Seattle Weekly, February 06, 2013

FEBRUARY 6–12, 2013 I VOLUME 38 I NUMBER 6

SEATTLEWEEKLY.COM I FREE

STEVEN SODERBERGH’S DRUG PROBLEM PAGE 24 | MAMNOON’S HOLY HOSPITALITY PAGE 29

CA N ’ T LE A E W VE Y H TH W E

’90s

Nostalgia is predictable, safe, and regressive. Thankfully, Soundgarden isn’t.

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inside» February 6–12, 2013 VOLUME 38 | NUMBER 6 » SEATTLEWEEKLY.COM

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NEWS

THE DAILY WEEKLY | Opposing a school levy—to save school art. Also, more on accused cop killer Christopher Monfort.

FEATURE

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29 FOOD

29 | MAMNOON | Seattle needed this

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30 | FIRST CALL | Passion at Nave.

31 | A LITTLE RASKIN | What difference

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33 REVERB

33 | MARILYN MANSON | Scaring the

BY MAURA JOHNSTON | The endless

crap out of America via the top-40 charts.

parade of pop-culture decade recycling has hit the ’90s. Is Soundgarden’s reunion album welcome relief—or part of the problem?

35 | REVIEWS | This week’s new local

releases.

36 | TELL ME ABOUT THAT ALBUM |

Eels’ latest is Wonderful, Glorious.

in back X-rated movie posters, stolen street photography, and the crown prince of disco.

16 ARTS

16 | OPENING NIGHTS | Backstage drama at PNB, Wodehouse onstage.

18 | EAR SUPPLY | A master’s swan song.

24 FILM

24 | THIS WEEK’S ATTRACTIONS

Steven Soderbergh’s last movie? Plus, the 56 Up saga of British baby boomers.

26 | PREVIEW | Meet Pierre Étaix.

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Slated for demolition. n all-schools election is coming up on Tuesday, February 12, and already yard signs have appeared Pacific—Morrison says the murals, like the in North Seattle objecting to one building itself, are worth preserving. of two levies on the ballot. The signs are In fact, Morrison would generally like to aimed at Proposition 2, a six-year capital levy preserve all the buildings Seattle Schools has that would raise nearly $695 million to build slated for demolition. “Seattle should hold or renovate 13 schools and make various on to its history,” he opines. Plus, he says other improvements. he believes the $695 million could be better Why, you may ask, is the group fighting spent on, among other things, renovating this levy calling itself the Seattle Committee existing buildings. That’s why Morrison is to Save Schools (italics ours)? And why do its working with longtime district watchdog signs feature a regal-looking Native American?

Chris Jackins on the Seattle Committee Let’s start with the second question. The to Save Schools, a small group devoted to Native American in question is none other defeating the capital levy. than Chief Joseph, the famed 19th-century “I think you have to back up and see Northwest leader. His likeness, along with that why the district is doing this,” responds of Chief Sealth and other local tribal figures, grace seven stunning murals that adorn Seattle Greg Wong, president of Schools First, the School’s Wilson Pacific building—one of a half- organization campaigning for school levies.

“There’s just been this tremendous growth.” dozen district buildings that the levy would The district has added 1,400 students over tear down to make way for new schools. the past year, and projects an increase of Native American artist Andrew Morrison 7,000 more over the next decade. So the dispainted the murals about 10 years ago when trict simply needs more space, Wong says. he was only 21, he tells Seattle Weekly. He had Knocking down decrepit buildings (the been volunteering in the building, which then Wilson Pacific building is by all accounts not as now housed a program for Native American in the best of shape) and building new ones is students. During breaks between classes, he’d the “fiscally responsible and efficient” thing take kids outside. “The walls were so bare. to do,” Wong adds. “The They were very bleakalternative would be— looking,” he says. So what? The district going Morrison says he asked a out and buying new teacher if he could paint PRINT IS GREAT, but if you want to see . . . land?” he asks. on one. the saddest charter-school As for the murals, He could, and did, and help-wanted ad of all time, district staffers have he says “From that point check it out on The Daily Weekly. been talking with Moron, it was like a spark SEATTLEWEEKLY.COM/DAILYWEEKLY rison about digitizing lighting a fire,” generatand then recreating ing a sense of commuthem on other school buildings. Morrison nity among the families who used the school. says he’s prepared to work with the district if “I created another mural, and then another,” the levy passes, but he wants the original art Morrison recounts. to remain, and plans to keep fighting to make Even though the Native American prothat happen. NINA SHAPIRO gram has dwindled to a very small number of students—only some of them still at Wilson » CONTINUED ON PAGE 9

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Shot in the Dark

On the Prowl

Sure, they can be fuzzy and cute, but let’s face it, cats are big-time killers—and a new study released last week by the journal Nature Communications proves it. Domestic cats kill between 1.4 billion and 3.7 billion birds and between 6.9 billion and 20.7 billion mammals (mostly mice, shrews, rabbits, squirrels, and voles) each year, the study concludes. That’s one helluva lot of critters.

Stray and feral cats, unsurprisingly, are the worst offenders, but pet cats are not exactly innocent bystanders. Researchers speculate that a single kitty may slaughter between 100 and 200 mammals annually. The authors also conclude that more animals die from cat attacks in the U.S. than in road accidents, collisions with buildings, and poisonings— combined. Scientists believe the astonishing

One of Monfort’s attorneys says “it is entirely possible” they would plead their client guilty if the county dropped the deathpenalty charge. to learn of the extent of annual cat carnage: “Here in Seattle, where we have 250,000 domestic cats—and that doesn’t count the number of feral or stray cats—we are seeing a profound impact on smaller rodents, salamanders, and snakes,” Jordan says. “I know the Audubon Society is particularly concerned about the songbird population in Seattle” and cats’ impact on their mortality, he adds.

The scientists who helped author the report urge loving cat owners to keep cats indoors when possible, and say research has shown that a properly fitted collar and bell will reduce a cat’s hunting success by at least a third. ELLIS E. CONKLIN

Seattle Hearts Cats

Seven-year-old Liam Mason Elliot knows he’s not popular in this town. He knows people like dogs more than they like him—and all kids, for that matter. And now, thanks to a Feb. 1 piece by Gene Balk of The Seattle Times, he knows people really like cats more than him.

And he’s pissed about it.

Here’s the thing: There are only three major U.S. cities in which fewer than 20 percent of homes have children, and Seattle’s one of them.

And the kicker of Balk’s story is that while Seattle has long loved to talk about the fact it boasts more dogs than kids, in reality the city has way more cats than either of the other two creatures—by an impressive margin. As Balk writes, “Cat households outnumber kid households by a staggering 50 percent. And cats have a 17 percent advantage over dogs here.”

Reached via his LeapFrog cell phone for comment, Elliot took the opportunity to sound off. “Cats? Really? Fucking cats? That’s a tough pill to swallow,” Elliot said when given the bad news. “Look, I’ve been hearing about how Seattle loves dogs more than kids for a long time. I’ve gotten used to it. I mean, I don’t like it, but I can understand it. Dogs can be pretty awesome. Take Clifford, for instance,” says a flabbergasted Elliot. “But cats? And by such a wide margin? That’s crazy.

“I hate cats,” Elliot continues. “And I just can’t understand how Seattle could like them so much. But that’s grownups for you.”

MATT DRISCOLL E

news@seattleweekly.com

Seattle weekly • FE BRUARY 6− 12, 2013

On Monday, attorneys for accused Seattle cop killer Christopher Monfort said they will rely on an insanity defense in the hope of preventing their client from receiving the death penalty. They officially filed notice of such a defense on February 1.

One of the court-appointed attorneys, Carl Luer of the Associated Counsel for the Accused, also tells Seattle Weekly that if King County Prosecuting Attorney Dan Satterberg were to drop the death-penalty charge, “it is entirely possible” that they would plead their client guilty to ambushing SPD officer Tim Brenton on Halloween night 2009. The move comes a few days after a King County judge in another capital case—the slaughter of a Carnation family by a family member and her boyfriend—threw out the death-penalty charge due to a legal defect in that case. Monfort’s attorneys say they are seeking to determine if the ruling affects their case as well.

Monfort, 44, is charged with the aggravated murder of Brenton, 39, and the attempted murder of his partner Britt Sweeney. Sweeney was somehow only grazed when a gunman pulled up next to their police cruiser on a side street in Leschi and opened fire with an assault weapon, then drove off.

A week later, after tracking his car to an apartment in Tukwila, police shot Monfort, leaving him paralyzed from the waist down.

Police say Monfort initially attempted to kill another officer, Sgt. Gary Nelson, who confronted him on a stairway, pointing a gun at Nelson’s face and pulling the trigger. The Glock 9 had no shell in the chamber, though, and dry-fired instead. Police fired six shots at Monfort as he fled, two of them striking him.

One bullet passed through Monfort’s cheek and neck; the other entered his back and struck his spine. That bullet remains lodged in his body today.

Monfort is also charged with arson—allegedly setting fire to a mobile police command center—and accused of booby-trapping the arson scene in an apparent attempt to kill first responders. He has been in custody and in a wheelchair on the King County Jail’s seventh-floor medical unit since his November 2009 arrest. His trial is tentatively set for this fall. RICK ANDERSON

number of bird deaths represent as much as 15 percent of the U.S.’s total bird population.

(The timing of the study is remarkable: Just last week a prominent New Zealand economist caused a stir in the international feline community by calling for the eradication of cats, citing their threat to the country’s unique wildlife.)

Don Jordan, director of the Seattle Animal Shelter, says he’s not particularly surprised

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Why We Can’t Leave the L

» CONTINUED ON PAGE 12

’90s Nostalgia is predictable, safe, and increasingly regressive.

Soundgarden, thankfully, is not.

Seattle weekly • FE BRUARY 6− 12, 2013

ast month Microsoft, in the hope of burnishing the reputation of Internet Explorer, launched an ad that essentially asked, “Remember the ’90s?” Called “Child of the ’90s,” the ad opened with a decade-appropriate bit of self-deprecation (“You might not remember us . . . ”) before launching into a listicle of artifacts that existed between 1990 and 1999, from yin-yang necklaces on black ropes to Pogs. While some references were inaccurate (Hungry Hungry Hippos players have been shoving marbles down plastic gullets since the mid-’70s; “social networks” that weren’t Oregon Trail existed, although maybe they weren’t kid-appropriate), the commercial achieved at least one desired effect: getting people to go “Aw, yeah” when presented with an antiquity from 20 years ago.

They’re hardly alone. ABC Family is readying the third season of Melissa & Joey, a sitcom based more on the premise of having Melissa Joan Hart (Clarissa Explains It All; Sabrina, the Teenage Witch) and Joey Lawrence (Blossom) share a small screen than on anything resembling a plot. The Twitter account @SeinfeldToday fast-forwarded that NBC sitcom’s ’90s-rooted characters and racked up 410,000 followers and a couple of parody accounts. And this year’s Coachella Valley Music and Arts Festival, set for two April weekends in the California desert, will feature three headliners—the Red Hot Chili Peppers, the Stone Roses, and Blur—better associated with the (touring) Lollapalooza era than the music-blog age.

In a sense, this nostalgia for certain aspects of the ’90s—the ones that could be seen as “cool” and not embarrassing (think alt-rock, hip-hop, and Daria rather than, say, “Tears in Heaven” or Home Improvement)—was inevitable. Generations like to look back on themselves. Twenty years ago, Boomers were fully in thrall to their past: In 1993, Fleetwood Mac was revisiting their forward-thinking ’70s classic, “Don’t Stop,” at Bill Clinton’s inaugural ball; 11 months later, KISS (debut release: 1974) and Barry Manilow (debut release: 1973) helped close the year on New Year’s Rockin’ Eve. The next year saw Woodstock ’94, held in nearby Saugerties, N.Y., and an Eagles reunion tour that made headlines for pricing tickets over the $100 mark. (Talk about lost innocence.) As the youngest members of Generation X age out of the highly coveted 18-to-34 demographic and start prepping for the 20th and 25th anniversaries of their high-school and college graduations, the drive to look back will inevitably strengthen.

But the relentless march back to the ’90s— whether through reunion tours by the likes of the Afghan Whigs and Pulp or 95-page photo galleries of the decade’s toy crazes—seems to be more intense than the nostalgia of previ-

KEVIN WESTENBERG

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WHY WE CAN’T LEAVE THE » FROM PAGE 11

’90s

ous generations. (Yes, even more the Boomers’, whose self-glorification sure seemed oppressive.) Reunion tours; full-album concerts; galleries of fashion from the decade; listicles that stroke readers’ lizard brains until they’re endlessly looping the question “Remember when?”: These all reflect a culture that seems much more interested in looking

“multiplexing” their offerings a year later. In 1994, I would be introduced to a mysterious collection of “hypertexts” called the World Wide Web. Bruce Springsteen’s “57 Channels (and Nothin’ On),” released in 1992, was supposed to be an absurdist statement on the amount of garbage media being beamed daily into peoples’ homes—and it seemed like an upper limit. After all, who had time to watch 10 channels, let alone 57?

As it turns out, those growths were only the beginning of what would become a wall-

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12

back instead of moving forward.

This is partly the result of there being just so much stuff out there now—thanks to the democratization of tools to disseminate media—that offer quick looks back at cultural touchstones from your high-school days. Sites like the viral-content behemoth BuzzFeed, which make their bones by creating “shareable” media, are at the forefront of this. Social media has in a sense transformed the high-school reunion from a one-time event to a steady drip of birth announcements and complaints about Mondays. Why not insert into those interactions some memories of the good times? (BuzzFeed’s penchant for flogging the past—and clogging thousands of Facebook feeds while doing so—is particularly notorious: “BuzzFeed Editors Unsure How to Spin Petraeus Story Into Reason the ’90s Were Great” was an Onion headline in the wake of the former CIA director’s resignation; BuzzFeed replied with “5 Pictures Proving David Petraeus Should Have Been on Saved by the Bell.”)

In a development that might be called “ironic,” though, the fissures in the broadcast model began to widen during the ’90s. In December 1989, FOX upstart The Simpsons went head-to-head with Bill Cosby, the ’80s titan of prime-time family entertainment for the masses; HBO and Cinemax started

to-wall media landscape. Today, MTV, VH1, and CMT have “multiplexed” into a slew of genre-specific channels; each of those brands also has its own website where listeners can create their own video playlists; and those websites are but a tiny fraction of the online outlets that offer similar functionality, from YouTube on down. Brick-and-mortar record stores, meanwhile, are increasingly endangered, their curated selections replaced by the search functions on Spotify and iTunes, which offer more media on demand than at any other time in history.

This glut has enabled consumers to create “Choose Your Own Adventure”–style paths through media offerings past and present.

And while the Internet has made those items that do break through to mass culture seem bigger than they might have, say, 17 or 21 years ago, it’s also meant fewer experiences are shared by large swaths of the population.

This combination—fewer present-day common denominators and the overwhelming comfort provided by familiar objects from the past—means that advertisers, punch-line writers, and listicle crafters are reaching ever more often for the nostalgic.

Compare the exposure afforded by, say, a couple of spins on Alternative Nation (1992– 97, MTV’s outlet for videos by the likes of Nirvana and Weezer) to that offered by a video

premiere on Stereogum. The indie-music blog’s reach is certainly impressive, but one has to take the time to type in the site’s url, or keep it in a bookmarks file, or be actively following the artist whose video is premiering on some sort of social media, instead of just flipping channels, happening upon a video, and being taken in long enough to write down the name of the band responsible. The Internet’s serendipity factor still exists (check out randomwebsite.com), but the sheer amount of stuff out there makes it much more difficult to find time to wander and discover.

C

onsidered as a series of discrete posts and pieces, frothing about the ’90s seems innocent, but as a whole, something about it bugs me—as much for seeing the past regurgitated as for what seems to be a stubborn, marketdriven resistance toward shepherding new

’90s nostalgia reflects a culture that seems much more interested in looking back instead of moving forward. culture. I’m not immune to it—just this morning I sent an e-mail excited about the prospect of seeing the Breeders play Last Splash live in its entirety. But I think about what got me into the subculture that eventually got shorthanded by the term “alternative” in the first place, and I can’t help but feel like— here’s a really ’90s word—a sellout.

College pals teased me mercilessly for being on the “cusp” between Generation X and whatever cursed cohort came after it— I was born in 1975, right in the center of the gray area between Nixon’s resignation and the bicentennial. Because of that, I earnestly took on the mantle of that Douglas Coupland–named age group. Sure, I adored the Monkees, but Boomer nostalgia (as epitomized by such evils as Don Henley and Glenn Frey’s cash grab, that Woodstock retread, and a strange obsession with getting the next

generation to wear tie-dye) was noxious and needed to be eliminated. Instead I read The Baffler, taking very seriously Thomas Frank’s messages about the commodification of rebellion—as epitomized so perfectly and awfully by that era’s titans of media power— and I recognized it almost immediately when in the late ’90s it manifested itself as Limp Bizkit and the “Break Stuff”–inspired riots that would come to define (what else?)

Woodstock ’99.

Which isn’t to say that I’m completely against nostalgia. Seeing The Baffler return, and use the cachet of its ’90s-burnished name to make a splash, has made me happy and invigorated my brain; reading D.T. Max’s heartbreaking biography of David Foster Wallace, one of the decade’s most iconic authors, caused me to crack open Infinite Jest again.

The reunion shows I’ve attended over the past couple of years have been a blast, from the wicked, sweaty shows by the revived Afghan Whigs to Pulp’s swagger-filled set at Radio City Music Hall; I even pogoed around during last year’s “Summerland” tour, during which the mainstream-alt likes of the Gin Blossoms and Everclear played brief sets filled with radio staples. And those bands that aren’t straight-up reformations, but operate in the spirit of the decade—like Wild Flag, which comprises former members of SleaterKinney (est. 1994), Helium (est. 1992), and the Minders (est. 1996)—are putting on blazing sets, too.

Even the younger guard is getting in on the act. Last year the British boy band One Direction incorporated “Torn,” the lovelorn Ednaswap track that later became a global smash for Aussie soap star Natalie Imbruglia, into their set. (Perhaps it was intended as a thank-you to their younger fans’ parents; some were in the crowd exhibiting various levels of smittenness, while others were no doubt holders of the credit cards that had bought the tickets.)

S

oundgarden—performing Thursday and Friday at the Paramount in support of King Animal, their first studio album since 1996—is certainly a major part of the ’90s-recalling

» CONTINUED ON PAGE 14

To Purchase Tickets, Call the Orleans Arena at 888-234-2334 For More Information, Visit wacbasketball.com MICHAEL LAVINE

Soundgarden’s reunion album, King Animal, represents the upside of revisiting past glories.

Denver • Idaho • Louisiana Tech • New Mexico State • San Jose State Seattle U • Texas State • UT Arlington • UTSA • Utah State

Seattle weekly • FE BRUARY 6− 12, 2013

March 12-16 • Orleans Arena • Las Vegas

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WHY WE CAN’T LEAVE THE » FROM PAGE 11

’90s

landscape, thanks to their strong association with that decade’s alt-rock boom; they played the 1992 and ’96 installments of Lollapalooza, were staples of MTV’s alt-rock blocks, and came from Seattle—whose status as a hotbed of up-and-coming artists is probably best understood by counting the number of cities referred to as the “next Seattle” by overly

trend-hunting journalists. They’ve endured in large part because their music was wall-towall great, constantly pushing forward and luring quite a few late-night MTV watchers (this one included) across the bridge between the hard rock featured on Headbangers Ball and the more left-field offerings of 120 Minutes.

Chris Cornell’s brick-wall-piercing wail was out front on songs like the frantic “Tears to Forget” and the speaker-melting “Jesus Christ Pose,” but their particular alloy was defined as much by Matt Cameron’s relentless drumming, Ben Shepherd’s from-an-

angle bass playing, and Kim Thayil’s virtuosic, mind-bending guitar work. They reformed in 2010, one year after Cornell released his much-derided Timbaland collaboration Scream; that year they played the single-city Lollapalooza and released the greatest-hits compilation Telephantasm, and in 2012 they came out with King Animal, which opens with the lines “You can’t go home/No I swear you never can.”

Implicit in that lyric from “Been Away Too Long” is the idea that when a band does “go home” after a long period, there’s a bit of inherent danger: Some bands become even

more defined by their past, to the point of calcification, while others make a series of missteps while making a grab for the brass ring of “relevance.” But King Animal could be the ideal “Hey, we’re back” statement.

Though Cornell’s yawp sounds a bit hemmed in by time, the vocal melodies work gracefully around that fact, and the music has mercifully not fallen victim to the overcompression that’s made so many other records— particularly those in the “loud rock” realm— sound like an anvil being struck repeatedly by a tuning fork. Thayil’s guitar filigree helps propel tracks like “A Thousand Days Before,” while “By Crooked Steps” slowly and deliberately modulates a grinding-gears riff until it blossoms into a gorgeous duet between Thayil’s guitar and Cornell’s vocal. Whether King Animal becomes a cultural touchstone on the level of Superunknown or Badmotorfinger is still up for debate; while it probably won’t reach multiplatinum status as those

Seattle weekly • FEBRU ARY 6− 12, 20 13

Whether King Animal becomes a cultural touchstone on the level of Superunknown or Badmotorfinger will have more to do with the fragmented nature of music consumption today than with any deficit in quality.

14

two albums did, that has more to do with the fragmented nature of music consumption today than with any deficit in quality.

Last week the video for “By Crooked Steps” debuted (online, of course). Directed by fellow alt-rock refugee Dave Grohl, it’s a bit of an absurdist biker-dude fantasy that context-starved bloggers compared to Sons of Anarchy. But it also evokes the type of video made by those hard-rock bands displaced on rock radio and MTV by Grohl, Cornell, Thayil, Shepherd, Cameron, and their more avant-garde ilk—your L.A. Gunses, your Mötley Crües. The members of Soundgarden are shot motorcycle-gang-style at the song’s outset—although it turns out they’re on Segways. Cut to a divey bar, where they overtake the pencil-necked, laptop-riding geek onstage and turn the place into a sweaty Real Rock Show, complete with debauchery and pretty women.

The real joke comes at the end, though, when the four get caught and cuffed for their hell-raising. Apprehending the suspects is none other than Joel Zimmerman—the electronic producer better known as Deadmau5, who has been at the forefront of the current EDM craze. This stunt casting seems a bit like a message to those obsessed with recapturing the past: Sure it’s fun, but too much living in the past will inevitably result in the future catching up with you. E Maura Johnston is the editor of Maura Magazine and the former music editor of The Village Voice. music@seattleweekly.com

the»weekly»wire while THREE TO MAX is a collage of recent works by Batsheva’s prominent choreographer Ohad Naharin. The Paramount, 911 Pine St.,

wed/2/6

877-784-4849, stgpresents.com $25–$40.

8 p.m. SANDRA KURTZ

FILM

You Can Tell by the Way He Walks

PARAMOUNT PICTURES

FILM

Bright Lights, Dark Hearts

“I love this dirty town.” Burt Lancaster is J.J. Hunsecker, a despot of a newspaper columnist not-so-loosely based on Walter Winchell.

The king of this neon jungle, he prowls it like a human panther. Alongside him, Tony Curtis delivers the scrappiest, most dynamic performance of his career as the jittery, restless press agent selling Hunsecker what’s left of his soul. Alexander Mackendrick’s Sweet Smell of Success (1957) is one of American cinema’s most lacerating and vicious visions

Penny Saunders and Pablo Piantino in Hubbard Street’s THREE TO MAX.

of the predatory city—accomplished without a single murder, gunshot, or pulled knife. This is Broadway noir, the dark intersection of show business, politics, and the social register, in an era when gossip columnists held sway over not just some thin demographic slice, but an entire nation. The dialogue, by Clifford Odets and Ernest Lehman, is so sharp you could cut yourself with it. With the exterior scenes shot on the nighttime streets of New York’s theater district by cinematographer James Wong Howe, Sweet Smell is alive with pulsing energy.

Call it a cookie full of arsenic: bitter, yes, but delicious. Central Cinema, 1411 21st Ave., 686-6684, central-cinema.com. $6–$8.

7 & 9:30 p.m. SEAN AXMAKER

fri/2/8 PHOTOGRAPHY

A Posthumous Prodigy

The belated discovery of street photographer Vivian Maier (1926–2009) is one of those great stories in which an artist becomes known solely for her work. Maier, a nanny who never married, roamed postwar Chicago with her trusty Rolleiflex, often framing herself in glass reflection shots. Not until 2007 was this outsider artist discovered and her work shown; then, immediately, she was hailed as the long-lost cousin of Robert Frank and Henri CartierBresson. Some of her shots are stolen, taken of strangers on the sly. Others are impromptu portraits; Maier was evidently not too shy to ask people to pose for her. They probably thought she was taking snapshots, and it’s unclear if Maier viewed herself as an artist. Yet with her

archives still being cataloged (and some film not yet processed!), many now consider Maier one of the foremost women photographers of the 20th century—right up there with Diane Arbus or Cindy Sherman. Yet sadness is part of Maier’s legacy, too: Her huge cache of images, unseen by the public, was auctioned piecemeal out of storage not long before her death. Though not indigent, she didn’t live long enough to enjoy profit or fame. Her career essentially sprang from the grave. Tonight, PCNW will present a talk by Richard Cahan, co-author of Vivian Maier: Out of the Shadows (CityFiles, $60), with collector Jeffrey Goldstein also delivering remarks. (Through March 28.) Photo Center NW, 900 12th Ave., 720-7222, pcnw.org. $8–$10. 6:30 p.m. (Also note opening reception: 6–8 p.m. Fri., Feb. 15.) BRIAN MILLER

sat/2/9 DANCE

Moving Across the Map

Hubbard Street Dance Chicago started life

in the ’70s as a jazz-dance ensemble—a nobrainer for a group based in that jazz-saturated city. But it’s transformed itself over time, as contemporary dance has likewise morphed to include influences from all across the kinesthetic map. In its current iteration, Hubbard Street has looked abroad for its most innovative repertory—performing works by artists from the Israeli Batsheva Dance Company, which synthesize the energy of American modern dance with the technical facility of European experimentalists. Too Beaucoup explores the power of physical precision,

Valentine’s Day comes early at the Georgetown Art Attack, where attractions will include the launch of Jacques Boyreau’s coffee-table collection of old erotic movie posters, Sexytime: The Post-Porn Rise of the Pornoisseur (Fantagraphics, $29.99). After VHS, AIDS, Boogie Nights, and the Internet, the theatrical exhibition of stroke movies is but a quaint memory—something your creepy old uncle might once have enjoyed. But Boyreau has mined the ’70s for the lurid old posters that faced the sidewalk—outside, say, the old Apple Theatre on Boren or the Green Parrot on First—in public view, meaning titillating but not explicit promo art. After Hef and the Pill, the sexual revolution was in full swing, with Deep Throat an unlikely cultural phenomenon. (Related, the biopic Lovelace just debuted at Sundance, with Amanda Seyfried playing the porn icon.) In Boyreau’s nostalgic posters for titles like Anyone but My Husband or The Erotic Dr. Jekyll, the colors are bold, the film is often 35mm, the ratings are XXX, and there’s an almost innocent ignorance of how the culture would veer rightward in the ’80s. Boyreau will be on hand tonight to sign his new book, with posters remaining on view through March 6. Molly Rainey and Poppet will provide music to put you in the mood.

Fantagraphics Bookstore & Gallery, 1201 S. Vale St., 658-0110, fantagraphics.com. Free.

Opening reception: 6–9 p.m. BRIAN MILLER

sun/2/10 STAGE

A Fresh Septet

One of the amazing things about On the Boards’ recent 35th anniversary is that it’s still devoted to avant-garde artists. Not many institutions reach middle age while still thinking like a rebellious teenager. One reason for this is the ongoing incubator program 12 Minutes Max, where new talent can get a break and established performers can take a chance on something different. For this edition, among the seven acts in the lineup, Linas Phillips steps away from his acclaimed 2006 documentary Walking to Werner and into a stand-up comic persona named Shawnsey Michael Thomas, who himself is looking for transformation through performance art: a show called A One-Man Show by Shawnsey.

Washington Hall, 153 14th Ave., 217-9888, ontheboards.org. $8. 7 p.m. (Repeats Mon.) SANDRA KURTZ

Seattle weekly • FE BRUARY 6− 12, 2013

Ave. N.E., 633-0059, sundancecinemas.com. $10.50. Call for showtimes. BRIAN MILLER

Vintage Vice

TODD ROSENBERG

Twenty years after he wrote “Tribal Rites of the New Saturday Night” for New York magazine, filmed the following year as Saturday Night Fever (1977), British journalist Nik Cohn admitted he’d made most of it up. His admission was met with a collective shrug of indifference. From that fiction was born the first great movie musical of the post-rock age. The soundtrack—featuring those brilliant Bee Gees and the Trammps’ timeless “Disco Inferno”— sold a gazillion copies, and the movie made John Travolta a superstar. It even briefly made disco safe for straight white males—until the notorious Chicago record-burning and riot at a 1979 White Sox game. (Disco never died, of course—it was kept alive by the gays and Madonna.) But Travolta’s Tony Manero has deeper roots than a dancing fad or Cohn’s fabrication; he’s an outer-borough striver, a Brooklyn dreamer drawn to the bright lights of Manhattan.

Tony’s elegant white suit (later bought by critic Gene Siskel), wide lapels, and immaculate grooming— “Watch the hair!”—are his professional tools, and his dance moves are as much about class Travolta: class act. advancement as sex. He’s the undisputed alpha leader of his tribe, and the only one prepared to leave his Bay Ridge clan behind. Sundance Cinemas, 4500 Ninth

BOOKS

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arts»Opening Nights Jeeves in Bloom TAPROOT THEATRE, 204 N. 85TH ST., 781-9707, TAPROOTTHEATRE.ORG. $15– $40.

RUNS WED.–SAT. ENDS MARCH 2.

Placing an adaptation of a fiercely beloved franchise like P.G. Wodehouse’s Jeeves novels in your theater season is a gamble in the guise of a slam-dunk. The odds seem fantastically favorable for his brilliant and barmy sillymaster/wise-servant saga (adapted by Margaret Raether from several Wodehouse stories) until you realize how hard it is to pull off. This is doubly true in the wake of the definitive early-’90s

appear to be bicycle reflectors.) However, in one key scene, Lamb wears a ridiculously oversized, rustic suit (recognizable from many other Taproot productions), even though it’s a getup his omniscient, ever-proper valet Jeeves (Matt Shimkus) would never have sanctioned.

Shimkus, meanwhile, maintains a stiff physical hauteur that seems anathema to Jeeves’ self-effacing professionalism—literally looking down his nose at the goings-on. (At times, Roberta Russell’s witty lighting better conveys Jeeves’ humble instrumentality to the plot.)

Scholz and de Fazio hit more effective strides with their characters, providing some delightful moments. His butt-quivering imitation of a male newt during arousal and her frequent deadpan pontification—e.g., “Every time a fairy blows her nose, a baby is born”—bring whiffs of the authentic Wodehouse (who was famously discouraging of adaptations of his work).

If nothing else, this mostly clunky staging will send you looking for Jeeves and Wooster at Scarecrow, Amazon, or Netflix. (All four seasons are on DVD.) Tell them Jeeves sent you.

MARGARET FRIEDMAN

P Roméo et Juliette

MCCAW HALL, 321 MERCER ST. (SEATTLE CENTER), 441-2424, PNB.ORG. $28– $183. 7:30 P.M. THURS.–FRI., 2 P.M. SAT., 1 P.M. SUN. ENDS FEB. 10.

ERIK STUHAUG

Seattle weekly • FEBRU ARY 6− 12, 20 13

Egad! Lamb’s Bertie receives a shocking telegram.

16

Before the hotly anticipated New York tour!

BBC series starring Hugh Laurie and Stephen Fry. Yes, the fond familiarity of the material brings in audiences, but it’s hard to live up to the expectations. Any deviation in tone or spirit from the Wodehouse source material seems an unforgivable violation. Directed by Karen Lund, Taproot’s uneven production may appeal most to those who haven’t read the books or seen the Fry and Laurie series.

Upper-class twit Bertie Wooster (Aaron Lamb) accompanies his newt-obsessed friend “Gussie” Fink-Nottle (Randy Scholz) to the home of Bertie’s pushy Aunt Dahlia (Kim Norris) in pursuit of ingénue Madeline (Marianna de Fazio), with whom the romantically incompetent Gussie is in love. Mark Lund’s elaborate neo-Gothic English garden hosts many layers of shenanigans, including the de Bergerac-esque love triangle (Madeline loves Bertie, of course, who couldn’t care less), a planned jewel heist, and the ravings of Dahlia’s cleaver-waving diva chef Anatole (Parker Matthews). It’s standard Wodehouse fare, but somehow lacking seasoning and definition for much of its runtime (about two and a quarter hours, with intermission).

Casting factors into the misfire. Lamb’s intelligent face cannot slacken enough to project Bertie’s good-natured indolence. His taut good looks constrain him to play everything straight, relying mostly on the script for laughs. (The infinitely plastic Laurie could convey Bertie’s dim mental processes without opening his mouth.) And where the writing wears thin, there are always Sarah Burch Gordon’s costumes, some of which nicely reflect character.

(Dahlia wears a bib-dress studded with what

Pacific Northwest Ballet used to have a sumptuous production of Romeo and Juliet, choreographed by former director Kent Stowell, that served the company handsomely. But when Peter Boal became director in 2005, he had his eye on a different version, a kinetic hybrid by Jean-Christophe Maillot from Les Ballets de Monte Carlo. Maillot’s version borrowed elements from film and theater, incorporated modern-dance vocabulary, and made bold cuts to the original text. It’s a kinetic roller-coaster ride, challenging enough to satisfy ballet insiders while still accessible to newbies. In many ways, this is the ballet that best characterizes Boal’s artistic vision for PNB; and after renting the sets and costumes for its 2008 debut of Maillot’s Roméo et Juliette, PNB has now created its own—the equivalent of buying a house after renting an apartment. This is the Roméo we’re keeping. And this is the Roméo the company is taking to New York next week.

Opening weekend, showing off the freshly finished sets and costumes, was full of drama— some intended, some not. Many in the cast were coming back to roles they’d danced before. Both Juliets—to use the English spelling—were building on previous experience, but with different perspectives. Kaori Nakamura has taken every extraneous element out of her interpretation, so that the ballet becomes a transparent set of cause-and-effect actions. From the first time she rushes onstage to her final suicide, we see each choice made, yet feel there is no alternative. Carla Körbes has a different approach to her Juliet: She’s so caught up in the flush of young love that we’re swept along, too. No matter how familiar we are with the story, the tragic ending comes as a surprise.

James Moore, newly promoted to principal dancer, is again Nakamura’s Romeo, and it’s an even better fit than in their last outing. Besides their tender relationship, he does excellent work in scenes with Jonathan Porretta’s Mercutio and Benjamin Griffiths’ Benvolio. Those two

arts»

ANGELA STERLING

characters are instantly recognizable—Porretta a prankster and Griffiths a softhearted sidekick, whose “Hey, wait for me!” entrance at the start of the show strikes a charming note every time.

The trio has a wonderful Three Musketeers quality that becomes more poignant as Romeo is

Körbes as the impulsive Juliet.

stage@seattleweekly.com

Rembrandt, Van Dyck, Gainsborough: The Treasures of Kenwood House, London is organized by the American Federation of Arts and English Heritage. It is supported by an indemnity from the Federal Council on the Arts and the Humanities, with additional funding from the Samuel H. Kress Foundation. In-kind support is provided by Barbara and Richard S. Lane.

Seattle Presenting Sponsor

Image credit: Portrait of the Artist (detail), ca.

1665, Rembrandt van Rijn, Dutch, 1606-1669, oil on canvas, 45 3/4 x 38 1/4 in., Kenwood House, English Heritage; Iveagh Bequest (88028836), Photo courtesy American Federation of Arts.

Seattle weekly • FE BRUARY 6− 12, 2013

drawn away from his pals by his love for Juliet.

Seth Orza makes a powerful debut as Körbes’ Romeo. His best moments are in the duets, where his impulsiveness meshes with hers.

Maillot’s choreography eliminates some characters and puts others in a more prominent place. His versions of the Nurse and of Lady Capulet are almost as central to the work as Juliet, and reflect very different styles. The Nurse reads like a comic-book character, while Lady Capulet is close to one of Martha Graham’s anguished heroines. Carrie Imler and Rachel Foster both have the right sharpness as the Nurse, holding a double-take long enough for the audience to catch on. In the same role, Margaret Mullin gives a strong debut performance, and should settle into the humor soon.

Both Lindsi Dec and Laura Gilbreath use their height to great effect as Lady Capulet; when they shudder and writhe after Tybalt is killed, you can really see the impulse travel through their long torsos.

Some parts have multiple performers, others don’t. Batkhurel Bold danced all the Tybalts opening weekend, and Karel Cruz was the only Friar Laurence. Griffiths was scheduled to dance Benvolio the entire first weekend, but when he injured his foot Sunday morning, no understudy was available. Instead, through a combination of hard work and dumb luck, PNB managed to fill the part, twice. Corps member Eric Hipolito Jr. immediately started learning it, but Benvolio is a very complex role, full of partnering, fighting, and other stage business. Fortunately, a group from the Monte Carlo company happened to be arriving in Seattle that very afternoon; among them was Raphaël Bouchard, who regularly performs Benvolio! Somehow they got him to the theater and into a costume. Hipolito went on in the first scene, and by the time Benvolio was supposed to make another entrance, Bouchard was there. He dances a slightly different version of the role, and it was fascinating to see the changes. But the main sensation was relief— never mind Shakespeare’s tragedy, the real drama was backstage! SANDRA KURTZ E

17

arts»Performance MINUTES MAX SEE THE WIRE, PAGE 15.

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30 Years – All Five Original Members

AMERICAN TRAGEDIES Daniel Tarker’s play follows

Norman and Kate over the course of 50 years as they uncover secrets about each other during various romantic encounters. Presented by Seattle Playwrights Collective. Elliott Bay Book Co., 1521 10th Ave., 624-6600, elliottbaybook.com. $5. 6 p.m. Sun., Feb. 10.

CALL MR. ROBESON Tayo Aluko’s solo show about the life of the actor/activist. Langston Hughes Performing Arts Center, 104 17th Ave. S., 800-838-3006, brownpaper tickets.com. $20–$25. 7:30 p.m. Fri., Feb. 8–Sat., Feb. 9.

IN THE BOOK OF... A staged reading of John Walch’s play, which explores contemporary America through an update of the Book of Ruth. Ethnic Cultural Center/ Theatre, 3931 Brooklyn Ave. N.E., mirrorstage.org. $8–$10. 8 p.m. Sat., Feb. 9, 2 p.m. Sun., Feb. 10.

THE MUSIC MAN Judging by the 5th’s track record with period pieces, this is probably as good a production as you’ll ever see. 5th Avenue Theatre, 1308 Fifth Ave., 6251900. $31 and up. Previews begin Feb. 7, opens Feb. 14.

Runs Tues.–Sun.; see 5thavenue.org for exact schedule.

Ends March 10. (Also see 5thavenue.org for details on special opening-weekend festivities, Feb. 9–10.)

NEXT TO NORMAL From Issaquah to Broadway, nabbing a Pulitzer and a Tony or two, this rock musical returns home in Balagan’s production. Erickson Theatre Off Broadway, 1524 Harvard Ave., 329-1050. $20 and up. Opens Feb. 8. 8 p.m. Thurs.–Sat., 2 p.m.

Sun., plus matinees; see balagantheatre.org for exact schedule. Ends March 2.

PHOTOGRAPH 51 Anna Ziegler’s play explores the overlooked achievements of British scientist Rosalind Franklin. Seattle Repertory Theatre, Seattle Center, 443-2222. $12–$70. Opens Feb. 6. Runs Tues.–Sun. plus some matinees; see seattlerep.org for exact schedule.

Ends March 10.

SNAKE An arts omnibus (martial arts, Chinese opera, and more) to celebrate Chinese New Year. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. $20. 7 p.m.

Wed., Feb. 6.

TRIVIAL PURSUITS Fantastic.Z presents a weekend of staged readings of 10 short plays by five local playwrights. Highline, 210 Broadway E., fantasticz.org. $10.

7 p.m. Sat., Feb. 9–Sun., Feb. 10.

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

Preferred Seating $32/$29 Standard Seating $28/$25

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CURRENT RUNS

ALADDIN JR. A children’s-theater adaptation of the

Disney film. Youth Theatre Northwest, 8805 S.E. 40th St., Mercer Island, 232-4145, youththeatre.org. $13–$17.

7 p.m. Fri.–Sat., 2 p.m. Sat.–Sun. Ends Feb. 10.

AUSTEN TRANSLATION Jet City Improv comes up with a new “novel” each night, based on your suggestions.

Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $12–$15. 8 p.m. Thurs.–Fri. Ends Feb. 8.

BEATING UP BACHMAN Wayne Rawley’s dysfunctionalfamily comedy. West of Lenin, 203 N. 36th St., 800-8383006, radialtheater.org. $15–$22. 7:30 p.m. Thurs.–Sat. Ends Feb. 16.

A BEHANDING IN SPOKANE Like Ahab seeking revenge for his lost leg, a middle-aged thug named Carmichael is obsessed with finding justice for a lost limb. Twenty-seven years earlier, some “hillbillies east of Spokane” pinned his arm down on a train track, then disappeared into the distance. Moments into Martin McDonagh’s 2010 revenge comedy, the brooding Carmichael (Gordon Carpenter) shoots a bullet into the closet of set designer Cole Hornaday’s appropriately seedy hotel room. Desperate Marilyn (Hannah Mootz) enters with a box of . . . hand. Unfortunately it’s not Carmichael’s, but a stolen museum artifact. Marilyn’s boyfriend Toby (Corey Spruill) emerges from the closet alive; Carmichael then chains them to the radiator and wicks a gas can to blow in 45 minutes while he goes to Toby’s house to look for his severed hand. This is not major McDonagh. The droll, uneven Behanding is shallower than his The Pillowman or The Lieutenant of Inishmore. Yet McDonagh hasn’t lost his gift for endearingly weird monologues. MARGARET FRIEDMAN Theater Schmeater, 1500 Summit Ave., 324-5801, schmeater.org. $15–$23. 8 p.m. Thurs.–Sat. Ends Feb. 23.

BLITHE SPIRIT The Noel Coward favorite about a man bedeviled by the ghost of his first wife. Trinity Episcopal Church, 609 Eighth Ave. Donation. 8 p.m. Fri.–Sat., plus some 2 p.m. Sat.–Sun. matinees; see theatre912.com for exact schedule. Ends Feb. 16.

CIRQUE DE SOLEIL: AMALUNA Loosely inspired

by Shakespeare’s The Tempest, this touring show isn’t heavy on plot. Kids will appreciate the acrobats, juggling, and costumes, and the traveling Grand Chapiteau—a climate-controlled, 2,600-seat tent— adds to the spectacle. Marymoor Park, 6046 W. Lake Sammamish Pkwy. N.E., Redmond, 800-450-1480. $43.50 and up. See cirquedusoleil.com for exact schedule.

Ends March 24. GWENDOLYN ELLIOTT

•

composers—had mellowed; no less intricate, it seemed to want to beguile rather than baffle.

For example, in his 2008 Flute Concerto, the » by gavin borchert knotty orchestral chaos remains subordinate to a flute line of Debussyan lyricism; the celestial aria for the soloist in the middle of his 2001 When in 1979 The New Yorker’s Andrew Porter Cello Concerto is even lovelier. This weekend, suggested that Elliott Carter was by conthe Seattle Symphony will earn a special sensus the world’s greatest place in Carter’s life story living composer, there was when they premiere his last pushback. Some find his completed orchestral work, Instances, finished last April music’s intricately glittering before his November death surfaces impenetrable and at age 103. (By coincidence, self-indulgent, its complexity on Wednesday, the Juilliard mere aggression. (That Carter String Quartet, long associnever seemed to demur at ated with Carter, will play his his canonization was another 1995 String Quartet no. 5 in sticking point; as Virgil ThomMeany Hall.) Benaroya Hall, son quipped, “When Aaron Third Avenue and Union [Copland] reached the top, Street, 215-4747, seattle at least he sent the elevasymphony.org. $19–$117. tor back down.”) But other 7:30 p.m. Thurs., Feb. 7; listeners have felt that the 8 p.m. Sat., Feb. 9; 2 p.m. music of Carter’s prolific last Carter’s farewell.

Sun., Feb. 10. years—like that of so many

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PilObOluS Saturday | February 16 $40, $45 & $50, $15 youth/student Sponsored by barclay Shelton Dance Centre, bob & Sylvana Rinehart, and Carl Zapora & Cheryl Foster

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WarHorse NationalTheatre of Great Britain and Bob Boyett present

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Winner!

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Feb 13-24 • The Paramount Theatre 877.784.4849 • STGPresents.org Priority seating & groups 10+ call: 888.214.6856

Tickets Available Through Tickets.com and Select Ticketmaster Locations P R E S E N T E D BY:

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Additional fees may apply. All sales final, no refunds. Prices, shows, dates, schedules, and artists are subject to change.

Seattle weekly • FE BRUARY 6− 12, 2013

OPENS NEXT WEEK!

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arts»Performance A DAY IN THE DEATH OF JOE EGG Thalia’s Umbrella

January 16 February 24, 2013 Who Will Be Next?

debuts with Peter Nichols’ dark comedy about a couple and their disabled daughter. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. $5–$35. 7:30 p.m. Thurs.– Sat., 2 p.m. Sun. Ends Feb. 17.

INTO THE WOODS Sondheim’s fairy-tale mashup. Studio East, 11730 118th Ave. N.E. #100, Kirkland, 425-820-1800. $12–$14. Runs Fri.–Sun.; see studio-east.org for exact schedule. Ends Feb. 17.

JEEVES IN BLOOM SEE REVIEW, PAGE 16.

THE MOUSETRAP The first rule of Agatha Christie’s The Mousetrap is: You do not talk about The Mousetrap. So successful has been this rule that the whodunit has run continually in London since its 1953 premiere. This adorable production, wittily directed

by Jeff Steizer, offers further insight into its recordbreaking longevity. Five guests arrive at Monkswell Manor during a snowstorm, joining the inn’s owners, Mollie and Giles (Hanna Lass and Richard Sloniker), on Jason Phillips’ atmospheric neo-Tudor parlor set.

Amid jockeying for rooms and spots by the fire, the inn’s population dwindles, and a clever inspector (Jared Michael Brown) arrives on skis to investigate possible connections to a recent murder in the area.

Luminaries, including David Pichette, R. Hamilton Wright, and Ellen McLain, join first-rate younger actors to give maximum boost to this lovably loopy genre crowd-pleaser. Mum’s the word. MARGARET FRIEDMAN Village Theatre, 303 Front St. N., Issaquah, 425-392-2202. $22–$63. Runs Wed.–Sun.; see village theatre.org for exact schedule. Ends Feb. 24 (then runs in Everett March 1–24).

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For Tickets, Call: (425) 392-2202 or Visit: www.VillageTheatre.org

TICKETS ON SALE

NOW!

NUMBER 2 QUÉBÉCOIS ROBOT DETECTIVE AGENCY Washington Ensemble Theatre’s kids’

show is a Montreal-set spoof noir with robots. The Little Theatre, 608 19th Ave. E., washingtonensemble. org. $5–$10. 11 a.m. Thurs., 11 a.m. & 1 p.m. Sat.–Sun. Ends Feb. 10.

THE PHALLUSOIDAL PHILTRE A bawdy, commediainspired farce. The Little Theatre, 608 19th Ave. E., littlebluepotion.com. $14–$16. 7:30 p.m. Wed.–Sat. Ends Feb. 9.

PINOCCHIO Studio East and StoryBook Theater present the tale of a wooden boy who just wants to be real.

Various venues; see storybooktheater.org. $10. Ends March 10.

THE SEAGULL A luxurious nine-month rehearsal period (!) gives such depth to Chekhov’s populous ensemble piece, directed by John Langs, that its 13 characters seem to have known one another forever. At a lakeside estate, mother Arkadina (Julie Briskman) and son Konstantin (Brandon J. Simmons) gather with their respective paramours—famous writer Trigorin (John Bogar) and aspiring actress Nina (Alexandra Tavares)—and other visitors for the premiere of Konstantin’s latest play. Leave it to breezily narcissistic Arkadina to eviscerate her kid with cruel dismissals and creepy reconciliations. Tavares, older than the traditional Nina, brings the role a flickering, appropriately unstable magic. In the world of The Seagull, nearly as capricious as that of A Midsummer Night’s Dream, everyone loves someone who doesn’t love them back. The otherwise pellucid show does get muddy in the final encounter between Nina and Konstantin, but the Sorin estate is a place we can barely bear to leave. Then, all too abruptly, Chekhov kicks us out. MARGARET FRIEDMAN ACT Theatre, 700 Union St., 292-7676. $15–$35. Runs Thurs.–Sun.; see acttheatre.org for exact schedule.

Ends Feb. 10.

SECOND DATE Three new one-act dramas. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$10. 8 p.m. Tues.–Wed. Ends Feb. 13.

SHIRLEY VALENTINE Heather Hawkins plays the working-class Liverpool housewife who finds romance in Greece. ArtsWest, 4711 California Ave. S.W., 9380339, artswest.org. $10–$34.50. 7:30 p.m. Wed.–Sat. Ends Feb. 16.

TEATRO ZINZANNI: DINNER AT WOTAN’S Their new Norse-themed show. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. See dreams.zinzanni.org for schedule of dinner shows and matinees. Ends May 12.

THE UNDERSTUDY Theresa Rebeck’s showbiz satire. Seattle Public Theater at the Bathhouse, 7312 W. Green Lake Ave. N., 524-1300. $15–$29. 7:30 p.m.

Thurs.–Sat., 2 p.m. Sun. Ends Feb. 17.

UNDO Holly Arsenault’s new play about a very public divorce. Annex Theatre, 1100 E. Pike St., 728-0933, annextheatre.org. $5–$20. 8 p.m. Thurs.–Sat. Ends Feb. 16.

YOU’RE A GOOD MAN, CHARLIE BROWN Broadway Bound Children’s Theatre brings the “Peanuts” gang to life. Shoreline Center, 18560 First Ave. N.E., 800-8383006, broadwaybound.org. $17.50. 7 p.m. Fri., 2 & 7 p.m.

Seattle weekly • FEBRU ARY 6− 12, 20 13

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Sat.–Sun. Ends Feb. 10.

Dance

ROMÉO ET JULIETTE: SEE REVIEW, PAGE 16.

•VENICE IS SINKING A Venetian-style masked ball, with

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cirque acts. (Semiformal/formal attire, and yes, masks are required.) Bell Harbor International Conference Center, 2211 Alaskan Way, veniceissinking.eventbrite. com. $60. 8 p.m. Sat., Feb. 9.

HUBBARD STREET DANCE CHICAGO SEE THE WIRE, PAGE 15.

Classical, Etc.

• JUILLIARD STRING QUARTET Mozart, Beethoven

(the gnomic, unorthodox Quartet in C-sharp minor), and Elliott Carter’s Fifth Quartet (one day before the Seattle Symphony premieres Carter’s Instances). Meany Hall, UW campus, 543-4880, uwworldseries.org. $20–$38.

7:30 p.m. Wed., Feb. 6.

JENNIFER KOH Music for one violin: Bach, Bartok, and a new work by Phil Kline, Town Hall, 1119 Eighth Ave., 888-377-4510, townhallseattle.org. $10–$20. 7:30 p.m. Thurs., Feb. 7.

UW MODERN MUSIC ENSEMBLE This group debuts with music by Sciarrino, Xenakis, and others. Meany Studio Theater, UW campus, 543-4880, music. washington.edu. $10–$15. 7:30 p.m. Thurs., Feb. 7.

SEATTLE IMPROVISED MUSIC FESTIVAL Local musicians and guests blur the lines between performance and composition. At Chapel Performance Space, 4649 Sunnyside Ave. N., 8 p.m. Thurs., Feb. 7– Sat., Feb. 9 ($10–$25); and Gallery 1412, 1412 18th Ave. E., 1 p.m. Sat., Feb. 9 ($5–$15). See seattleimprovised music.us/simf for program details.

SEATTLE SYMPHONY SEE EAR SUPPLY, PAGE 18.

HAMMER JAZZ Originals and standards from UW faculty musicians Tom Collier and Marc Seales. Meany Studio Theater, UW campus, 543-4880, music.washington.edu. $12–$20. 7:30 p.m. Fri., Feb. 8.

UW BAROQUE ENSEMBLE Bach, Handel, and more.

Brechemin Auditorium, School of Music, UW campus, 685-8384, music.washington.edu. $5. 7:30 p.m. Fri., Feb. 8.

SEATTLE MODERN ORCHESTRA Boulez’ Le marteau sans maitre and other audience-frightening music from the ‘50s. Cornish College/PONCHO Concert Hall, 710 E. Roy St., seattlemodernorchestra.org. $10–$20.

8 p.m. Fri., Feb. 8.

SEATTLE WOMEN’S CHORUS The Voice’s (and Tacoma’s) Vicci Martinez is the special guest for this 10th-anniversary concert. Benaroya Hall, 200 University St., 388-1400, seattlewomenschorus.org. $25–$65.

8 p.m. Fri., Feb. 8.

SIMPLE MEASURES Chamber music for soprano (Jennifer Foster) and string quartet by Schubert, VillaLobos, and others. At Q Cafe, 3223 15th Ave. W., 7:30 p.m. Fri., Feb. 8, and Mount Baker Community Club, 2811 Mount Rainier Dr. S., 6:30 p.m. Sun., Feb. 10. 8535672, simplemeasures.org. $15–$30.

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SEATTLE/SEATTLE CHAMBER • ORCHESTRA Johan Louwersheimer conducts SINGERS

Shostakovich, Weber, and more. First Free Methodist Church, 3200 Third Ave. W., 800-838-3006, osscs.org. $10–$25. 7:30 p.m. Sat., Feb. 9.

BYRD ENSEMBLE Named after a renaissance composer, and usually comfy there, this choir tackles modern music in a similar spirit by Gorecki, Part, and Tavener. Trinity Episcopal Church, 609 Eighth Ave., 3973627, byrdensemble.com. $10–$20. 7:30 p.m. Sat., Feb. 9.

GALLERY CONCERTS Songs, chamber music, and piano music by Schubert. Queen Anne Christian Church, 1316 Third Ave. W., 726-6088, galleryconcerts. org. $15–$30. 7:30 p.m. Sat., Feb. 9, 3 p.m. Sun., Feb. 10.

KODO For fans of drumming, and of Japanese guys with zero body fat. Meany Hall, UW campus, 543-4880, uwworldseries.org. $20–$45. 8 p.m. Sat., Feb. 9, 2 p.m.

Sun., Feb. 10.

DMITRI CARTER This master puppeteer presents “French Baroque Tales in Music and Puppetry.” Town Hall, 1119 Eighth Ave., 325-7066, earlymusicguild.org. $5–$10. 1 p.m. Sun., Feb. 10.

OUR EARTH Heron and the Salmon Girl is one of Eric Banks’ trio of children’s operas based on Northwest myths, a collaboration between SYSO players and Seattle Opera singers. Town Hall, 1119 Eighth Ave., 3897676, seattleopera.org. $10–$20. 2 p.m. Sun., Feb. 10.

GALEET DARDASHTI Daughter of a cantor and a Persian classical singer, this vocalist and composer performs.

Brechemin Auditorium, School of Music, UW campus, jewdub.org/newvoices. Free. 7 p.m. Sun., Feb. 10.

COMPOSER SPOTLIGHT Pianists Gust Burns and Victor Noriega perform and discuss their latest recording project. Jack Straw Studios, 4261 Roosevelt Way N.E., 328-7694, jackstraw.org. Free. 7:30 p.m. Wed., Feb. 13.

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5 X TENN (OR SO) Stone Soup Theatre

February 15 - March 9

Six seldom seen short plays by Tennessee Williams that will both surprise and remind us that America’s most treasured playwright holds a place that rivals none other. Stone Soup Theatre’s intimate Downstage Theatre and Williams are a perfect match. 206.633.1883. $14-$25.

THE UNDERSTUDY

Seattle Public Theater On stage now - February 17

Art and commerce collide in Theresa Rebeck’s play about an overpaid action movie star who turns an undiscovered Kafka play into a Broadway hit. Things then implode when an embittered and idealistic understudy arrives for rehearsal and discovers the stage manager is his ex-fiancée.

206.524.1300. $18-$30.

www.seattlepublictheater.org

www.stonesouptheatre.org/events/5x-tenn

SHIRLEY VALENTINE

ArtsWest Playhouse and Gallery On stage now – February 16

A middle-aged Liverpool housewife is transformed by a surprise holiday in the Greek islands. Named among the most influential post-war British plays by the Victoria and Albert Museum, this award-winning comedy stars Footlight Award winner Heather Hawkins. 206.938.0339. $12-$34.50.

www.artswest.org

ANNA KARENINA

Center Theatre at the Armory On stage now - March 3

In the highest circles of Russian society, an unexpected encounter ignites an affair between the beautiful, married Anna Karenina and dashing Count Vronsky. Tolstoy’s classic smolders with passion and unfulfilled desire. Evening shows begin at 7:30pm; Matineés begin at 2:00pm. 206.216.0833. $23-$45(youth and senior discounts available).

www.book-it.org

The Moore Theatre February 13 - 17

SPANK! The Fifty Shades Parody is a comedy-filled musical satire that captures all the naughty fun of the book in one saucy and hilarious show. Part Chippendales, part Second City...this unauthorized parody is written and directed by Jim Millan of The Kids in the Hall and features top comedic actors and improvisers. 877.784.4849. $35-$60.

www.stgpresents.org

Agatha Christie’s

THE MOUSETRAP

Village Theatre On stage now - February 24

Stranded by a snowstorm within one guesthouse are the young couple who own the business, four single guests, one stranger who happened upon the house, and one detective. Eight inhabitants; one murderer; and one nameless target—but how many will get hit in the crossfire? 425.392.2202. $44-$63 (youth and senior discounts available).

www.villagetheatre.org/themousetrap.php

MUSICAL PERFORMANCE ANDRE FERIANTE Words Of Love

Benaroya Hall Nordstrom Recital Hall February 14

For this special 15th anniversary Valentine’s Day Concert, Words of Love, Andre will perform pieces from his new Beatles album, Beatles Masquerade. He always delivers a musical mix of fiery flamenco, classical guitar standards and spoken poetry set to his original compositions. Tickets are $40 and on sale now through the Benaroya Hall Box Office 206.215.4747 or online at www.benaroyahall.org.

www.andreferiante.com/bhallflyer

Seattle Opera

LA BOHEME

Mccaw Hall February 23 - March 9

Puccini’s unmatched gift for melody adds remarkable poignancy to the simple joys and heartbreaking sorrow of a group of young Parisians. Easy to love - and impossible to forget. 206.386.7676. $25-$215.

www.seattleopera.org

INTERESTED IN ADVERTISING ON THIS PAGE? EMAIL US AT GIMMECULTURE@SEATTLEWEEKLY.COM or CALL 206.467.4341

Seattle weekly • FE BRUARY 6− 12, 2013

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THEATER

SPANK! The Fifty Shades Parody

ARTS DIRECTORY

GIMME CULTURE!

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arts»Visual Arts DAWN P. ENDEAN & KIRSTEN WILHELM Endean’s

BY GWENDOLYN ELLIOTT

Openings & Events JURIED EXHIBITION Luis Croquer, Deputy Director of

Art and Education at the Henry Art Gallery, will jury this show featuring the of work 29 artists. Note First Thursday opening 6–8 p.m. and artists’ reception 5–8 p.m. Sat., Feb. 9. Gallery 110, 110 Third Ave. S. (Tashiro Kaplan Building), 624-9336, gallery110.com. Opens Feb. 7, Weds.–Sat., 12–5 p.m. Through March 2.

BELLTOWN ART WALK Every second Friday of the month, the neighborhood galleries (including Roq La Rue, NorthWest Woodworkers Gallery, Form/Space Atelier, Art/Not Terminal Gallery, and others) and non–galleries (Cyclops, Black Bottle, Bedlam Coffee, etc.) extend their hours so you can check out work by local artists. See belltownartwalk.net for details. Free, Second Friday of every month, 6 p.m.

CYNTHIA CAMLIN Cracked Prospects addresses global calamity through landscape paintings and drawings.

First Thursday reception: 5–8 p.m. Punch Gallery, 119 Prefontaine Place S. (Tashiro Kaplan Building), 621–1945, punchgallery.org. Opens Feb. 7, Thurs.–Sat., 12–5 p.m. Through March 2.

COSMIC DANCER Chrissie White and Clara Pathe present photos of the Coriolis Dance Collective. Opening during Ballard Art Walk, 5–7 p.m. Sat. Feb. 9. Lucky Dry Goods, 5424 Ballard Avenue NW, 789–8191. Opens Feb. 9, Mon.–Sun., 12–7 p.m. Through Feb. 28.

ELLEN DICOLA In her short video Arborealis, footage of vapor clouds is juxtaposed over found images of the Northern Lights. First Thursday opening reception, 6–8 p.m. The window display remains on view for a year. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296–7580, 4culture.org. Opens Feb. 7, Mon.–Fri., 8:30 a.m.–5 p.m. Through Feb. 1.

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

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Observation & Apprehension “suggests the documentation of a disintegrating world.” Wilhelm paints power lines and other urban scenes. First Thursday reception, 5–7 p.m. Shift Collaborative Studio, 306 S. Washington St. (Tashiro Kaplan Building), 547–1215, shiftstudio.org.

Feb. 7–March 6.

DAKOTA GEARHART The video installation Odes to Me, in the gallery’s storefront windows, pairs vocal manipulation with aquarium footage. On view through 2014. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296–7580, 4culture.org. Mon.–Fri., 8:30 a.m.–5 p.m. Through Feb. 1.

• GEORGETOWN ART ATTACK February’s showcase features paintings by Braden Duncan at Calamity Jane’s, metal work by Alair Wells and Stacy Rosevear at Equinox Studios, steampunk assemblages at Georgetown Liquor Company, contemporary fairy illustrators at Krab Jab Studio, and much more. Afterward, you’re encouraged to continue the evening at any number of watering holes along Airport Way, including Jules Maes and 9 Lb. Hammer. Free, Second Sat. of every month, 6–9 p.m.

GROUP SHOW David Knoll and other gallery artists show their work. First Thursday artist reception, 6–8 p.m. Grover/Thurston Gallery, 319 Third Ave. S., 223–0816, groverthurston.com. Tues.–Sat., 11 a.m.–5 p.m. Through March 2.

MIEKO HARA Shapes of Things to Come is a collection of Hara’s collage work, made with found objects. Also on view: Fiction Factory, abstract paintings by Lori Swartz. First Thursday opening reception, 6–8 p.m.

Gallery I|M|A, 123 S. Jackson St., 625–0055, galleryima. com. Opens Feb. 7, Tues.–Sat., 10:30 a.m.–5:30 p.m.

Through March 2.

I LOVE LOVE The show features works by Ford Crull and others on the subject of love. First Thursday reception, 5–8 p.m. Friesen Abmeyer Fine Art, 1210 2nd Ave., 628– 9501, friesenabmeyer.com. Opens Feb. 7, Tues.–Sat., 11 a.m.–5:30 p.m.; Sun., 12–5 p.m. Through Feb. 24.

JEWELRY TRUNK SHOW Robbie Curnow and Zuzana Willis offer wearable art and metal jewelry. KOBO at Higo, 604 S. Jackson St., 381–3000, koboseattle.com.

Sat., Feb. 9, 12–5 p.m.; Sun., Feb. 10, 12–5 p.m.

2012/2013

University of Washington PUBLIC

LECTURE

SERIES

February 12 - 6:30pm

Geoffrey Pullum

Seattle weekly • FEBRU ARY 6− 12, 20 13

Professor of General Linguistics, School of Philosophy, Psychology and Language Sciences, University of Edinburgh, and Gerard Visiting Professor of Cognitive, Linguistic and Psychological Sciences, Brown University The Scandal of English Grammar Teaching Kane Hall 130

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February 28 - 6:30pm

Raquel Z. Rivera

Author, Scholar and Singer-Songwriter Liberation Mythologies Kane Hall 120

March 6 - 6:30pm

Ron Eglash

Professor, Department of Science and Technology Studies - Rensselaer Polytechnic Institute Computing for Social Justice and Sustainability Kane Hall 120

TO GUARANTEE YOUR SEAT, please register online at

www.grad.washington.edu/lectures

Stand by seating will be offered but doesn’t guarantee entrance.

ALL LECTURES TAKE PLACE ON THE UW SEATTLE CAMPUS

arts» The photographer presents landscape •JOHN A. KANE Endless Horizons: Snapshots and Stories

images in From the American West. First Thursday reception, 5–7 p.m. Paper Hammer, 1400 Second Ave., 682–3820, paper–hammer.com. Opens Feb. 7, Mon.–Sat., 11 a.m.–6 p.m. Through Feb. 28.

MAGIC SYNC On view is new interactive work by Andy Arkley, Courtney Barnebey, and Peter Lynch. First Thursday reception, 6–8 p.m. Soil Gallery, 112 Third Ave. S. (Tashiro Kaplan Building), 264–8061, soilart.org.

Opens Feb. 7, Weds.–Sat., 12–5 p.m. Through March 2.

VIVIAN MAIER SEE THE WIRE, PAGE 15.

•JAMES MARTIN Whole Cloth and Mirrors offers new figurative paintings. First Thursday reception, 6–8 p.m.

Foster/White Gallery, 220 Third Ave. S., 622–2833, fosterwhite.com. Opens Feb. 7, Tues.–Sat., 10 a.m.–6 p.m.

Through Feb. 28.

JOSEPH MARUSUKA He shows brightly colored new oil paintings. First Thursday reception, 6–8 p.m. Patricia Rovzar Gallery, 1225 Second Ave., 223–0273, rovzargallery.com. Opens Feb. 7, Mon.–Sun., 11 a.m.–5 p.m.

Through March 4.

• MOHAI FREE FIRST THURSDAYS The museum is open late; and, in addition to its permanent collection (artifacts from our civic and maritime history), you can see John Grade’s 65–foot–tall sculpture Wawona (salvaged from the schooner of the same name), plus new exhibits on video games and Seattle’s history at the movies. Museum of History and Industry, 860 Terry Avenue N., 324–1126, mohai.org. Free, First Thursday of every month, 10 a.m.–8 p.m.

JENNY ROBINSON She shows recent monoprints and etchings. First Thursday opening reception, 6–8 p.m.

Davidson Galleries, 313 Occidental Ave. S., 624–1324, davidsongalleries.com. Opens Feb. 8, Tues.–Sat., 10 a.m.–5:30 p.m. Through March 2.

A naughty and hilarious night out!

A LAUGH-OUT-LOUD MUSICAL Arrive early for pre-show cocktails.

Stay late for a photo with Mr. Dangerous himself!

ANTHONY SONNENBERG AND RODRIGO VALENZUELA They present a quartet of collaborative

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• THE MOORE 3 1 0 2 , 7 -1 3 February 1 8054 ore call (206) 315-

s of 5 or m Discounts for Group presents.org or email groups@stg uh!)

Mature Content (d ns ai nt | Co t! ou t Great girls nigh

Single TickeTS AvAilAble AT: STgPReSenTS.ORg (877) 784-4849

eSt. 1907 2nd Ave & virginiA St

Seattle weekly • FE BRUARY 6− 12, 2013

videos on the subject of self. First Thursday reception, 6–8 p.m. Gallery4Culture, 101 Prefontaine Place S. (Tashiro Kaplan Building), 296–7580, 4culture.org. Opens Feb. 7, Mon.–Fri., 8:30 a.m.–5 p.m. Through March 1.

SOUTHERN GOTHIC This group show features Lea Barozzi, Kendra Binney, Lesley Reppetaux, Kalina Torino, and Heidi Elise Wirz. Bherd Studios, 8537 Greenwood Ave. N., 234–8348, bherdclothing.com.

Opens Feb. 8, Weds.–Sat., 11 a.m.–6 p.m.; Sun., 12–5 p.m. Through March 1.

STORYTELLING Ben Darby, Thomas Doyle, Casey McGlynn, Eugenie Tung, and Eric Zener present narrative works in photography, mixed media, and acrylics.

First Thursday reception, 6–8 p.m. Foster/White Gallery, 220 Third Ave. S., 622–2833, fosterwhite.com. Opens Feb. 7, Tues.–Sat., 10 a.m.–6 p.m. Through Feb. 28.

LINO TAGLIAPIETRA He shows his Kookaburra glass sculpture, along with work from other gallery artists.

First Thursday reception, 5–8 p.m. William Traver Gallery, 110 Union St., 587–6501, travergallery.com.

Opens Feb. 7, Tues.–Fri., 10 a.m.–6 p.m.; Sat., 10 a.m.–5 p.m.; Sun., 12–5 p.m. Through Feb. 24.

STEPHEN TALASNIK Recent drawings and sculpture are on view. First Thursday reception, 6–8 p.m. Davidson Galleries, 313 Occidental Ave. S., 624–1324, davidsongalleries.com. Opens Feb. 7, Tues.–Sat., 10 a.m.–5:30 p.m. Through March 2.

TARTS, TROLLUPS & TRAMPS Laurie McClave of Red Raven Gallery curates this all–female art show featuring Patricia Ariel, Lea Barozzi, Jel Ena, Kim Gordon, Kelly Haigh, Amy Michew, Jen Porecca, Redd Walitzki, and Jessica Ward. Opening gala: 6–10 p.m. Fri., Feb. 8.

Tasty, 7513 Greenwood Ave. N., 706–3020, shoptastyart. com. Weds.–Sat., 11 a.m.–6 p.m. Through March 5.

URBAN + PRIMITIVE Large canvases featuring archetypal characters and finely detailed paintings by Joseph Lavely and Lyle Carbajal viewing at Joseph Lavely Studio/Gallery. Note First Thursday opening 5:30–9 p.m. Tashiro Kaplan Building, 310 S. Washington St., 223–1160, tklofts.com. Opens Feb. 7, Thurs.–Sat., 12–5 p.m. Through March 2.

WALLINGFORD ART WALK Participating venues and galleries include Stu Stu Studios, Fuel Coffee, Julia’s Restaurant, and Oasis Art Gallery. See wallingfordartwalk.org for full roster of attractions. First Wednesday of every month, 6–9 p.m.

WOMEN’S WORK Culture and the Feminine: Humaira Abid, Maura Donegan, Kathy Liao, and others consider feminist identity in different cultures. First Thursday opening reception, 5–8 p.m. ArtXchange, 512 First Ave. S., 839–0377, artxchange.org. Opens Feb. 7, Tues.–Sat., 11 a.m.–5:30 p.m. Through March 16.

EMILY WOOD She shows new landscape paintings. First Thursday reception, 6–8 p.m. Lisa Harris Gallery, 1922 Pike Place, 443–3315, lisaharrisgallery.com. Opens Feb. 7, Mon.–Sat., 10:30 a.m.–5:30 p.m.; Sun., 11 a.m.–4 p.m.

Through March 3.

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film»This Week’s Attractions 56 Up

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Tony the cabbie has weathered tough economic times.

Apted, a Granada TV researcher in ’64, has in his seven follow-up films been a sympathetic off-camera presence. He lobs questions in 56 Up (“Do you measure your life in terms of success or failure?”), yet resists any overview or analysis. When Tony, the charismatic jockey-turned-cabbie, predicted a real-estate bubble in 49 Up, Apted now reminds him, did he know how prescient he was? Tony has dabbled in Spanish real estate and watched that market collapse, and it is those market forces—which we shorthand as globalization—that go undiscussed. Andrew and John, another prosperous university grad and attorney, seem to do well despite the

recession. Poor Neil, previously homeless and mentally ill, will never do well; the best he can hope for is state support and the scant dignity of a town councilman’s job. Yet he endures, and his story is not so terrible as we might’ve predicted after 28 Up. “How many people are happy?” Neil asks rhetorically. Apted doesn’t put that question to Andrew and John, but they have wives, weekend homes, and ski vacations, so perhaps he needn’t.

Though I very much admire it, the problem with this acclaimed series—beyond its lack of outside context—is that each new installment must recycle so much old footage. We need to be reintroduced to the subjects again and again, every seven years. Some go on hiatus and return, like leftist ex-teacher Peter, who uses the film to promote his new music career. So why does Apted indulge him? Each individual story subsumes the issue of class.

Apted is more interested in coping than social advancement: the ways his subjects—rich and poor—adapt to their circumstances. That means divorce, unemployment, health issues, and grandkids (apparently none of the 14 original Seven Up! kids have died). Physicist Nick, now on his second marriage in the U.S., wants to see “a real study” about class and social outcome, but Apted has no data to offer—only anecdotes. His sample size is too small and self-selecting; he and his subjects are all on a friendly first-name basis by now.

In a real sense, they’re our friends, too (and also minor celebrities in England, thanks to a wide TV audience). And what do we do when reuniting with old friends—fill out questionnaires and filter the results through a computer? No, we trade stories. 56 Up isn’t science, but it satisfies with the slow, steady turning of life’s ordinary pages. BRIAN MILLER

PSide Effects

OPENS FRI., FEB. 8 AT SUNDANCE CINEMAS AND OTHER THEATERS. RATED R. 106 MINUTES.

After a two-decade career that’s brought him from Sundance darling (with sex, lies, and videotape) to Hollywood eminence, Steven Soderbergh can pretty much do what

From prison to pills: Mara and Tatum.

he wants. But after his forthcoming HBO Liberace biopic (Behind the Candelabra) and Side Effects, he says he’ll retire. Such declarations generally yield to the desire for a private Caribbean island or château in the Loire Valley, but let’s take him at his word. Soderbergh, a total filmmaker who handles his own camera, is only as good as his script. And this big pharma/crime tale by Scott Z. Burns (Contagion, The Bourne Ultimatum) is not a great script. Yet it starts smartly enough, as Emily (Rooney Mara) waits for her husband Martin (Channing Tatum) to be released from jail after a four-year term for insider trading. (Only in the movies, it seems, does the SEC have any teeth.) Understandably, Emily is depressed, and she’s on a lot of pills.

Beginning with the twinned topics of drugs and money, Side Effects is undeniably topical.

America is an overmedicated nation, and the pharmaceutical industry is a huge, corrupting influence within our health-care system. At first, Dr. Banks (Jude Law) attempts to resist that influence, providing suicidal Emily with modest meds and a sympathetic ear. But more danger signs present themselves, so he enrolls her in a clinical trial that will, conveniently, provide him some much-needed extra income. Try this new drug, he says, it’s called Ablixa. (“Take back tomorrow,” purrs the Internet ad.) Then, doped up and hallucinating, Emily does something disastrous. Banks’ reputation is ruined, and he’s in need of an Erin Brockovich to save him.

That’s where Side Effects begins to stray from present urgency to old Hollywood genre piece. Mara, virtually unknown before the Girl With the Dragon Tattoo remake, projects a worryingly blank stare. As Lisbeth Salander, a kind of psycho autistic-savant, you knew she was capable of dark deeds. As Emily, you’re not so sure. When her prior shrink (Catherine Zeta-Jones) begins criticizing Banks’ treatment of Emily, we see the basis for those charges. Was Banks coming on to this damsel in distress? (Allegations of prior medical misconduct are conveniently relayed from the UK.) Is Banks hopped up on his own pills? His behavior, to his wife and colleagues, begins to seem erratic and paranoid. And his further treatment of Emily takes on the obsessive aspect of A Dangerous Method—physician, heal thyself?

As Side Effects becomes a medical/legal procedural, with lawyers, courtroom testimony, and flashbacks, you could imagine a different set of actors—perhaps Fred MacMurray and Barbara Stanwyck—in an older, black-and-white version of the same script, with the same enjoyable plot twists. I mean this respectfully, since Soderbergh is a Hollywood classicist, but Side Effects ultimately feels like a remake. And if that’s the way he chooses to end his career, fine. Side Effects embodies the pleasures of the familiar, if not the discoveries of his past. BRIAN MILLER

Tabu RUNS FRI., FEB. 8–THURS., FEB. 21 AT NORTHWEST FILM FORUM. NOT RATED. 118 MINUTES.

Following the great Lisbon earthquake of 1755, Portugal’s biggest catastrophe may have been the loss of ill-gotten wealth from its African colonies. Mozambique, Angola, and other nations finally gained indepen-

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Michael Apted’s subsequent chapters of this famed documentary series, first created for British television in 1964, have ranged far beyond his original brief. That mission was to see after Seven Up!—directed by Paul Almond—how class determined subsequent social advancement in a nation still feeling the effects of war and the loss of empire.

“This has been a glimpse of Britain’s future,” declared the cheerful narrator (a device thankfully abandoned), only the future of 56 Up is far different than anything envisioned in ’64. Would the privileged maintain their privilege? Would the Labor Party help the poor—then mostly white and native-born— climb the socioeconomic ladder? After the Beatles, Margaret Thatcher, and Tony Blair, 56 Up’s subjects seem rather pessimistic, if not quite bitter, about the UK’s enduring inequalities.

“There is still a class system,” says welloff barrister Andrew, “but it’s based on financial success. It’s been ever thus, and I don’t think it’s ever going to change.” Echoing him is Lynn, a working-class East Ender who cycled through various social-work positions before being made redundant. The Labor Party has failed, she says, and others from her circle share that view, criticizing Thatcher and David Cameron for weakening the welfare state.

BARRY WETCHER/OPEN ROAD FILMS

OPENS FRI., FEB. 8 AT GUILD 45TH. NOT RATED. 144 MINUTES.

Moreira and Cotta as colonial lovers.

dence in 1974—late compared to the rest of Europe. As a result, Portuguese artists are still chewing over their colonial legacy long after Orwell and Malraux had their say. Filmmaker Miguel Gomes takes an indirect look back to an unnamed African colony in Tabu, but he

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GARDEN THIEVES PICTURES

400 North 43rd Street Seattle, Wa 98103

Ken Sakamoto (left) watches Hiromichi Sakamoto grind his cello.

BRIAN MILLER

We Don’t Care About Music Anyway . . .

RUNS FRI., FEB. 8–THURS., FEB. 14 AT NORTHWEST FILM FORUM. NOT RATED. 80 MINUTES.

In modern Japan, commuters squeeze into impossibly packed trains, and consumer culture fills in the cracks. The confines and conformity of Japanese culture are what drive the avant-garde musicians in Cédric Dupire and Gaspard Kuentz’s 2009 documentary to create their schizo, unclassifiable sounds. Hiromichi Sakamoto drags a beat-up cello behind him like Linus and his blanket, scrapes the instrument on a balcony railing, and takes a grinding tool to the metal endpin at its base. Fuyuki Yamakawa rigs his body to an amp that pumps out his heartbeat. The effect is frenetic and nerve-rattling.

The filmmakers turn a keen eye toward some of Tokyo’s overlooked—and growing— musical factions. In response to all the consumer refuse and waste, Tomoko Shimazaki and Ken Takehisa perform a noise “concert” on a trash-strewn beach. This group of rogue sonic artists isn’t interested in fitting in or producing conventional harmonies.

“Conformity is defined by a social consensus,” says Yamakawa during one of the film’s roundtable discussions (with the Japanese subtitled into English). “Our actions are dictated by this hypocritical norm, which smothers any desire for change . . . I’m convinced there are many alternate and more appealing possibilities.

I also believe it’s my role to seek them.”

Cycling through artist chats about the creative process, performance vignettes, and stark urban scenes, We Don’t Care takes its artistic mandate from its subjects—not to fit into a box, at any cost. Even if the soundtrack may have you running for the door, Dupire and Kuentz do a fine job of documenting this improvised-music scene. Which, as the title implies, isn’t about the music—it’s about the hunger for process, the thrill of discovery, and the unknown waiting just beyond the harmonic threshold. GWENDOLYN ELLIOTT E film@seattleweekly.com

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has more than history on his mind. Tabu is a movie-infused expedition into the jungles of memory and regret, a heartfelt pastiche, and a narrative thicket in need of a machete.

Pilar (Teresa Madruga) is a kindly, semiretired Lisbon woman who hosts foreignexchange students and takes an interest in her elderly neighbor Aurora (Laura Soveral). A gambler and widow whose grown daughter is never seen, Aurora seems intent on squandering the last of her money. Her other hobby is quarreling with her maid Santa (Isabel Muñoz Cardoso), a native of Cape Verde, one of Portugal’s former colonies. In one sense, Aurora’s faded, Havishamesque grandeur symbolizes the nation’s past; in another, she’s just a convenient storytelling device that leads to Tabu’s second chapter, set some 50 years prior in Africa. There we meet young Aurora (Ana Moreira), a married woman who takes a lover.

Both sections of Tabu are shot in black and white, which makes the whole enterprise self-consciously “historical.” The African love story is narrated, but its characters aren’t heard; it’s something like a silent movie with a modern soundtrack added. This storywithin-a-story is initiated when Pilar and Santa set out to find Aurora’s old lover, Ventura, played by Carloto Cotta in the African section. That romance is nothing like The English Patient’s passion; nor is Gomes interested in a revenge-of-the-colonized drama like, say, Michael Haneke’s Caché. When Aurora’s husband gifts her with a baby crocodile, the metaphor is clear, but we never see it grow to devour its master.

Rather than portending disaster, there’s just a slow, simmering melancholy to this long-past romance and Pilar’s dull daily doings. (Maybe it’s she who symbolizes frustrated modern Portugal.) Tabu is like Guy Maddin without the hysteria or Almodóvar without the fun. There are plangent period details, like a bubblegum pop band playing beside a fetid swimming pool, and the cinematography by Rui Poças is often quite lovely. Still, Gomes adds so many layers to his cake that I would’ve preferred a half-serving.

25

film»

Distant Laughter

Rediscovering a forgotten clown of French cinema.

BY SEAN AXMAKER

NWFF

The simple answer: His films were out of circulation for decades due to legal issues, freed only in 2009, restored in 2010, and rereleased in France to great acclaim. Northwest Film Forum is now presenting all five of his features and his first three comedy shorts.

As for the original question: Étaix trained and performed as a clown, became a star on the ’50s cabaret circuit, and worked with Tati as both gag man and graphic artist on the latter’s classic Mon Oncle (1958) before directing his own In The Suitor, Étaix looks for a woman. Any woman. films. Between 1961 and 1971 he created and starred in four features and three comedy shorts (all written with Jean-Claude Carrière, ho is Pierre Étaix? His who went on to script films for Luis Buñuel, filmography is small (five Jean-Luc Godard, and others). Étaix even features and a handful of shot a documentary, 1971’s Land of Milk and short films, one of which Honey, also included in this series. earned an Oscar), but he worked with As both filmmaker and comic screen Jacques Tati and Robert Bresson, and he’s persona, the obvious comparisons are to celebrated as a genius of ’60s French screen Tati and Buster Keaton: a silent-movie comedy. Shouldn’t his reputation precede clown in a sound world. Étaix’s films are him? Watch a couple of his masterful films, simple, sweet, and built on some of the funthough, and a more relevant question comes niest and most deftly executed gags you’ll to the fore: “How can it be that I’ve never have the pleasure to see onscreen. There’s heard of Pierre Étaix?”

W

BY BRIAN MILLER

Local Film

Seattle weekly • FEBRU ARY 6− 12, 20 13

ALONE UP THERE This new Canadian doc, directed

•

by Sean Patrick Shaul, surveys the current state of standup comedy. (NR) Grand Illusion, $5-$8, Fri., Feb. 8, 9 p.m.; Sat., Feb. 9, 9 p.m.

AMÉLIE The eponymous heroine of this sweetly whimsical 2001 comedy by Jean-Pierre Jeunet won’t take no for an answer. Discovering a cookie tin treasure trove in her Paris apartment, Amélie (the Audrey Hepburnlike Audrey Tautou) first sets out to reunite the precious boyhood tokens with their (now) aged owner, then stumbles upon an entire secret city of hidden connections and amorous links. From there, impulsively deciding to act as an agent of destiny, she sets about solving mysteries, setting up lovers, and transforming Paris with spontaneous acts of kindness. If Amélie is about anything, it’s about the overlooked, invisible bonds between us distracted, harried urban dwellers.

Amélie reminds us that we’re neighbors. (R) BRIAN MILLER Central Cinema, $6-$8, Feb. 8-12, 9:30 p.m.

BIRTH STORY: INA MAY GASKIN AND THE FARM MIDWIVES This new doc by Sara Lamm and Mary

•

Wigmore examines the early-’70s revival of the natural birth movement and concomitant resurgence of interest in midwifery. (NR) Grand Illusion, $5-$8, Sun., Feb. 10, 3 & 5 p.m.; Mon., Feb. 11, 7 p.m.

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,

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

26 •

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. (NR) BRIAN MILLER Central Cinema, $6-$8, Feb. 8-12, 7 p.m.

BROKEN ON ALL SIDES Discussion follows Matthew Pillischer’s doc about the drug war and our unconscionably high rate of incarceration of African Americans.

(NR) Keystone Congregational Church, 5019 Keystone Place N., 632-6021, keystoneseattle.org, Free, Fri., Feb. 8, 7 p.m.

MOULIN ROUGE Baz Luhrmann’s flamboyant, cartoonish, often headache-inducing Moulin Rouge (2001) has maybe a thousand musical cues that trigger samples, cover versions, and bits of original songs, yet he does his cribbing with a loving wink. In 1899 Paris, a naïve aspiring writer (Ewan McGregor) is enchanted by a glamorous chanteuse (Nicole Kidman). Purportedly a film about love, Moulin Rouge is really about Luhrmann’s love of show biz (which outlasts both love and life). (PG-13) BRIAN MILLER Egyptian, $8.25, Fri., Feb. 8, 11:59 p.m.; Sat., Feb. 9, 11:59 p.m.

OSCAR NOMINATED SHORT FILMS 2013 All ten of the animated and live-action nominees will be screened in two blocks, at 88 and 113 minutes, respectively. Among the highlights is Maggie Simpon in The Longest Daycare, from The Simpsons. In it, our heroine seeks admission to the Ayn Rand Daycare Center. On the non-cartoon side, look for Matthias Schoenaerts (Rust and Bone) in the WWI drama Death of a Shadow.

Note: SIFF is separately playing the documentary shorts at the SIFF Film Center on the Seattle Center campus. (NR) Harvard Exit, $10, Through Feb. 14.

•

not a wasted gesture in his repertoire. His hangdog face, poised between curiosity and measured focus, barely changes expression as he takes every setback with a resigned acceptance before going right back in. (Born in 1928, Étaix has essentially retired as a director, but continues to act, most recently in Aki Kaurismäki’s Le Havre.)

In Étaix, I can also see Chaplin (the exacting preparation, effortless precision, and sentiment) and Jerry Lewis (riffing on ideas through increasingly surprising yet oddly logical permutations). The dialogue is sparse, to say the least. His films could play sans subtitles and be just as effective, and he uses music just as sparingly. The aural punchlines are often cartoonish sound effects pumped up to surreal prominence.

It’s all there in his 1961 debut short Rupture, a nearly wordless piece with Étaix as a jilted lover. It takes place almost entirely in a tiny office that falls apart as he attempts to write a return letter. The destruction occurs piece by tiny piece, and that sense of comedy in miniature is continued in his first feature, 1962’s The Suitor. Here, Étaix plays a variation on a classic Keaton character: the obsessive, pampered, rich young man trying to woo a woman. Any woman.

While not exactly bittersweet (there’s very little bitterness in his comedy), there is a twinge of sadness as we see a city full of romantic couples—except for this oblivious naïf. Le Grand Amour (1969) presents Étaix

NIGHT FEVER SEE THE WIRE, PAGE 15.

• SATURDAY • SOUL POWER Soul Power documents the three-

day music festival that accompanied the iconic 1974 Muhammad Ali/George Foreman boxing match in Zaire.

Culled by director Jeffrey Levy-Hinte from over 125 hours of footage shot by Paul Goldsmith, Kevin Keating, Roderick Young, and Albert Maysles—and then relegated to the vaults after director Leon Gast didn’t use it in his Oscar-winning 1996 doc When We Were Kings—Soul Power features performances by Celia Cruz, the Spinners, Fania All-Stars, Bill Withers, B.B. King, Miriam Makeba, and more. The concerts were meant to be a cultural exchange between African and African-American musicians, but were briefly imperiled after a Foreman eye injury forced a postponement of the fight. When finally mounted, the shows became the stuff of pop-culture folklore. Given the ferocious power of many of the artists and the dreary state of modern black pop, Soul Power itself might well be subtitled When We Were Kings. (NR) ERNEST HARDY Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $8-$12, Fri., Feb. 8, 7:30 p.m.

THE SPROCKET SOCIETY’S SATURDAY SECRET MATINEES “Exotic Lands” is the February theme for

various short films being screened. Ongoing is the 1939 adventure serial Zorro’s Fighting Legion. Total program length is about two hours. (NR) Grand Illusion, $5-$8, Saturdays, 2 p.m. Through March 23.

SUPERSILENT 7 Norway’s improv jazz group Supersilent is captured in a 2004 performance. The 2005 documentary is directed by Kim Hiorthøy. The film is screened in conjunction with the Seattle Improvised Music Festival.

(NR) Grand Illusion, $5-$8, Tue., Feb. 12, 9 p.m.; Wed., Feb. 13, 9 p.m.

SWEET SMELL OF SUCCESS SEE THE WIRE, PAGE 15.

VIVA L’ITALIA Directed by Luchino Visconti and tremendously admired by Martin Scorsese and just

• •

as a happily married man infatuated with his pretty new secretary. The rush of ardor turns him back into a teenager, as nervous as he is reinvigorated, and stirs an imagination that we can only assume had settled into routine.

There’s no real heartbreak or character complexity in these pictures; Étaix is a gag man first and foremost, turning physical humor into comic choreography with the grace of a dancing master and the imagination of a cartoonist. Scenes constantly wander off into their own mini-movie, a world of cause and effect so seamless that even the craziest inventions follow a screwy logic.

His masterpiece is Yoyo (1965), a tender, underplayed epic that spans decades in the life of a ruined millionaire (Étaix), a beautiful circus performer, and their spirited child who grows into a celebrated clown (also played by Étaix). Between inspired silentmovie sequences and a wry jab at television are an idyllic love story and a romantic portrait of the artist as a young clown. It’s a nearly perfect effort, with a quiet yearning beneath Étaix’s masterful comic performance and hilarious comic inventions. E film@seattleweekly.com THE GREAT CINEMATIC CLOWN PIERRE ÉTAIX Runs Wed.–Thurs., Feb. 13–14 & 20–21, at Northwest Film Forum,1515 12th Ave., 267-5380, nwfilmforum.org. $6–$10.

about anyone else who’s ever picked up a movie camera, Rocco and His Brothers (1960) is one of the great works of Italian neorealism: three hours long, but worth the sit. A widow and her five sons travel from the impoverished south to Milan during Italy’s post-war boom, then find their clan torn apart by social pressures. Soulful Alain Delon seems far too handsome to be the championship boxer, Rocco, while Annie Girardot gives an Oscar-worthy performance as vivacious Nadia, the hooker who captivates both Rocco and his no-good sibling Simone. (NR) BRIAN MILLER Seattle Art Museum, $63-$68 series, $8 individual, Thurs., 7:30 p.m. Through March 7.

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

3456; Ark Lodge Cinemas, 4816 Rainier Ave. S, 721-3156; Big Picture, 2505 First Ave., 256-0566; Big Picture Redmond, 7411 166th Ave. NE, 425-556-0566; Central Cinema, 1411 21st Ave., 686-6684; Cinebarre, 6009 SW 244th St. (Mountlake Terrace)., 425-6727501; 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., 5233935; 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, 425-454-7400; Majestic Bay, 2044 NW Market St., 781-2229; Meridian, 1501 Seventh Ave., 223-9600; Metro, 4500 Ninth Ave. NE, 781-5755; Northwest Film Forum, 1515 12th Ave., 267-5380; Oak Tree, 10006 Aurora Ave. N, 527-1748; Pacific Place, 600 Pine St., 888-262-4386; Seven Gables, 911 NE 50th St., 781-5755; SIFF Cinema Uptown, 511 Queen Anne Ave. N., 324-9996; SIFF Film Center, 305 Harrison St. (Seattle Center), 3249996; Sundance Cinemas, 4500 Ninth Ave NE, 6330059; Thornton Place, 301 NE 103rd St., 517-9953; Varsity, 4329 University Way NE, 781-5755.

Nathanael Johnson: A Skeptic’s Take on the ‘All-Natural’ Approach (2/6) Salman Khan: A Call for Free, Universal, Global Education (2/6) Jennifer Koh: ‘Bach and Beyond Part II’ (2/7) Bill Streever: Hot on the Trail of Heat (2/7) Cierra Sisters Fundraiser: Marcus Harrison Green (2/8) Saturday Family Concerts: A Family Mardi Gras with Whozyamama (2/9) EMD: Dmitri Carter & Friends: French Baroque Tales in Music & Puppetry (2/10) Seattle Opera & Seattle Youth Symphony Orchestra: ‘Heron and The Salmon Girl’ (2/10) SAF: The Way to a Community’s Heart is through its Stomach (2/12) Anthony Greenwald: ‘Blindspot: Hidden Biases of Good People’ (2/13) EarthFix: Exploring the Powder River Coal-Train Proposals (2/13) TOWN HALL

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food&drink»

Soup, There It Is

Mamnoon provides a template for how to atone for a missing small plate, and how to make one too.

BY HANNA RASKIN

L

to sell more of its wonderfully satisfying man’oushe at its glassed-in takeout counter, which occupies the restaurant’s front half.

Other lunch options include griddled haloumi-cheese sandwiches and falafel, which reappears on the evening’s list of mezzes. The rough-skinned falafel, fresh and green within, are just a few cubic centimeters bigger than a marble, and consist primarily of exterior crunch. Tightly wound grape leaves, slicked with oil and stuffed with lemony rice, are also elegantly sized.

JOSHUA HUSTON

M

I

Terrific, to a small plate.

olive oil. Underlying the garnishes is a base coat of za’atar, the salty, oiled elixir of dried thyme and toasted sesame seeds that’s served alongside Mamnoon’s complimentary baskets of soft, soulful pretzel bars and chewy rounds of Arabic bread, curled at the edges and branded with scorch marks. The jibneh

I’m not sure if muhammara is the French onion dip of the Middle East, but it’s awfully easy to imagine eating it for hours. wi za’atar ma’noushe can be further bedecked with shish taouk chicken, but the standard version needs nothing, other than perhaps a committed carnivore to fawn over it, stunned by the prismatic flavors of vegetables and herbs. Biting into the man’oushe is like chewing on an Arabic spice bazaar.

Ma’noushe isn’t as familiar to American eaters as hummus or falafel, so Mamnoon’s trying to stoke the preparation’s local reputation by serving it at dinnertime, neatly rolled and quartered. (Other concessions to Western expectations include ma’amoul, customarily a filled blimp of a cookie, remade as a tart.)

Ma’noushe is very much a street snack, so the tactic is tantamount to putting croque monsieurs on a menu dominated by duck a l’orange and sole meunière. But the restaurant is hereby permitted to do whatever it takes

amnoon has a bad habit of serving dips while the accompanying bread’s still baking, but for guests who order the muhammara, that’s a problem likely to be solved with a spoon.

The paste of ground walnuts and pomegranate molasses is something like desert candy, saved from its own sweetness by a sharp dose of cumin and pepper. I’m not sure if muhammara is the French onion dip of the Middle East, but it’s awfully easy to imagine eating it for hours.

Walnut and pomegranate also figure on the signature cocktail menu, an inventive congress of global spirits and instantly recognizable Arabic pantry touchstones. Although drinking’s not the main draw here—there’s no seating at the nook which functions as the bar—Mamnoon has also assembled a smartly sourced wine list which never strays more than 65 miles from the Mediterranean.

If Mamnoon has a weakness, it’s perhaps a slight over-reliance on the same seasoning scheme: The garlic, cumin, parsley, and sumac can add up quickly. But it’s easy enough to order around palate fatigue, seeding the table with a bright swirl of tahini and grated beets; oblong kibbeh patties, featuring impeccably spiced beef and a pine-nut crust; and deeply fried cauliflower florets, their inbred bitterness broken by a cooling splash of cucumber-yogurt sauce.

And the kebab which sparked our soup delivery was excellent. Despite its name, the dish has nothing to do with dried-out meat on sticks. Rather, Mamnoon’s kebab is a skillet of tender beef-tenderloin hunks, blistered tomatoes, and sweet pearl onions, finessed with allspice and olive oil. Like the restaurant, the marvelous dish was very much worth the wait. E hraskin@seattleweekly.com MAMNOON 1508 Melrose Ave., 906-9606, mamnoonrestaurant.com.

11 a.m.–10 p.m. Tues.–Thurs. & Sun.; 11 a.m.–midnight Fri.–Sat.

Seattle weekly • FE BRUARY 6− 12, 2013

ike small braids or buttons, small plates have a way of getting lost.

What’s often overlooked in the now-ubiquitous tirades against tapas-style cuisine is how frequently servers fail to write down an ordered dish or fetch it from the kitchen window. And with so many tiny concoctions on the table, it’s usually only at meal’s end when diners realize they’ve been shorted a glazed pork belly or inexplicably denied a smattering of kale gnocchi.

When little dishes don’t show, restaurants typically issue an apology or a free drink. Not so at Mamnoon, the three-month old Lebanese-Syrian restaurant near the scorching-hot corner of Melrose and Pike. Mamnoon keeps track of orders ably, but on my second visit, a kebab never arrived.

I’m reluctant even to bring up the error, lest you get the impression that Mamnoon is the kind of restaurant at and tabbouleh. Munir remains the better which you have to nanny your server. It is date destination if your sweetie’s notions of not. But if I don’t mention the missing kebab, romance include baba ghanoush: The I can’t tell you how the manager handled the candlelit Loyal Heights restaurant is packed situation: He brought us soup instead. with old-world charm, while Mamnoon’s Cynics may claim that soup’s a cheap sweeping, clean-lined room—minimally furgesture compared to a cocktail, but it’s hard nished with track lighting, black tables, black to imagine a lovelier way for a restaurant to chairs, and a freestanding black wall between say it’s sorry. Two steamy glass teacups of the dining area and kitchen—has a jangly peppery red-lentil soup, smooth and thick as disco energy. jarred gravy, quickly convey that Mamnoon But if you’re going out with a group or cravintends to welcome its guests, not just divert ing more vivid flavors, Mamnoon’s the better or dazzle them. restaurant. The countless dinner-party guests Hospitality is a hallmark of the Middle who encouraged hosts Wassef and Racha East, a cultural value so pervasive that even Haroun to open Mamnoon were right to say Western tourists primed by guidebooks are that Seattle needed this restaurant. blown away by cabbies offering them cigaThe Harouns, former Microsoft employrettes, fellow soccer spectators offering them ees and rookie restaurateurs, hired Barbara potato chips, and strangers offering to take Massaad to help develop Mamnoon’s menu. them home for coffee or tea. Practitioners Massaad wrote the first cookbook dedicated trace the tradition back to ma’noushe, the to Biblical times, when seasoned flat bread » PRICE GUIDE a group of Sodomites sometimes described as MA’NOUSHE JIBNEH WI ZA’ATAR .......$8 insisted upon raping a Lebanese pizza, and she KIBBEH .........................................................$8 visiting band of foreignclearly spent time with FRIED CAULIFLOWER..............................$7 ers. They were thankMamnoon’s oven when GRATED BEETS .......................................$10 MUHAMMARA ........................................ $12 fully spared such a fate she visited from Beirut.

KEBAB ........................................................ $28 by the patriarch AbraUnder chef Garrett ham, who instead ushMelkonian, late of the ered them into his tent, Tom Douglas empire, washing their feet and feeding them. That Mamnoon is producing a series of sensational inherited warmth pervades Mamnoon, but breads which hardly need to be freighted the sleekly modern restaurant isn’t merely with toppings or dragged through a dip to be gliding by on bonhomie. To a small plate, the appreciated. food’s terrific.

Still, if a disc of white or wheat pita-like bread plucked hot from the oven doesn’t sound like a satisfactory lunch, try the t’s worth noting that upscale Lebanese ma’noushe, recklessly splattered with briny restaurants in Seattle are graded on a white cheese; split green olives; cherry tomapretty significant curve. Until Mamtoes, redder than they have a right to be in noon opened, Cafe Munir was the only January; vibrant sprigs of parsley; and young local source for meticulously made lebneh

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food&drink»Featured Eats

GORDITO’S HEALTHY MEXICAN FOOD 213 N. 85th

St., 706-9352. The team of tie-dye-wearing cooks behind Greenwood’s Gordito’s grills insists on stuffing their Mexican burritos to the limit with black beans, rice, tomatoes, jalapeños, and your choice of charbroiled pork, beef, chicken, veggies, or tofu. The familial staff is not real keen on letting you leave hungry, and the remains of a burrito picked up for dinner can easily translate into tomorrow’s lunch. Going to Gordito’s is like going to your favorite aunt’s for a birthday feast—only here you get to keep the leftovers. $ GORGEOUS GEORGE’S 7719 Greenwood Ave. N., 7830116. Israeli chef George Rached (who is not the famed pro wrestler, but really does call himself “Gorgeous George”) spends his days and nights in the kitchen of his Mediterranean shoebox-sized Gorgeous George’s, grilling up Greenwood some peppery lamb shawarma and pureeing hummus into the texture of thick custard.

What he comes up with is the best hummus you’ll find anywhere in the city, but this doesn’t leave him too fatigued to occasionally serenade one of his regulars or walk the dining room to check in on his many guests.

Dinner is priced upscale, but worth it, and there are some deals at lunch. $-$$

LESCHI & MADRONA

CAFE SOLEIL 1400 34th Ave., 325-1126. Cafe Soleil’s

breezy, delicate interior isn’t what you’d expect from an Ethiopian restaurant, but it’s a lovely surprise—as is the menu. The lamb berbere stew is the star: deep, garlicky, tender without being gamey, and spicy without

being unpleasant. Chicken tibes is simple but fine, and the tomato-y ginger-shrimp sauté is beautifully executed with plenty of ginger. $ THAT’S AMORE 1425 31st Ave. S., 322-3677. There are some spectacular vantage points that no one should tell the tourists about. Olympic Sculpture Park: for everyone.

Above the I-90 tunnel: just for us. Though its rear window looks across the Rainier Valley to downtown and the Sound, That’s Amore defies every expectation of a “view” restaurant. The place is filled at lunch and dinner with Mount Baker residents, who come for the homey, inexpensive pastas, giant meatballs, juicy roasted pork loin, and the servers, who seem to know every diner’s quirks and preferences. $$

RAINIER VALLEY

CAFE IBEX 3219 Martin Luther King Jr. Way S., 721-7537.

While Little Addis Ababa stresses homeland décor over nouveau design, Café Ibex determinedly plays the New World card. Sure, the food is traditional—colorful veggie and meat platters served on (and with) injera, Ethiopia’s spongy flatbread that doubles as a dining utensil–but the trappings scream Modern Restaurant Monthly. $ FANA’S CUISINE 3621 33rd Ave. S., 708-7417. Eritrean and Mediterranean cuisines naturally go together—the Italians colonized Eritrea for decades—so it’s no surprise to find both doro wot and pasta with marinara sauce on the menu. There’s also a Fan burger, a Fan burrito, and hummus, which do take the eclectic neighborhood-cafe thing a tad too far. Put your hand over that side of the menu and keep your eyes focused on the Eritrean food: a stew, some sauteed beef tibbs, and a vegetable combo will get you a platter the size of a Formula 400 tire decorated with a colorful, symmetrical pattern of dabs of highly spiced things to eat with your fingers. $ JOY PALACE 6030 Martin Luther King Jr. Way S., 7234066. This Cantonese seafood restaurant has Seattle’s most underappreciated dim sum: food that’s as good if not better than 90 percent of the restaurants in the ID and servers ready to rush back to the kitchen to hunt down any kind of dumpling you can’t see on the carts. Look for the shrimp and pea-sprout dumplings,

FirstCall

» by ashley roe

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The Watering Hole: Sam’s Tavern, 1024 E. Pike St., 860-4238, CAPITOL HILL The Atmosphere: A quintessential Capitol Hill bar with a Red Robin spin. Sam’s Tavern was the original name of the now-national Red Robin food chain, and owner James Snyder’s vision is a tribute to how his father (who’d later become the company’s franchisee) first remembered the Eastlake flagship. Taxidermy, a deer-antler chandelier, and a meat-heavy menu are just a few of the rugged features that play into the restaurant’s mystique. The music is too loud to clearly hear a bartender from across the bar, but a good volume as heard from one of the booths next to the large floor-to-ceiling windows that line the south wall.

The Barkeep: The mononymous Nave has worked at Sam’s since its January 2 grand opening. Before that, she’d worked in apartment management and private catering and at a Teatro Zinzanni in California. After applying at several places, she was pleased with Snyder’s response, and has enjoyed working in Sam’s easygoing atmosphere. Her spunky personality shows as she poses for a photo. Most important, she’ll whip you up a mean cocktail.

The Drink: Unfortunately, Sam’s has just run out of Absolut Ruby Red, the main ingredient in

ASHLEY ROE

Seattle weekly • FEBRU ARY 6− 12, 20 13

Casked and Mononymous

Nave gazing.

Nave’s signature drink, the Navelicious (with Cointreau, cranberry juice, grenadine, Rose’s lime juice, and muddled limes). She makes a Purple Passion instead, which uses all the same ingredients plus raspberry vodka (instead of Ruby Red) and Chambord. Nave explains that it’s “served in a martini glass with a lime wedge and a smile.” It’s a sweet drink that stays refreshing until the last drop, unlike many overly sweet drinks that become tart halfway through.

The Verdict: With creative drinks and a unique burger menu, Sam’s Tavern is an ideal place to grab a cocktail and get your grub on without breaking your bank. E aroe@seattleweekly.com

food&drink»Featured Eats the mashed-taro puffs stuffed with ground pork, the braised tripe, and the pineapple buns. Don’t pass up the big wooden tub of ephemerally fresh tofu custard (served with ginger syrup) that circles the room on the hour. $ JUMBO CHINESE 4208 Rainier Ave. S., 760-9200. Dim sum is a family affair, and no one—certainly not the waitstaff at Jumbo—is going to cast a snobby look upon your offspring if they get up on the stage and run around while you’re finishing off your humbow and steamed rice noodles. On weekends, the restaurant’s offerings are consistently fresh and varied, and if you or your kids want something not circulating at the moment, the waiters will head to the kitchen to scare up a plate or two. $ ROSE PETALS RESTAURANT 6901 Martin Luther King Jr. Way S., 721-2409. Though the remaining letters on the front of this hideaway seem to be held up with rubber cement and a few windows are kept together with masking tape, Rose Petals’ “Y’all come back now” vibe instantly reveals that these blemishes are just part of its character. Choose from the list scrawled onto a whiteboard and pass your order straight to the cook: Stewed oxtail that falls off the bone, griddle-fried and margarine-drenched cornbread cakes, succulent black-eyed peas, and a handful of other Southern staples that regularly touch on transcendent. The faded eatery feels as though you’ve stepped into the dining room of someone’s home, albeit one that’s seen better days. And that’s part of the accomplishment of true soul food: An art that’s passed down and practiced and which this restaurant has perfected. $ VIENGTHONG 2820 Martin Luther King Jr. Way S., 725-3884. Viengthong has been discovered. Call it a consequence of the Light Rail, and the opening of the Mt. Baker terminus, which is located but a skip and a jump from this usually low-key, southeast Asian fusion joint. Not to worry, though, there’s enough sticky rice to go around. But remember that the strength here is the Laotian spectrum of the menu. And bring cash. $$

RAVENNA & WEDGWOOD

FRANK’S OYSTER HOUSE AND CHAMPAGNE PARLOR 2616 N.E. 55th St., 525-0220. Having estab-

lished the popularity of Pair, Alex and Sarah Penn have opened a second restaurant three blocks away, which gives a nod to the traditional American steakhouse and their grandparents’ notion of going out. The winks are all respectful: The room is paneled in psychedelic-

ALittLeRAskin » by hanna raskin

A Little Woody

:

r Try ou

Mon-Fri 8am-2pm

Chicken Fried Steak & Eggs

Sat-Sun 8am-3pm

65th & Phinney • www.maescafe.com

SODO

ELO’S PHILLY GRILL 3431 Airport Way S., 467-8989. With

an awesome, humongous marquee and honest-to-Pete blue-collar location, it’s really a shame that the steak sandwiches here aren’t mouthwatering. But they’re serviceable, anyway, and in this part of SoDo, any place that beats the gut truck or brown bag is going to ring it in at the register. $ HUDSON 5000 E. Marginal Way S., 767-4777. Neither Tom of Finland nor Charles Bukowski would feel out of place at this handsome, out-of-the-way diner, though both would probably have found Hudson on the classy side. The menus update Classic American diner food by upgrading ingredients and by giving much of the food a Southern cast. Cult items: cheesy grits with catfish or shrimp, chicken-fried Field Roast (there’s a beef version, too), and the deep-fried French toast. At the end of the day, the kitchen can run out of steam (and fresh ingredients), so take your cue from the military recruiters and factory workers sitting around the bar and stick to burgers and pints. $

esday Wedn ecial: p HH S z PBR! o 0 $3 4

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SOUTH PARK

JUAN COLORADO 8709 14th Ave. S., 764-9379. This fam-

ily-owned Mexican restaurant has been one of Seattle’s stalwarts since the emergence of South Park as a Latino neighborhood. Now worn in, the sprawling place attracts big-screen TV watchers to its bar and families to its booths. The food’s not as good as legends suggest, but it’s still better than most Seattle Mexican: The chile verde pork is nothing to swear by, for instance. The caldo de camarón (shrimp soup) is popular, enchiladas and fajitas are hearty and filling, and the just-griddled tortillas come from a press, not a plastic bag. $

UNIVERSITY DISTRICT

CAFE ALLEGRO 4214 University Way N.E., 633-3030.

Founded in 1975 and billing itself as Seattle’s oldest coffee shop, the Allegro is a U District institution.

pizza, especially if the final step of the baking process calls for the pizzaiolo to lift the pie into the smoke, as is done at Tutta Bella. “It definitely comes through,” Brent Murphy, manager of Brave Horse Tavern, says of the applewood used at Serious Pie. Applewood is also the wood of choice at Brave Horse. “We love to stay local, and we love the flavor coming off the wood,” Murphy says.

At Von’s 1000 Spirits, the unfortunately subtitled “gustobistro” set to open next week, the wood-fired oven will run on almond trees. “The hardwood has a characteristic brilliant and intense flame,” a press release explains. “Very few restaurants use almond wood because of the skill required to properly maintain and manage the high heat output.”

Elemental Pizza starts with northern California almond wood “to get the heat levels,” manager Andrew Hem says, but adds apple wood to the log pile.

“It gives us the top flame which gives us the char we like,” Hem says. E hraskin@seattleweekly.com

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Barbecue pitmasters—who have plenty of time to jaw while their meat’s smoking—can talk incessantly about the relative merits of post oak and hickory. But despite all the recent hoopla over restaurants with roasting ovens, there’s been remarkably little discussion of the wood used to fire them. That’s because, depending on how the oven’s used, the variety of wood may not matter much.

“We use scraggly old dead apple trees,” says Stephen Brown, president of Eltana, which cooks its bagels in a Wood Stone oven. Eltana sources its wood from Tonnemaker Family Orchard, which sells its produce at 19 Puget Sound farmers markets, including those in the University District, Columbia City, and Queen Anne. But Brown says he isn’t partial to applewood for philosophical reasons. “It’s not handsome, but it’s plentiful,” he says. “Any hard wood will do.” As for customers who claim they can taste the apple smoke in their sesame-wheat bagels with date-walnut cream cheese: “That’s not true,” Brown says.

But woodsmoke is more apt to penetrate a

woodshop chic, while the kitchen updates and lightens up classics like crab louie, deviled eggs, and baked potato (shrunk, Alice in Wonderland style, into grilled fingerlings). Overly casual service doesn’t always rise to the standards Grandpa would have demanded, and the entrees are a little too contemporary to be interesting, but Frank’s does evoke that same warm, comfortable feeling that fuels the nostalgia of millions of American grandchildren. $-$$

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One that many thought–given its alley location between the Ave and 15th–would be destroyed by the new UW tower that filled in the old sunny parking lot it once faced. Before, patrons would follow the sun from the familiar wooden benches and over to the parking lot. Now, the view and sun are obstructed, but the UW has made the alley a lot more pleasant than it could be. The Allegro still specializes in studious types, yet the place has finally added Wi-Fi. The mood here is low key, convivial. Nodding acquaintances have been maintained for decades.

Yesterday’s undergrad is today’s professor. $ GUANACO’S TACOS PUPUSERIA 4106 Brooklyn Ave. N.E., 547-2369. Housed in a bright green, orange, and purple building in the University District, Guanaco’s Tacos Pupuseria’s shack-like feel, servers, and menu come straight from the heart of Central America.

Guanaco’s is famous for its pupusas, a traditional Salvadoran dish made of corn or flour tortillas stuffed with meat, cheese, and veggies, but it’s the lunch combos that make eating here special. All the tacos, burritos, empanadas, tamales, and soups are light, but the combination of any of these with a traditional pupusa satisfies all the necessities of a good Latin American meal. And their Fresco de Ensalada, a mix of juice and freshly minced fruit, is a refreshing and sweet finish to a Salvadoran masterpiece. $ UNIVERSITY TERIYAKI 4108 University Way N.E., 632-5688. Here are three things that make University Teriyaki stand out from the masses and masses of teriyaki shops: 1. The sauce on its teriyaki chicken has got more kick than most (there has to be a little Korean bean paste in there with the soy and sugar).

2. The place is clean, clean, clean, and the food always tastes fresh. 3. The menu goes so far beyond gyoza and spicy chicken to include kimchi fried rice and jjah-jahng-myun, the black bean-sauce noodles that Korean kids love as much as American kids do mac ‘n’ cheese. This “Japanese” place may be the best Korean restaurant in the neighborhood. $

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well-lit, offbeat izakaya–a place where you drink big bottles of Asahi in order to eat salty snacks like squid with kimchi, potato croquettes, sushi (meh), and fried smelt. The restaurant advertises its stone grill, a slab of hot rock that skewered meats are cooked directly on; the hype seems unjustified until you taste the way it caramelizes and crisps up slices of fresh pork belly. $$

WEST SEATTLE

LUCIANOS PIZZA & PASTA 2341 California Ave.

S.W., 933-1193. Luciano’s in the Admiral Junction makes solid but unspectacular pizza. More importantly, they’re willing to deliver to West Seattle’s working-class South Delridge neighborhood, whereas Pagliacci in the (much closer) Alaska Junction isn’t. $ SALTY’S ON ALKI 1936 Harbor Ave. S.W., 937-1600.

There are brunches all over the city, one for every palate, appetite, and budget, but in terms of sheer volume and variety—not to mention view—Salty’s is king. Carving tables of roast beef and ham are lined up next to waffle irons and French toast griddles.

Around the corner there’s an omelet bar, a crepe bar, and a made-to-order pasta bar with lobster ravioli and sinful sauces. This probably won’t be the most cultured eating-out experience you’ve ever had, but you certainly won’t need to eat again for the rest of the day. $$$ THAI THAI RESTAURANT 11205 16th Ave. S.W., 2462246. Regulars come from as far away as Issaquah to treat themselves to the best phad Thai and panang curry in town; owner Sam eventually starts greeting everyone by name. Customer favorites include the intense soups, larb gai, yum neau, and anything with peanut sauce, which is actually made from scratch. $ ZIPPY’S GIANT BURGERS 9614 14th Ave. S.W., 7631347. Zippy’s in White Center has secured its fiercely loyal following simply by making burgers better than everyone else around. The kitchen hand-grinds its meat every day, because hand-ground meat makes for a burger that holds together nicely in a patty and crumbles slightly when bitten. It mounts them on good rolls and dresses them smartly and simply with red onions, chopped iceberg lettuce (so much better than a whole leaf, which wilts the minute it touches the hot meat), pickles, big slices of tomato, and a “secret sauce” which is just Thousand Island dressing and chopped pickles. And the cheese selection is smart: medium Cheddar, smoked Cheddar, Swiss, American, or Monterrey Jack. $

Eastside P RBELLEVUE O M O T I O NS

LA COCINA DEL PUERCO 10246 Main St., Suite C, 425-

455-1151. Sister to El Puerco Lloron in the Market, this Mexican restaurant is decorated with brightly colored walls, rickety tin tables, and enough trinkets hanging from the ceiling to keep a small child fascinated while you finish your carnitas platter in peace. The taqueria does just a few things in order to do a few things well.

The most important, of course, are its made-to-order tortillas, which come off the griddle sweeter and more supple than store-bought. Order the taquito combo, and they’ll come rolled up around flank steak or long-braised pork carnitas. (The spare tortillas are turned into round tortilla chips.) Also good are the tamales, filled with chunks of roasted pork or tomato-sauced chicken. $ LITTLE HOT POT 15920 N.E. Eighth St., 425-562-8118.

Ordering at Little Hot Pot, the first Washington branch of a Mongolian chain, turns out to be like taking the Scientology personality quiz—only you’re given stirfried peanuts and pickled radish while you check off boxes, instead of creepy smiles and Dianetics books.

First you select the broth (the half-and-half pot lets you try both), then haggle over which of the 70-some ingredients you want to cook at your table: sheets of thinly slice beef or lamb, cartoon-like baby cuttlefish, pea tips and chrysanthemum greens, cloud ear mushrooms, jiggly tapioca noodles. The milky “mild” broth smells like a cross between an acupuncturist’s office and a spice drawer, while wilder smells (cinnamon, cumin, galangal) waft up from the spicy side, whose surface is deliciously, dangerously coated in red oil. $ MONSOON EAST 10245 Main St., 425-635-1112. The polish of Eric and Sophie Banh’s Vietnamese cuisine at Monsoon may have caught Seattle by surprise a decade ago, but with Monsoon East, the pair greet Bellevue with a confident swagger. The room’s gorgeous, the wine list marked way up, and the servers have each table locked in their sights. Monsoon East’s menu remains a larger copy of the original, though: same beef luc lac and claypot catfish, same sustainably raised meats and farmers market veg.

Unfortunately, the highs and lows seem to swing far more wildly than at the original. What is reliably exquisite is M2’s Vietnamese sashimi, such as Kona kampachi slices adorned with shrimp salt, sugared lime juice, and fine threads of rau ram (Vietnamese cilantro). $$$ SPICE ROUTE INDIAN CUISINE 2241 148th Ave. N.E., 425-643-4144. Red lanterns and linen napkins are all that keep Spice Route in Bellevue from feeling like a ginormous banquet hall. The weekend lunch buffet may be the meal that packs in the most people, but Spice Route still pulls in a respectable crowd every night for its Indian food. The owners democratically serve as many members of the Eastside desi community as they can, pumping out everything from Northern-style naan and boti kabobs to Southern vadas and dosas, even Indo-Chinese chicken Manchurian (say no to the last one, though). Spice Route’s most distinctive dishes are its fragrant South Indian curries, like the Andhra chicken pepper fry, the vegetable chettinad, and its baby eggplants stuffed with coconut and spices. $ THAI GINGER 3717 Factoria Blvd. S.E., 425-641-4008. The special at Thai Ginger is a must-try for ginger lovers, containing ginger strips sautéed in a dark sauce with onions, mushrooms, green peppers, and chicken or beef. For appetizers, try the coconut-milk-marinated chicken satay or the tom kah gai. Good entrées include the cashew chicken or a bowl of good old red curry. $

ISSAQUAH

MACKY’S DIM SUM 317 N.W. Gilman Blvd., 425-391-

7200. The Eastside was badly in need of a good place for dim sum, so how awesome is it that Sonny and Macky Wong decided to open their newest Asian outpost in Issaquah’s Gilman Village? And not only does Macky’s do great dim sum every day of the week, but it also has a solid a la carte menu for lunch and dinner that balances the best of the traditional American strip mall Chinese canon (sweet-and-sour this, moo shuthat) with some interesting hits of authentic (or at least authentically weird) Hong Kong-style party food. $$

REDMOND

THE BENTO BOX 15119 N.E. 24th St., 425-643-8646. The

yakisoba and the stir-fries are sure bets, with lots of crisp vegetables—not just onions and carrots but also pea pods and fresh asparagus. Opt for the spicy teriyaki or the Korean specials: Bi bim bop is a bowl of rice with marinated beef, sprouts, zucchini, and spicy julienned carrots. $

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Funk, Death, and Ohio

AGATA ALEXANDER

Manson’s message is that your voice can be as powerful as any weapon.

Demon in the Wind

Marilyn Manson brought evil to rock and middle America.

BY MA’CHELL DUMA LAVASSAR

I

Pat Robertson, Ronald Reagan, and, if his own legend, documented in his 1998 autobiography The Long Hard Road out of Hell, is to be believed, a sadistically pervy grandpa—it’s a celebrated, unabashed neon beacon.

Mr. Warner conceived his alter ego to invoke pop-culture infamy at its most extreme with the full intention of scaring minds open. Drawing from cinema, his earliest records reference the work of Kenneth Anger, John Waters, and David Lynch (with whom he’d later collaborate musically and visually), all of whom challenge social and cultural norms through fear and subversion.

The concept, of course, has been applied to music before—as Alice Cooper would be quick to remind you—and has certainly been long invoked by those who wish to blame society’s ills on art and its creators.

For all her Madonnaisms, Lady Gaga is certainly in equal part Marilyn Manson. Her Little Monsters are akin to Manson’s Spooky Kids, and she borrows from his subversive imagery but sugarcoats her messages in songs like “Poker Face,” forcing soccer moms unknowingly to sing about lesbian fantasies while driving their kids to school. Manson overtook his predecessors in that there was no sugarcoating his bitter pill; seen live, there is no question his power is not based in shtick.

Before M2, if you to wanted make rock-’n’roll musicians evil, you had hunt for Satan in their initials, play their records backward, or point to the reactions of their female fans as a sign of their lascivious power. With a band like KISS, who took a huge amount of flack for being “evil”—though their lyrical themes differ little from the Beach Boys’—the biggest threat was that your daughter might get eaten out by a demon. With Manson, she might actually be eaten by one.

From the start, Manson’s message was clear: He hated what he perceived as the hypocrisy of Christianity and its impact on middle-class society, and he was going to take all the power bestowed on him to change it. Though this idea had existed on the fringes of true Scandinavian black metal, Marilyn insisted on taking it mainstream. Remarkably, he accomplished this in a top-40 way, selling millions of records.

He succeeded in becoming the “Antichrist Superstar” Brian Hugh Warner had dreamed of being. He had in fact come for your daughter—and was now taking her to the VMAs in an ass-baring chain-mail dress.

An equal-opportunity offender, once in its thrall he slashed fame, money, and the press with the same razor he’d applied to the bourgeoisie, forecasting our reality-star society on Mechanical Animals years before it took hold. Given what we now know about gun violence in schools, the Catholic Church, the Kardashians, and Honey Boo-Boo . . . maybe we should have listened harder. Mr. Manson was not to be denied.

This would also, of course, ultimately be his undoing. The target Manson had spent years carving, Iggy Pop–style, on his chest would be hit hardest when he was offered up as a media sacrifice for the incomprehensible violence at Columbine High School.

What those poor, misguided kids missed in Manson’s message is that your voice can be as powerful as any weapon. Our world would be a much different place had those kids made the choice to truly imitate their hero, walked into Walmart, and bought a guitar. E music@seattleweekly.com MARILYN MANSON With Butcher Babies.

Showbox SoDo, Tues., Feb. 12. Sold out.

»EDITOR’S NOTE

Reverb, Reviews, Etc. Eighteen months ago we decided to try something crazy: review every single release in the Seattle scene and present them all in a new publication called Reverb Monthly. Since August 2011 we’ve reviewed hundreds of LPs, EPs, singles, mixtapes, and SoundCloud streams. In 2013, you can expect hundreds more. But we’re going to change the way we deliver them to you.

We have published our last issue of Reverb Monthly, and are bringing all the things you loved about our music-dedicated publication onto the mother ship. We’ll be doing this every week, which is why we have renamed our music section “Reverb.” Every issue will dedicate space to local record reviews (they’ll just be more timely), and every month Seattle Weekly will run at least one music-centric cover story that would have otherwise appeared in Reverb Monthly (see Maura Johnston’s essay, “Why We Can’t Leave the ’90s,” on page 11).

For those of you accustomed to poring over all the city’s new music offerings once a month, you’ll be taken care of. We will continue to maintain our monthly roundup of reviews at seattleweekly.com and on the Kindle.

Let me be quite clear: We’re not backing away from our commitment to covering local music, we’re expanding it, dedicating more of Seattle Weekly to rock, pop, rap, jazz, and calypso than at any other time in its history.

Thanks for reading. See you next week.

CHRIS KORNELIS, MUSIC EDITOR E

ckornelis@seattleweekly.com

Seattle weekly • FE BRUARY 6− 12, 2013

n the spring of 1995, I was still a resident of the middlest part of middle America, Fargo, North Dakota. Despite what Chuck Klosterman may have led you to believe, Fargo was not much of a “Rock City.”

When a bill of Danzig, Marilyn Manson, and a little band breaking their touring cherry called Korn came to town, the musically deprived clamored to get their fix. Manson had been filling the space once occupied by hair bands in post-grunge-era metal mags, and his antics and creepy, Reznor-influenced Portrait of an American Family emanated a fertile, haunting weirdness, unlike other music meant to be hard or edgy at the time.

Naturally I was intrigued.

When Manson took the stage—painted, jockstrapped, and filled with the furious, unbridled energy only the rawest of bands can convey—every adult in the room was overtaken by pure fear. The burly bouncers I’d seen toss in some extra ear cotton and shrug off Pantera months earlier turned pale and slack-jawed two songs into Manson’s set, visibly shaken to their core.

We kids, living within the Midwestern moral confines Marilyn sang about, drank it like fine wine. One could only feel for poor Glenn Danzig, a spooky punk pioneer with the seminal Misfits, who had to get onstage every night after Manson had screamed “White trash, get down on your knees/Time for cake and sodomy,” knowing it made “Dirty Black Summer” sound like Hootie and the Blowfish’s “Hold My Hand.”

Artistic subversion dates back to the beginnings of art itself. Meant to influence ideas and shift culture, it’s sometimes wrapped in hearts and flowers, sometimes hidden in subtext. In the case of Brian Hugh Warner, aka Marilyn Manson—a child of the ’80s raised on

You goddamn Washingtonians. You hear “Ohio” and you think “Iowa.” I swear to God you don’t know the difference. You think your state is urbane and sophisticated and Ohio is podunk.

Well, you got it backward. Seattle is in the middle of NOWHERE and NOTHING, except mountains and water. You guys are a bunch of twee little birdwatchers and snowboarders. Ohio, on the other hand, has five gigantic metropolitan areas.

So why don’t I go back there if I love it so much? Duh, because it’s a shithole and the food is awful. My point, though, is it’s a bustling, urban shithole.

And there’s something Ohio has that Washington will never have: Funk. Ohio is the funkiest state in the union. Bootsy Collins. Zapp. Fucking DEVO, funky as hell. Among great Ohioans of funk, no one stood taller than Ohio Players frontman Leroy “Sugarfoot” Bonner, who died last month at 69.

Of the many classics you can check out on YouTube, listen to “Funky Worm,” a two-anda-half-minute 1973 track that contains Dr. Dre’s entire musical vocabulary. As Bonner himself put it, “There is nothing but the old school and the new fools.”

When news of Sugarfoot’s death broke, Living Color guitarist Vernon Reid tweeted, “Sugarfoot’s VOICE was the Clarion Call of a Thousand Thousand Parties to GET ON THE DANCE FLOOR! His GUITAR was FIRE. A flame AFTER Jimi’s.” The world is indeed a less funky place now. Except you, Washington. Your Canada-like level of unfunkiness remains unchanged. DAVID STOESZ

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TOMORROW NIGHT! FEB 7 • COLUMBIA CITY THEATER

BENJAMIN FRANCIS LEFTWICH with LANDFORD BLACK, BEN FISHER

THIS FRIDAY! FEB 8 • SHOWBOX AT THE MARKET

with HAIRMAGEDDON

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with RETOX

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Reverb» »TELL ME ABOUT THAT ALBUM

Wonderful, Glorious

mainstage

dinner & show

Mark Oliver Everett, aka E, talks about Eels’ 10th record in 20 years: “I’m just trying to impress myself.”

BY DAVE LAKE

snake – a chinese new year

SW: You built a new studio prior to recording the album, correct?

Everett: What happened was, most of the

celebration

previous records were made in a basement that was pretty small. Over the years it got piled up with more and more musical instruments, to the point where we could barely fit people in the room, and it turns out you need people to play musical instruments. So we were forced into a bigger space.

FRI/FEBRUARY 8 • 7PM

nicki bluhm & the gramblers w/ brothers comatose

SAT/FEBRUARY 9 • 7PM & 10PM

Have you always made your records in your own studio and on your own dime?

How do you measure success these days?

You had commercial success early on with Eels, but have managed to segue into being a career artist.

I’m very fortunate, because all I’ve done all these years is just kept my nose to the grindstone and been very focused on making what I felt like I had to make.

“When the possibility of failure and humiliation is lingering in the air, that means also the possibility that something good is there, so you’ve got to go for it.”

You were cut out of Judd Apatow’s This Is 40 in an amusing scene that was recently released online. How did that appearance come to be, and what was it like doing a scene with Paul Rudd?

He’s used some of our music before in his movies, and he’s been to our shows. Then I got a call one day—I’d just gotten home from tour—and they said, “Hey, do you want to

MON/FEBRUARY 11 • 7:30PM

hot tuna - acoustic

Lonely boy.

come down and do a scene with Paul Rudd?”

And it was one of the more unusual calls I got, and I thought that’s exactly the kind of thing where at first you get this anxiety of, “Do I want to do this?” And then you realize, “Yeah, I’ve got to do this.” When the possibility of failure and humiliation is lingering in the air, that means also the possibility that something good is there, so you’ve got to go for it.

Can you talk about the album’s title and why you chose those two words?

Well the album’s called Wonderful, Glorious and then there’s a plane dropping bombs on the cover, and I think that might lead some people to think the title is supposed to be ironic, but it’s not at all ironic in my mind. It’s just saying life is hard for all of us and every day we’re going through trials and tribulations and bombs are falling everywhere, and we’re trying to navigate our way to not get hit by one of them.

Is there a lyric or a line on the album you’re particularly proud of?

I like the very last lyric on the album. For me, I feel like it might be as close as I’ll ever get to an “And in the end, the love you take is equal to the love you make” moment.

And what’s your line?

“My love is beautiful and here for the taking/It’s strong and pure and utterly earth-shaking/My love has brought me here to show you it’s true/A wretch like me can make it through.” E music@seattleweekly.com

WED/FEBRUARY 13 • 7PM & 9:30PM

victor wooten

THU/FEBRUARY 14 - SAT/FEBRUARY 16 • 7PM & 10PM

the atomic bombshells

“j’adore! a burlesque valentine” SUN/FEBRUARY 17 • 7PM NU BLACK ARTS WEST THEATRE PRESENTS:

dark divas

next • 2/19 habib koite and eric bibb – brothers in bamako • 2/21 ari hest • 2/22 zach fleury •2/26 led kaapana • 2/27 robben ford • 3/1 freddypink • 3/2 tyrone wells • 3/3 carrie clark & the lonsesome lovers • 3/4 boy • 3/5 rhett miller w/ shelby earl • 3/7 mason jennings • 3/8 roy rogers & the delta rhythm kings • 3/9 masters of tradition with martin hayes • 3/11 the james hunter six • 3/12 edwin mccain • 3/14 - 3/16 diamonds - heavenly spies 10th anniversary gala • 3/17 merita halili & the raif hyseni orchestra • 3/20 anais mitchell and jefferson hamer w/ frank fairfield • 3/22 gypsy soul • 3/23 iris dement • 3/27 kings: a boylesque extravaganza • 3/28 cahalen and eli w/ brittany haas • 3/29 gimme shelter: the dusty 45s, star anna, shane tutmarc

happy hour every day • 2/6 flip and fly / rippin chicken • 2/7 first thursday art opening w/ shanna petersen / gregg belisle-chi trio • 2/8 katy lin & the moonlight riders / tony holiday band • 2/9 4 outta 5 • 2/10 seattle jazz composers ensemble • 2/11 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 2/12 singer-songwriter showcase w/ lucy horton, san juan and luke stanton • 2/13 kitt bender / brad gibson duo / tiger’s wood TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

EELS With Nicole Atkins. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. $25 adv./$30 DOS. 21 and over. 7 p.m. Tues., Feb. 19.

thetripledoor.net

216 UNION STREET, SEATTLE · 206.838.4333

Seattle weekly • FE BRUARY 6− 12, 2013

I think of myself as the audience. I’m just trying to impress myself, and it’s often been lonely work over the years where it felt like I was the only one who cared about it. The records would come out, and often it felt like they weren’t very appreciated or noticed, but I got lucky that over the years they kind of all stood the test of time and took on a life of their own and people slowly came on board. It’s really the best possibility. I do what I want to do when I want to do it and people come along for the ride, and it just keeps slowly growing in that respect, so I get to keep doing it.

shawn mullins w/ max gomez ROCKY SCHENCK

I always pay for everything, and usually the label doesn’t even know I’m working on something. I usually don’t tell them about it until it’s mastered and finished. I want to make sure it’s something I want to put out, so I don’t let on that anything’s going on until I’m sure I’m happy with it.

WED/FEBRUARY 6 • 7PM

35

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*

Blooper, Long Distance (out now, Manic

MU SIC

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

Pop! Records, blooper.bandcamp.com): This four-song EP is a bracing blast of quick vocals, clacking drums, and muscular guitar riffs, making for some heavily enjoyable lo-fi garage pop. EKT (Thurs., Feb. 7, Sunset Tavern)

EVENT S

P R O M O TI O N S

Paul Benoit, Ragpickers (out now, Zebadiah Records, paulbenoitmusic.com): Paul Benoit plays perfectly pleasant blues-folk. He should enjoy a long local career by virtue of his competent adherence to current genre standards, but—double-edged sword—he shouldn’t expect to break into the great beyond unless he does more to distinguish himself from likeminded safety dancers. MIKE SEELY

EVENT S

*

Brite Lines/Pocket Panda,

Parish Ent & Dead Nation Presents

A Mardi Gras Celebration

KISSING POTION

“Greenville, WA” b/w “My Brother the Dreamer” (out now, self-released, britelinesband.com, pocketpandamusic.com): Joining forces to release two new exclusive tracks on a joint 7-inch, both bands deserve some serious applause. BL’s “Greenville, WA” is hauntingly beautiful, whereas PP’s “My Brother the Dreamer” is a fantastic feel-good track.

made yet. Consider us psyched for next month’s full-length debut, Can’t Talk Medicine. CK Pilot to Bombardier, 117 (out now, self-

released, facebook.com/pilottobombardier): This hard-rock band’s debut album is like listening to a dozen songs on KISW, with the band pledging allegiance to some of their favorite bands from the past 20 years, from Alice in Chains to Incubus and Tool. DAVE LAKE

*

Mike Simmons, Pop-Leech (out now, self-released, mikesimmons.bandcamp. com): A weird hybrid of three-chord, Soul Asylum-esque anthems (“I’m Not There”) and glam-inspired tunes like “Love,” Simmons’ latest buzzes with guitars, driving refrains, and shit-if-I-care ’tude. Good tonic for your earnest-folkie hangover. GWENDOLYN ELLIOTT

LOCAL LABELS’ NATIONAL RELEASES Boats, A Fairway Full of Miners (out now, Kill Rock Stars, yeahboats.com): This Manitoba pop quintet’s third full-length is a live wire of reckless, manic energy that bristles and quivers with lead singer Mat Klachefsky’s screechy vocals. EKT (Fri., Mar. 1, Comet Tavern)

JOE WILLIAMS

Fri, FEBRUARY 15TH Ticketweb Tractor Tavern | 9PM | 21+

The Not-Its, Kidquake! (Feb. 4, Little Loopy

Records, wearethenot-its.com): Kidquake!’s strength is also its weakness: Lyrics aside, it doesn’t sound like a kids’ album. It won’t crack the kid code and command rapt attention. But it won’t turn off parents either. CHRIS KORNELIS (Sat. Feb. 9, Vera Project)

*

NIGHT BEATS

Pickwick, Covers EP (out now, selfreleased, pickwickmusic.com): This punch in the arm re-imagines Lou Reed, Richard Swift, and Damien Jurado, and is the most playfully aggressive batch of songs the band’s

Pissed Jeans, Honeys (2/12, Sub Pop, subpop.

com): The fourth LP from this quartet of Pennsylvania punk rockers is a torrential downpour of buzzy guitars and hoarse-throated vocals.

EKT

Young Smoke, “Chinese Dragon” (out now,

Automation Records, automationrecords. bandcamp.com): Another selection from Automation’s singles series, Chicago’s Young Smoke creates a bassy, non-aggressive beat with an overdone repetition that makes the track feel like it’s missing something. TH E music@seattleweekly.com

CHAINS OF LOVE

FEBRUARY 14TH | ALL AGES | THE CROCODILE 8PM DOOR | 9PM SHOW Dead Nation Presents

* THE GRIZZLED MIGHTY, Thick Hand Grip

Seattle weekly • FEBRU ARY 6− 12, 20 13

(out now, self-released, facebook.com/TheGrizzledMighty):

36

SATURDAY

FEBRUARY 16TH AT THE CROCODILE 2200 2nd Avenue Seattle, WA

8PM DOORS | 9PM SHOW ALL AGES REIGNCITY & DEAD NATION PRESENT

MARCH 12TH •CROCODILE 7PM DOORS • 8PM SHOW• ALL AGES

The new EP from the local blues-rock duo—drummer Whitney Petty and guitarist/vocalist Ryan Granger—is aggressive, sludgy, and distorted; it’s also the sexiest music to come out of this city in a good while. Petty’s splashy percussion and Granger’s thick, muddy guitar riffs coupled with his rustily crooned vocals make the songs sweat with heat and libido—it’s the music that should be playing through the blown-out living-room speakers of every legendary house-party-gonewild. Granger nails the snappy deliver on “Monalisa” and a lusty howl on “Smooth,” while the oft-repeated chorus of the single “Stuck in My Head”— “You got me running around/ I got you stuck in my head”—is catchy as hell. ERIN K. THOMPSON (Sat., Feb. 9, Neumos)

Seattle weekly • FE BRUARY 6− 12, 2013

37

REVERB»TheShortList Caleb Klauder Country Band From folky fiddle tunes to square-dance polkas, if it’s Americana you crave, Caleb Klauder can serve you in short order. The Portland-based Orcas Island native made a name as a shaggy-haired member of the ’90s rootsrock band Calobo, but the bandleader has long since ditched those locks for a clean cut and even cleaner country sounds.

As frontman for Foghorn Stringband, member of the accordion-spiked Cajun Country Revival, and half of a country duo with vocalist Reeb Willms, Klauder is an attentive steward of traditional country music, and his dusty twang and wholesome good looks certainly don’t hurt. Like a cold beer with all that country?

Klauder can peel off a jingle for his own brew, too (Caleb’s Country Kolsch), but at Conor Byrne you’ll just have to settle for a Manny’s. With Country Dave and His Pickin’ Crew.

Conor Byrne, 5140 Ballard Ave. N.W., 784-3640. 9 p.m. $10. GWENDOLYN ELLIOTT

Dancing on the Valentine

COURTESY OF WILD CUB

SATURDAY, FEBRUARY 9

Wild Cub brings its sparkling electro-pop to the Sunset on Tuesday.

SATURDAY, FEBRUARY 9

38

*

For this eighth edition, exciting local musicians cover ’80s goth darlings The Cure—a great choice, for reasons both onomastic and musical. With Adra Boo, Daniel G. Harmann & The Trouble Starts, Erik Blood, Fox and the Law, Gibraltar, Head Like a Kite, Hotels, Lesli Wood, Jupe Jupe, NighTraiN, Panama Gold, The Grizzled Mighty, Vox Mod, DJ Mike

Steve. Neumos, 925 E. Pike St., 709-9442.

8 p.m. $15. TODD HAMM

Wild Cub MONDAY, FEBRUARY 11

This Nashville duo, Keegan DeWitt and Jeremy Bullock, creates sparkling, vivacious electro-pop, as heard on their eclectic 2012

EDITOR’S PICK

WEDNESDAY, FEBRUARY 6

Following the dissolution of his “anti-folk” duo the Moldy Peaches, New York singer/songwriter Adam Green has kept himself occupied exhibiting his paintings and drawings, shooting a feature film with an iPhone, and releasing a steady stream of quirky solo albums. Now he’s collaborating again, this time with Los Angeles vocalist Binki Shapiro. She’s best known for playing in Fabrizio Moretti’s breezy pop trio Little Joy; also something of an indie-girl style icon, she has an entire blog—Fuck Yeah, Binki Shapiro—devoted to her. Adam Green & Binki Shapiro, the duo’s first LP, is drawing apt comparisons to the romantic ’60s tunes of Nancy Sinatra and Lee Hazlewood. It’s irresistibly sweet and sunny, a throwback to a time when great pop really did sound simple and uncomplicated.

With Pete Hanks. Barboza, 925 E. Pike St., 709-9467. 8 p.m. $13.

ERIN K. THOMPSON

debut album, Youth. (Their sophisticated touch can also be heard on their smooth, elegant cover of UK R&B singer Jessie Ware’s “Running.”) DeWitt, also a film composer, brings his affinity for visuals to Wild Cub; seven of Youth’s 13 songs have received video treatment. Most are moody, vintage-looking clips—one couple makes out in a car while fireworks go off, another drives through the night arguing—that well reflect the music’s sleek enchantment. With Escondido, Prism Tats. Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880. 8 p.m. $7. ERIN K. THOMPSON

ADAM GREEN & BINKI SHAPIRO

Cam’ron TUESDAY, FEBRUARY 12

COURTESY OF ADAM GREEN

Seattle weekly • FEBRU ARY 6− 12, 20 13

This annual benefit organized by Seattle leukemia survivor Jenny George—with a name pulled from the lyrics of her favorite band, Duran Duran—is a fun way to raise a ton of money for the Leukemia & Lymphoma Society, helping victims to beat their illnesses into pathetic heaps of forgotten disease.

The legacy of Harlem rapper Cam’ron is complex: He co-founded the influential crew the Diplomats (aka Dipset), made smash commercial hits like “Oh Boy” and “Hey Ma,” found his way onto the big screen (Paid in Full), feuded with practically everyone he’s ever worked with, and popularized the moronic, homophobic phrase “No homo.” Through it all, though, Cameron Giles has remained extremely popular with a fairly broad audience, satisfying the public’s thirst for his hyper-arrogant gun threats and lavish tales of his flamboyant lifestyle. With Nacho Picasso, DJ D Look. The Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $25. TODD HAMM

Seattle weekly • FE BRUARY 6− 12, 2013

39

Come Join uS! INDUSTRY NIGHT EVERY MONDAY

All night happy hour for service industry, 5pm-close

Every Tuesday, 8-11pm

Jazzgrind with the

. No cover.

Every Thursday, 8-11pm

Live jazz with the Fu Kun Wu Trio. No cover.

WEDNESDAY, FEB. 6, 8PM

Nancy K Dillon and The Bellow Brothers. $5 cover.

THURSDAY, FEB. 7, 8PM

Brazilian guitarist Marco de Carvalho with Tad Britton on percussion and Jon Alberts on the piano. No cover.

FRIDAY, FEB. 8, 8PM

Dave Ellis and the Hopeless Sinners. $5 cover.

SATURDAY, FEB. 9, 8PM

Half Rushmore and Lincoln Barr. $5 cover.

SUNDAY, FEB. 10, 8PM

Burns/Harper/Gibson Trio. No cover.

COPPER GATE ♥’s JAZZ: A VALENTINE’S TRIBUTE TUESDAY, FEB. 12, 8-11PM:

WEDNESDAY, FEB. 13, 8-11PM: Origin Records Night Valentine’s Tribute, featuring Rick Mandyck, John Bishop and Paul Gabrielson. No cover.

THURSDAY, FEB. 14, 8-11PM:

FRIDAY, FEB. 15, 8PM

Mannequin BBQ and Acey Deucy. $5 cover.

SATURDAY, FEB. 16, 8PM

Jennifer Kienzle and Martine. $5 cover.

SUNDAY, FEB. 17, 8PM

Singer/songwriter showcase with host kubby c. No cover.

WEDNESDAY, FEB. 20, 8PM

Bradford Aaron King and

FRIDAY, FEB. 22, 8PM

Charles Wicklander and Dillon Warnek. $5 cover.

SATURDAY, FEB. 23, 8PM

Skip Heller Trio and Caleb n Walter. $5 cover.

WEDNESDAY, FEB. 27, 8PM

“That Thing” (an open mic of all sorts) with host Andy Roo Forest. $3 cover donated to charity of the month.

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For booking inquiries, email bookingcoppergate@gmail.com 6301 24th Ave. NW in uptown Ballard · 206.706.3292

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General Admission $55

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Thao Nguyen leads this experimental folk-pop group, whose fifth album, We the Common, was released February 5. Sonic Boom Records, 2209 N.W. Market St., 297-266, sonicboomrecords.com. 6 p.m. Free.

All ages.

Saturday, Feb. 9 THE BEND The description on this group’s website

COURTESY OF BARSUK

Ra Ra Riot brings its new Barsuk release, Beta Love, to the Neptue on Friday.

Wednesday, Feb. 6 ALICE IN THE RIVER This project of songwriter Alice

Sandahl (the Pica Beats) and percussionist Joel Harmon (Grand Hallway) finds the former singing piano-led pop songs with a voice that resembles that of St. Vincent. With Day Laborers and Petty Intellectuals. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 8 p.m. $6.

JORDAN LAKE This young songwriter enlisted members of Barcelona to produce his second full-length, last year’s Consistency—a logical move, given the polished pop sensibilities they share. With Jesse Andrews, San Juan. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $5 adv./$7 DOS. All ages.

KITE REPAIR This five-piece plays baroque folk rock, replete with cello, gentle keys, and guitar. With Tape Stacks, Chris Jarski. JewelBox/Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com.

9 p.m. $5.

Blackalicious, whose 1994 EP Melodica was reissued last year. With Theoretics, Nu Era. Nectar Lounge. 8 p.m. $10 adv./$12 DOS.

Sunday, Feb. 10

JOSIAH JOHNSON & CHARITY ROSE THIELEN

DREAMWRECK A collaboration between friends and

The main girl and guy from ultra-smooth folkies The Head and the Heart headline this benefit concert for Outdoors for All, a nonprofit that provides recre-

experienced session musicians Brooke Lizotte and Ben Smith (Heart’s current drummer), DreamWreck’s old-school brand of rock is characterized by Lizotte’s dexterous work on the keys and Smith’s funk-based grooves. With Kieran Strange. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $6.

ETHAN JENNINGS This local folk musician specializes in lap-style acoustic guitar, and this unconventional playing style results in songs that are surprisingly rhythmic and soulful. With Dana Pierce, Matt Green, Aron Bach. JewelBox/Rendezvous. 7:30 p.m. $7.

HOT WATER MUSIC With its layered guitars, on-point rhythm section, frontman Chuck Ragan’s ragged vocals, and general production aesthetic, this veteran punk group has quite a bit in common with fellow Floridians Against Me!. Last year’s Exister was the first new full-length from the group in eight years. Showbox at the Market, 1426 First Ave., 628-3151, showboxonline.com. 7 p.m. $21.50 adv./ $25 DOS. All ages.

Thursday, Feb. 7 BENJAMIN FRANCIS LEFTWICH This English song-

GIFT OF GAB This Bay Area MC is one of hip-hop’s

most respected wordsmiths, both for his solo material and his classic work with Chief Xcel in

Send events to music@seattleweekly.com See seattleweekly.com for full listings

The Wood Brothers play the Croc on Saturday. ational instruction for people with disabilities. With Smokey Brights, River Giant. Tractor Tavern. 9:30 p.m. Sold out.

KULTUR SHOCK Eclectic and fiercely independent (their last four releases came out on their own record label), Kultur Shock mixes elements of metal, Balkan folk, and jazz into its freewheeling sound.

With Chervona. Chop Suey. 9 p.m. $12.

RA RA RIOT This Barsuk-signed band has undergone a sonic makeover on their newest album, Beta Love, transforming from a group whose closest referent was Vampire Weekend to one that takes its cues from electro-pop and Auto-Tuned dance music. The results are mixed on record, but we’re guessing the live show will be much improved. With Cayucas. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents. org. 9 p.m. $20. All ages.

DUMBASS JONES This Renton-based four-piece

plays furiously technical thrash metal. With Ancient Wind, Tatarus. 2 Bit Saloon, 4818 17th Ave. N.W., 708-6917, the2bitsaloon.com. 9 p.m. $5.

HOT TUNA Original Jefferson Airplane members Jack Casady and Jorma Kaukonen formed Hot Tuna in 1969 as a blues-rock side project, eventually outlasting it (Jefferson Starship notwithstanding). Casady and Kaukonen will play acoustic at this show. Triple Door. 6:30 p.m. $49.50 adv./$55 DOS. All ages.

UUVVWWZ This sprightly Lincoln, Nebraska quartet is fronted by the brassy Teal Gardner; this month they released a full-length called the trusted language on home-state record label Saddle Creek Records.

Sunset Tavern, 5433 Ballard Ave. N.W., 784-4880, sunsettavern.com. 8:30 p.m. $6.

Tuesday, Feb. 12 GIMMICKS On their Bandcamp page, Gimmicks have

just two songs—both released last month, both laidback, agreeable indie-rock tunes with nasally vocals and strong choruses. With Verdant Mile, Radio Telescope. High Dive. 8 p.m. $6.

TOMAHAWK Seldom is the term “supergroup” more than hyperbole, but in Tomahawk’s case it might be warranted because of the members’ former projects; the metal group features Faith No More frontman Mike Patton, Jesus Lizard guitarist Duane Denison, and Battles drummer John Stanier. With Retox.

Showbox at the Market. 8 p.m. $25 adv./$28 DOS. All ages.

Seattle weekly • FE BRUARY 6− 12, 2013

Friday, Feb. 8

Monday, Feb. 11 COURTESY OF SHORE FIRE MEDIA

writer is touring behind the meditative acoustic folk of last year’s EP In the Open. With Lanford Black, Ben Fisher. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 8 p.m. $10 adv./$12 DOS. CHARMS On its EP Hillary, this local quartet plays breakneck garage rock with a knack for melody.

With Chastity Belt, Week of Wonders, Shogun Barbie. Chop Suey, 1325 E. Madison St., 324-8005, chopsuey.com. 7 p.m. $7.

JK POP! Tonight’s installation of the flamboyant monthly celebration of the best of Japanese and Korean dance music will feature a drag performance

by Seattle’s Atasha Manila. Barboza, 925 E. Pike St., 709-9467, thebarboza.com. 9 p.m. $3.

SCOTT AND DANI BAND This newly formed folkrock duo is big on gentle harmonies and soulful lyrics, a sound that draws comparisons to that of the Civil Wars. With Smith’s Cloud, Leah Bakst. Conor Byrne, 5140 Ballard Ave. N.W., 784-3640, conorbyrne. com. 9 p.m. $7.

THE XPLODING BOYS have quite the shelf life for a tribute act, having played faithful Cure covers since 1999. With Still Falling, DJ Coldheart. Highline, 210 Broadway E., 328-7837, highlineseattle.com. 9:30 p.m.

reads simply “five guys playing music,” a blasé but accurate description of their staid, workmanlike rock. With Hondo II, Underwater Tiger. Slim’s Last Chance, 5606 First Ave. S., 762-7900, slimslast chance.com. 9 p.m.

SHAWN MULLINS Known for chart-topping country songs like “Lullaby,” “Beautiful Wreck,” and the Zac Brown Band’s “Toes,” Mullins recently released his 11th studio album, Light You Up. With Max Gomez.

Triple Door, 216 Union St., 838-4333, thetripledoor. net. 7 p.m. $25. All ages.

WIMPS This trio’s most recent endeavor is last month’s Repeat, an aptly titled album of snotty punk with a streak of dark humor. With Eighteen Individual Eyes, Let’s Get Lost. Columbia City Theater. 9 p.m. $8 adv./$10 DOS. THE WOOD BROTHERS Oliver and Chris played apart for years in different kinds of bands in different parts of the country, until they were drawn back together in 2004 to write the family soundtrack. With Seth Walker. The Crocodile, 2200 Second Ave., 441-4618, thecrocodile.com. 8 p.m. $20. All ages.

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

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

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

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FOUR SEAS RESTAURANT 714 S. King St., 682-4900, fourseasrestaurant.com. Free. Thursdays–Saturdays, 9 p.m.

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INDUSTRY LOUNGE 6601 E. Marginal Way S., 762-3453, myspace.com/206industrylounge. Free. Sundays, 9 p.m.

JABU’S PUB 174 Roy St., 284-9093, jabuspub.com. Free.

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

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LITTLE RED HEN 7115 Woodlawn Ave. N.E., 522-1168, littleredhen.com. Free. Mondays & Wednesdays, 9 p.m.

MARCO POLO BAR & GRILL 5613 Fourth Ave. S., 762-3964, marcopolopub.com. Free. Fridays & Saturdays, 9 p.m.

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

Free. Mondays, Tuesdays, Sundays, 9 p.m.

ROCK BOX 1603 Nagle Place, 302-7625, rockboxseattle. com. Daily, 4 p.m.–2 a.m.

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

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

TARASCO MEXICAN RESTAURANT 1452 N.W. 70th St., 782-1485, Free. Saturdays, 9 p.m.

KaraoKeKorrespondent There were no songbooks available to bring to our table to search through. After years of people stealing or vandalizing the binders there, they finally gave up—now there’s one lone catalog, organized by artist, chained to a table within eyeshot of Pat’s KJ station. Though the place was packed with over 150 people, it took a while for a rotation to develop. There were about 10 big groups in that night, and nobody was paying much attention to any of the singers.

Labonite challenged me to “rickroll” everybody, so I obliged him by singing “Never Gonna Give You Up.” You’ve got to be really drunk to pull off Rick Astley in any meaningful way, and I couldn’t hit any of the high notes. The performance was pretty much as terrible as I figured it would be, but at that point of the night I was fine with it. Will followed me with an impressive rendition of Sinatra’s “Fly Me to the Moon (In Other Words),” and actually got applause from a couple tables.

Things finally picked up by 11:30. The Absolute singer ticker scrolling at the bottom of all the TVs showed that the rotation had risen to over 25 performers, and there were some good ones. These kids knew their classics. A swarthy kid with a beard and an Adidas warm-up brought down the house with “Poison” by Bell Biv DeVoe, and a gal named Andrea turned in a really good performance of “Linger” by the Cranberries.

At midnight, I took my best crack at adoration by singing “Rocket Man,” a number I’d killed with on the Hill a week before, but it did not deliver this time. These UW kids are as fickle as they come. E karaoke@seattleweekly.com FINN MACCOOL’S 4217 University Way N.E., 675-0885, finnmaccools.com.

ry 19th, 2013

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Seattle weekly • FE BRUARY 6− 12, 2013

Last week my high-school buddy Will let me know he was in town from Vegas. He’s been a fan of this column and wanted to finally witness firsthand the Karaoke Korrespondent experience. Fortunately for him, his visit fell in line with my planned review of Finn MacCool’s in the U District. He’s a single guy, and one would be hard-pressed to find another spot in town with as large a concentration of young, hot, tight-bodied drunk chicks to sing for on a Thursday night.

Throughout the four years I’ve toured karaoke bars in this region, some of the toughest crowds I’ve encountered have been on the Ave. A performer really needs to bring the complete package— good vocals and entertaining song selections—if they expect to get any type of reaction out of these college kids, especially if you’re pushing twice their age, as I am. It’s not like they boo you, but the indifference stings harder than being rejected anywhere else in town.

We met up at 8:30 p.m., an hour before the show started. Will brought along our buddy, Labonite, one of the few Filipinos I know who doesn’t sing. I was just one day recovered from that flu that was going around, so I planned on taking it semi-easy, but before I knew it, within our first 20 minutes there, I’d downed three Jägers and a Stella.

Finn’s is an old-fashioned Irish pub. A long bar to the right as you enter opens to a big back room where the karaoke stage is set up. We took a table in this elevated seating area in the back corner and had a great view of all the performances all night. It took me a while to realize the host was my friend Pat Clark from Absolute Karaoke. From our perch I didn’t recognize him right away, but as soon as he opened with a sound check of AC/DC’s “Highway to Hell,” I knew it was him. I could place those powerful pipes anywhere.

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dategirl»By Judy McGuire his wife, and now that we’ve moved in together, I see her three days a week.

—Stepmommy Dearest

Stepparenting the Bad Seed

Dear Dategirl, What do you do if you’re dating a man and you don’t like one of his kids? He and I had been seeing each other for six months or so before he introduced me to his children. At the time, I thought this was a great idea—wait until we get serious.

Kids don’t need to meet everyone Daddy’s dating. But when we decided to be monogamous, we thought it was time. I was already in love with this man, and we’ve since decided to marry.

His son, 12, is a sweetheart. He’s polite, kind, a doll.

Unfortunately, the daughter is a problem child, and apparently has been since she was born.

There are learning disabilities, but more than that, an intrinsic cruelty that makes me uneasy. She’s only 10, but has a chilling capacity to know exactly what buttons to push. And push them she does. Not only with me, but with her brother and father, though her dad seems unwilling to see this. In fact, I think the fact that I stick up for him is one of the reasons his son likes me. I should mention that their parents’ divorce was not ugly, and they’re still quite friendly. I had nothing to do with their split, so it’s not like she resents me for that. I’m having second thoughts about marrying him; every time I try to talk to him about it, he gets defensive, saying “She’s only a child!” Which is true, but so? Any advice? He shares custody with

Did you ever see that clip of Louis C.K. calling his 4-year-old daughter an asshole?

It was hilarious, not remotely cruel, and a rare bit of honesty from a parent. Because really, there are a lot of little asshole kids running around out there. You don’t mention that this one is torturing animals or peeing in anyone’s Cheerios, so she’s probably just a little too smart for her own good, possibly on the spectrum, and kind of a bitch. You sound as if you don’t spend much time around kids, which might be the problem. They’re not small adults— they’re another species.

Some are good little monkeys, some are naughty, but you can’t expect them to behave like reasonable adults, because they’re incapable. (Just wait until she hits puberty!)

You and Mr. Man there need to sit down and have a big, fat talk.

He’s probably taking your criticisms of his kid personally—and really, there’s no “good” way to critique someone’s offspring. I’ve seen parents go into white-rage mode when someone (um, me) suggested their darling might want to quit kicking the back of my seat. But you guys aren’t strangers on an international flight—you’re going to be co-parenting these kids, so he needs to help you.

Bear in mind that just because you didn’t cause the split, your presence is a fleshand-blood reminder that Mommy and Daddy are done-zo. So try to be patient, but don’t be a pushover. E

FIND DATEGIRL » EVERY WEEK AT aONLINE

Want more? Listen to Judy on The Mike & Judy Show, follow her tweets @HitOrMiss Judy, or buy her new book, The Official Book of Sex, Drugs, and Rock ’n’ Roll Lists.

Seattle weekly • FEBRU ARY 6− 12, 20 13

dategirl@seattleweekly.com

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Snip, Snip, Hooray! (for World Spay Day) More than 150,000 unwanted dogs and cats will end up in Washington shelters this year. Help lower that number by having your pet spayed or neutered. During the month of February, participating veterinary clinics are offering low-cost spay and neuter surgeries in honor of World Spay Day. Some restrictions apply.

Visit paws.org for a list of participating clinics.

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Customer Service Counts

BY STEVE ELLIOTT

W

hile visiting south Seattle medical-marijuana access point USC a couple weeks ago, I was surprised and pleased to note that the collective shares a duplex with another access point, Herbal Health Care Center. There may be other places in town where two dispensaries are in the same building, but this is the first time I’ve encountered such a delightful situation.

Delightful, you say? Definitely. The price pressure created by a healthy, competitive

market is even more powerful in microcosm: two collectives battling side by side for patients. Both access points are spurred to excellence, the competition keeps a check on prices, and patients benefit.

My visit to HHCC got off to a slightly shaky start; through some odd quirk of floor planning, patients have to go past the dispensing window on their way to the waiting room, and I was uncertain whether I was supposed to just step up to the window. I quickly learned to keep walking past the window into

the waiting room, but was slightly nonplussed by the confusion.

HHCC quickly redeemed themselves with their customer-service skills; a friendly face went a long way toward putting me back in a positive frame of mind, and I was ready to pick my flowers. Probably due to the somewhat sketchy neighborhood, this shop has bulletproof glass between you and the budtenders, but they are more than willing to slide buds through the slot at the bottom of the glass so that you can pinch and smell ’em.

Unlike their neighbors, HHCC doesn’t have top-shelf $9 grams, but an across-theboard donation rate of $10 a gram (except for the “mixed greens” bottom-of-the-jar shake for $5 a gram). But where they step up to the plate and compete with USC is in the pricing of eighth-ounces: $20, $25, or $30 each, depending upon the strain.

With the help of budtender/proprietor Graeme Johns (and his younger brother Javis, who is being trained in the family business), I selected one strain at each of the eighthounce price points: a $20 eighth of the indica-

dominant hybrid Kandy Kush, a $25 eighth of the indica-dominant hybrid Master Kush, and a $30 eighth of the 80-percent-sativa Blue Dream.

Unsurprisingly, given the price structure, the Blue Dream was the most potent; this stalwart sativa-dominant strain with its high THC offers plenty of cerebral fireworks to go with the pain relief afforded by its 20percent-indica genetic heritage.

The Master Kush was a potently effective indica, but I’m convinced the Kandy Kush was somewhat stronger, despite being $5 cheaper.

Adding to the Kandy’s allure was its sweet taste and smell, true to its name. Either Kush, however, was effective for body pain, and both are more inexpensive than in most shops. E tokesignals@seattleweekly.com

Steve Elliott edits Toke Signals (tokesignals. com), an irreverent, independent blog of cannabis news, views, and information.

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Cypress Semiconductor Corporation, leading provider of high-performance, mixed-signal, programmable solutions, has an opening in Lynnwood, WA for Product Marketing Engineer Sr. (PME08): Perform all aspects in developing of New Solution Plans such as analysis of market research and competitive research, pricing strategies, solution definition and strawdog creation, lead customer feedback, sales collateral development and financial forecasting (travel required up to 20%). If interested, mail resume (must reference job code) to: Cypress Semiconductor Corp, Attn: AMMO, 198 Champion Court, M.S. 6.1, San Jose, CA 95134.

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110 Computer/Technical Cisco Systems, Inc. is accepting resumes for the following positions in Bellevue, WA: Network Consulting Engineer (Ref#: BEL1): Responsible for the support and delivery of Advanced Services to company’s major accounts.

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EOE. www.cisco.com

Sony Computer Entertainment America is responsible for producing and marketing Sony’s signature PlayStation® family of interactive computer entertainment products in the U.S., Canada and Latin America markets. We have an opening in our Bellevue, WA office for a Computer Character Animator Pls mail resume to 919 E. Hillsdale Blvd., 2nd Flr, Foster City, CA 94404, Attn: Katherine Brady.

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As the world leader in next generation mobile technologies, Qualcomm is focused on accelerating mobility around the world.

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185 Miscellaneous The YWCA of Seattle-King County-Snohomish County is seeking an Employment Specialist (KCJI Account Executive).

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Vice President, Web Application Support Engineer Lead, Distribution Solutions (DS) IT Team sought by BlackRock Financial Management Inc. in Seattle, WA to provide production applic support & service delivery of Object Oriented s/ware, including analysis, dsgn & documentation of applic specifications & end user reqmts for a range of eCommerce products & services, including mobile applics, intranet & internet applics, internal dvlpmt tools, ticketing system administration, Social & Business community collaboration tools. Req's: Bachelor's deg or equiv in Comp Sci, Mathematics, Electronic Engg or a related field plus 5 yrs of progressively responsible exp providing applic support for a range of eCommerce products & services, including analyzing, dsgng & documenting applic specifications & end user reqmts on behalf of a global financial institution.

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Seattle's True Independent Film Festival (STIFF) May 3rd-11th Hailed as "Seattle's premier showcase for regional

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