAVIDSON HART KINGSBERRY MUTINY FIRES • GOLDEN BLONDES AND MANY MORE!!!!

10PM • $8

MON 2/20

TUE 2/21

GRIMES

BORN GOLD • USF

9:30PM • $8 ADVANCE / $10 DAY OF SHOW THIS SHOW IS SOLD OUT!

THU/FEBRUARY 16 • 7:30PM

andy mckee

featuring special guest antoine dufour FRI/FEBRUARY 17 • 8PM

AN EVENING OF READING & MUSIC

see a little light w/ bob mould

NEUTRAL UKE HOTEL GOLDEN BLOOM MICHAEL J. EPSTEIN

9:30PM • $8 ADVANCE / $10 DAY OF SHOW

NOW SERVING FLYING SQUIRREL PIZZA 5PM - 9:30PM WITH HAPPY HOUR SPECIALS NO COVER CHARGE FOR DINNER

WED/FEBRUARY 22 • 7:30PM

vonda shepard solo w/ jill cohn

FRI/FEBRUARY 24 • 8PM

random manor & the halyards

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

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

Grant Conspiracy, with Say Banzai., 9 p.m.

LITTLE RED HEN: 7115 Woodlawn Ave. N.E., Seattle, 522-1168. Buck Haggard, 9 p.m.

JAZZ/BLUES

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

441-9729. Regina Carter, Tue., Feb. 21, 7:30 p.m.; Wed., Feb. 22, 7:30 p.m., $24.50.

SAT/FEBRUARY 25 • 8PM

massy ferguson w/ the bgp

next • 2/28 shelby earl’s birthday bash • 3/2 vagabond opera • 3/3 solas • 3/8 & 3/9 leroy bell & his only friends • 3/10 the dudley manlove quartet • 3/11 dark divas • 3/14 lucy wainwright roche • 3/15 - 3/17 mark siano presents modern luv

• 2/15 kane mathis • 2/16 black river blues • 2/17 ranger and the “rearrangers” / roots rock fridays w/ selecta’s element & matsui • 2/18 irukandji physics of fusion • 2/19 jargon • 2/20 free funk union • 2/21 fat tuesday! w/ tubaluba / trivia + industry night!

TO ENSURE THE BEST EXPERIENCE

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

thetripledoor.net 216 UNION STREET, SEATTLE 206.838.4333

Seat tle weekly • Febru ary 15–21, 2012

TUESDAY 21

FAIRE GALLERY CAFE: 1351 E. Olive Way, Seattle,

CRAIG EXTINE AND THE EXILES

AFROPOP/REGGAE/WORLD

SLIM’S LAST CHANCE CHILI SHACK & WATERING HOLE: 5606 First Ave. S., Seattle, 762-7900. Buck

Hazzard, with Gin Creek., 9 p.m.

dinner & show

9:30PM • $6

NEUMOS: 925 E. Pike St., Seattle,

Monday 20

DEATH BY STARS SLIIDE 9:30PM • $6

AFROPOP/REGGAE/ WORLD 709-9467. The Budos Band, 8 p.m., $14.

YAY CONIFERS

59

music»Karaoke Karaoke Listings

Un.cSIomC Tw.RlittYlerM LIVE COUN he ed ww

88 KEYS 315 Second Ave. S., 839-1300, ilove88keys.com.

Free. Mondays–Tuesdays, 8 p.m.–2 a.m.

AMORE INFUSED 522 Wall St., 770-0606, tasteofamore. com. NC. Tuesdays, 7 p.m.

THURSDAY FEB 16

HIGHWAY 9

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9PM - $3 COVER

FRIDAY & SATURDAY FEB 17 & 18

KNUT BELL

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9PM - $3 COVER 4PM - OPEN MIC NIGHT W/ BILLY BODACIOUS

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LITTLE RED HEN 7115 Woodlawn Ave. N.E., 522-1168,

littleredhen.com. Free. Mondays, Wednesdays, 9 p.m.

6508 Roosevelt Way N.E., 729-6266, theatlanticcrossing. com. NC. Mondays, 9 p.m.

BLARNEY STONE 1909 Third Ave., 448-8439, blarneystoneseattle.com. NC. Saturdays, 9 p.m.

MARCO POLO BAR & GRILL 5613 Fourth Ave. S., 762-

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BOGART’S AIRPORT WAY

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

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ohanabelltown.com. NC. Sundays, 10 p.m.

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

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RICKSHAW RESTAURANT & LOUNGE 322 N. 105th St.,

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SPECTATOR 529 Queen Anne Ave. N., 599-4263,

thespectatorsports.com. NC. Thursdays–Saturdays, 9:30 p.m.

TALARICO’S 4718 California Ave. S.W., 937-3463,

talaricoswest.com. NC. Mondays, Tuesdays, Thursdays, Sundays, 9:30 p.m.

TARASCO MEXICAN RESTAURANT 1452 N.W. 70th St., 782-1485. NC. Saturdays, 9 p.m.

THE CUFF 1533 13th Ave., 323-1525, cuffcomplex.com. NC. Thursdays, 8 p.m.

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

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

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

AT 8PM; SUN, MON, TUES

HAPPY HOUR 9AM-NOON & 4-7 PM

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

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WED, 2/15 9PM ~ $6 LOCAL GARAGE ROCK

SUN, 2/19 8PM ~ $6 LOCAL SINGER/SONGWRITER

SUNDRIES MYSTERY SHIP

YOUNGBLOOD GROOVEMENT FORTUNE DWELLERS

THUR, 2/16 8PM ~ $12ADV/$15DOS

MON, 2/20 8PM ~ $10 INDIE POP/ROCK SINGER/SONGWRITER

Seattle weekly • February 15–21, 2012

THE GRIZZLED MIGHTY

60

FOLK SINGER/SONGWRITER

MATT BEKKER

ARI HEST

JENNY OWEN YOUNGS

LUCAS FIELD

LITTLE HURRICANE KIMO MURAKI OF TINY MESSENGERS

FRI, 2/17 9PM ~ $15 THE TRACTOR AND 90.3 KEXP PRESENT CANADIAN ALT-HIP HOP ARTIST

TUES, 2/21 8PM ~ $10 INDIE POP/ROCK SINGER/SONGWRITER

BUCK 65

BUSDRIVER METAL CHOCOLATES SADISTIK SAT, 2/18 9PM ~ $10 SX-SEATTLE SEND OFF PARTY WITH

MY GOODNESS

THE YOUNG EVILS DON’T TALK TO THE COPS TACOCAT

VERONICA FALLS BLEACHED SEAPONY

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

CHUCK PROPHET

AND THE MISSION EXPRESS

RED JACKET MINE

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

P U &COMING:

2/23 BREATHE OWL BREATHE, CATALDO, KENDL WINTER 2/24 Square Peg presents PURPLE HAZE - Jimi Hendrix tribute, MADMAN SAM 2/25 OPSB Rugby presents THE FULL MONTY 2/27 MONDAY SQUARE DANCE with THE TALLBOYS 2/28 Square Peg presents PRINCETON 2/29 WHITNEY BALLEN, TIMOTHY ROBERT GRAHAM, STEPHEN NIELSEN 3/1 MINIATURE TIGERS, THE CHAIN GANG OF 1974, GEOGRAPHER, PRETTY & NICE 3/2 Square Peg presents RECKLESS KELLY, ROSE’S PAWN SHOP 3/3 REPTAR, SPRING NORTH, THE WEST 3/4 DEKE DICKERSON, THE ROY KAY TRIO 3/6 TRIBES 3/7 STG presents Love Me Some Townes Van Zandt feat. KASEY ANDERSON, LINDSAY FULLER, JEFF FIELDER, KEVIN MURPHY, STAR ANNA & JUSTIN DAVIS, IAN MOORE 3/9 KNUT BELL & THE BLUE COLLARS, DAVIDSON HART KINGSBERY, TRAINWRECK 3/10 THE TWILIGHT SAD, MICAH P HINSON

KaraoKeKorrespondent » by jeff roman

Saltwater Raffy

A couple Fridays ago, my cousin Raffy celebrated his 50th birthday. I had the date marked on my calendar for weeks, but didn’t learn until that day that we would be singing at Star Bar & Grill in Federal Way. Nothing gets me more excited than being surprised with a karaoke night I didn’t realize I was going to have.

The only other time I’d sung in Federal Way was on a dead Wednesday last April, when I checked out three different spots but did not find the audience I was looking for. I knew this night would be different because it was the weekend and I had my cousin Karlo with me. Some of my most epic karaoke nights have been with him by my side.

The Venue: We arrived just after 9 p.m. and the place was slammed. They had a packed karaoke show going on at one end of the bar, and a dart tournament at the other. Around 200 people were there, and there was no place to sit.

We ended up hanging out around a pool table with Raffy and his buddies.

The Setup: The KJ’s station, microphones, and monitor were all located in their own little section in the back corner. There wasn’t a real stage, but the tables and booths that surrounded this area established a natural spot for the performers to sing. The only TV that displayed lyrics for the audience to follow was in that corner. All the rest showed sports.

The KJ/Book: The host went by DJ Geodaddy.

He kept rotations at 15 singers before starting a new one, and opened every rotation with a song of his own. Song binders organized by both artist and song title were spread throughout the bar.

The artist catalog we searched through was 115 pages thick. It was pretty beat-up, with pages falling out, but the host had more selections available than were represented in the book— there was a note at the bottom of each page to text 206-370-0817 for special requests.

The Performances/Audience: The best singer of the night was a black dude who sang the best rendition of Gregory Abbott’s “Shake You Down” I have ever heard. As busy as the place was, I wasn’t expecting to sing more than twice, but had a bunch of songs ready just in case. Raffy’s group got up a lot because he was joining in on a lot of duets. I was called up within half an hour of turning in my slip, and got thumped trying to sing 38 Special’s “Caught Up in You.” I forgot to tell the KJ to take it down a key, and by the time the song started, it was too late. I would rather struggle through a song than ask to change the key as it’s going; a key change during a song indicates to everyone that I’m admitting I can’t hack it in the normal key. As it was, every moment was brutal, but I looked down at this dude in a mohawk who was bobbing his head to the beat, and he made me feel better.

Karlo followed me and got the entire bar behind him as he delivered Neil Diamond’s “Forever in Blue Jeans” like the ringer he is. Then Raffy rocked out with an awesome performance of the Beatles’ “Come Together.” I eventually redeemed myself with some Little River Band, but it took two hours for that to happen. E karaoke@seattleweekly.com STAR BAR & GRILL 31216 Pacific Hwy. S., 253-946-9734, FEDERAL WAY

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column»Toke Signals

Two Weed Worlds

I

was pleased recently when, for the first time in a couple of years, I picked up a copy of the Peninsula/Kitsap edition of the Little Nickel. In a new development (since the last time I paid attention), it seems medical-marijuana-related ads have become the dominant theme at the top of the front page: Mari-Meds in Belfair (360275-1181), Key Peninsula Collective in Lakebay (253-884-6420), Tacoma Greenthumb’s Port Orchard branch (360-443-2293), and a recently opened Silverdale location (360-698-0353).

It wasn’t only medicalmarijuana collectives represented, either. There were also ads for authorization clinics, with offices in far-afield places like Shelton and Gig Harbor.

This is a welcome development.

Safe access to the herbal medicine that works best for patients shouldn’t depend on one’s geographical location. Every patient who needs medical marijuana statewide

Safe access to the herbal medicine that works best for patients shouldn’t depend on one’s geographical location. should have safe access to it—that’s why voters approved the law that said as much 14 years ago.

Not long after happily noting this sign of progress in Washington, I visited my home state of Alabama. The visit, my first since last June, served as a stark reminder of what we have to lose in Washington if we don’t insist on safe access.

Forcing sick people to look for cannabis on the black market is not sound public policy,

and that’s exactly the situation in Alabama. However—an important however— I also learned something else on this visit to the Deep South: An informal underground patient network looks after its own.

Incensed by my last column on the scene in Alabama, which lamented the lack of choices, quality, and safe access in the Heart of Dixie, anonymous local donors saw to it that, this time at least, I wouldn’t have to suffer for lack of quality cannabis to control the symptoms of my liver and intestinal ailments.

“We just don’t want you going back to Seattle and writing about the bad stuff, without also mentioning the existence of some good stuff,” one anonymous benefactor told me.

First to my aid was a fellow pain patient who brought me some good golden-tinged buds of uncertain origin, along with another outdoor-grown strain called Mango. Next up was a batch of powerful Concorde x Chronic. (Concorde is a cross of Purple Kush and Grand Daddy Purple.) And finally, yet another batch of crude but powerful outdoor indica-dominant flowers that looked like a Southern cousin of the Hog, the famous Tennessee indica strain. Its quick cure lent it a distinctly hay-like aroma—until I started breaking up and toking the flowers, at which point I realized that the barnyard-smelling weed had a powerful kick.

I got by with a little help from my friends.

But as heartwarming as the quality-of-life cannabis donations were, I found myself looking forward to returning to Washington, where the threat of arrest is lower and where I could once again enjoy the relaxed atmosphere and superior selection of legal collectives. E Steve Elliott edits Toke of the Town, Village Voice Media’s site of cannabis news, views, rumor, and humor.

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Dear Dategirl, I met the prototypical “nice guy” just before I left the country for a year. He’s respected in his field and revered by his students.

We got close quickly, and spent my year away Skyping constantly and making plans for our future. When I returned to the States, we moved in together to begin a new adventure in a new city.

The move did not go well. When we encountered mechanical troubles on the road, he blamed me for everything! Apparently I’m supposed to know what a timing belt is and that it needed to be changed. This was just a sampling of what was to come. When I ask him for help around our apartment, he gets defensive and argumentative, and lately I’ve discovered he’s also a liar. He’ll swear up and down that we had a conversation we’ve never had, and tells conflicting stories constantly.

We’ve broken up, but are still living together (i.e., separate sleeping quarters, no sex) until our lease is up in three months.

Because every talk degenerates into an argument, I’ve requested we communicate strictly via e-mail. This is to avoid fighting, but also so that I have a written record about what we’ve talked about, because lately I’ve been doubting my memory. He keeps telling me I’m emotionally unstable. Maybe he’s right, or maybe he’s just a huge asshole and I’ve been ignoring it. How can I cope until our lease is up?

—Cohabiting Unhappily

Can we just talk about the “nice guy” for a minute? I’m not talking about genuinely sweet dudes, I’m talking about men who are completely invested in being seen as the nice guy by everyone around them, but then treat their partners like shit. My friend just got divorced from one of these types,

and, wow, the peek under his faux veneer of kindness has been enlightening. He cries and tells all his friends how much he misses her as he cheats my friend out of property they’ve acquired together. He tells nearly anyone who’ll listen that he’ll never get over her, yet had a new girlfriend before he even kicked my friend out of the home they shared. He, much like your ex, is a giant gaping asshole who masks his festering pucker in a facade of feigned sensitivity.

Wouldn’t you rather know you’re getting a prick from the jump? I would.

What your ex-boyfriend is doing with the whole I-never-said-that scenario is called “gaslighting,” after the 1944 Ingrid Bergman movie, Gaslight. He wants to keep you off-kilter by making you believe you’re nuts. Narcissists and other jerks employ this technique often. Ignore him and get out. Seriously consider subletting your room, preferably to someone large and smelly (yet also trustworthy enough that you don’t lose your security deposit).

Seriously consider subletting your room, preferably to someone large and smelly.

And next time you get involved with someone, make sure you’ve experienced at least a year in the same city before committing to cohabitation. It’s easy to come off as a great guy (or girl) from thousands of miles away. It’s a lot harder when you’re in the same room. E dategirl@seattleweekly.com WANT MORE? Listen to Judy on The Mike & Judy Show on the Heritage Radio Network, follow her tweets @DailyDategirl, or visit dategirl.net.

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A  clinical  research  opportunity  for  DIABETES

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Experienced Canvasser Wanted

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206.623.6231

We are the largest and most reputable tree service provider in the northwest immediately hiring for a door-to-door residential Canvasser that will generate appointments for our Company. We are a recession-proof industry with a culture based on a positive, generous and supportive system.

Music/Entertainment Available

Job Description: Canvass door-to-door and set up residential appointments for our tree consultants.

What You’ll Receive:

* Get paid for Qualified Appointments Set & Commission on Every Sale. * Earning potential range between $20,000-$60,000. * Proven Training System guaranteeing your success * Company car and Galaxy Tablet based on performance * Cell-gas-medical insurance allowance * Incentives, awards and contest

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7527 63

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

REMEMBER: THE END IS BEER.

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