Seattle Weekly, February 27, 2013 by Sound Publishing

FEBRUARY 27–MARCH 5, 2013 I VOLUME 38 I NUMBER 9

SEATTLEWEEKLY.COM I FREE

MUSIC: THE DANCE-TAX-TWO STEP PAGE 34 | FOOD: SHANIK SPUTTERS PAGE 27

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Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

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Reviving 5,000 years of civilization

inside» February 27–March 5, 2013 VOLUME 38 | NUMBER 9 » SEATTLEWEEKLY.COM KOMO NEWS

“5,000 years of Chinese music and dance in one night.” —The New York Times

all-neW 2013 SHoW World’S ToP ClaSSiCal CHineSe danCerS original live MuSiC by THe SHen yun orCHeSTra

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NEWS

»39 27 | SHANIK | Naan naan naan naan,

hey hey-ey, goodbye.

THE DAILY WEEKLY | John Diaz keeps a

low profile. Why can’t Tim Eyman?

Beard Foundation gives love to locals.

BY ELLIS E. CONKLIN | How do you

cope with the unthinkable—the murder of a child? Renton’s Doug and Stephanie Scholl struggle to rebuild.

19 THE WEEKLY WIRE Marc Maron cracks wise, the Henry shows its hemlines, and Indiana Jones looks much younger than we remember.

20 ARTS

23 FILM

THIS WEEK’S ATTRACTIONS |

Food deserts, demonic possession, the crazy Cream drummer, and more.

COPYRIGHT © 2013 BY SOUND PUBLISHING, INC. ALL RIGHTS RESERVED. REPRODUCTION IN WHOLE OR IN PART WITHOUT PERMISSION IS PROHIBITED. ISSN 0898 0845 / USPS 306730 • SEATTLE WEEKLY IS PUBLISHED WEEKLY BY SOUND PUBLISHING, INC., 307 THIRD AVE. S., SEATTLE, WA 98104 SE ATTLE WEEKLY® IS A REGISTERED TRADEMARK. • PERIODICALS POSTAGE PAID AT SEATTLE, WA • POSTMASTER: SEND ADDRESS CHANGES TO SEATTLE WEEKLY, 307 THIRD AVE. S., SEATTLE, WA 98104 • FOUNDED 1976.

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from a nine-day vacation in Europe with his ast week, Councilmember Bruce family, he tells Seattle Weekly that he and the Harrell floated the idea of a balmayor meet every week to hash over issues. lot measure that would have the police chief reconfirmed every four He maintains that he and the mayor came to an agreement on drones, for instance, both years by the council. He said his idea is not recognizing that they were too controversial meant as a dig at current Chief John Diaz. to move ahead with. But it can’t help but provoke questions about The chief acknowledges, however, that he Diaz—the main one being: Why has the chief is not as visible as he might be. He explains it been largely out of sight as his department this way: “I’ve never tried to be out in front has undergone tremendous scrutiny over the getting publicity for myself. Frankly, I’ve past year? Certainly the city doesn’t have the never been very good at it.” Public speaksame sense of Diaz that it had of previous charismatic chiefs Gil Kerlikowske and Norm ing, he says, is not his strong suit. Rather, “I”m much better working in small groups.” Stamper. He also declares himself a big believer in “I couldn’t agree more,” says Harrell. “listening”—a skill he says he picked up early “That’s not just my opinion, but of many in his career, during three years as a criminal opinion leaders.” At many events over the past year, it wasn’t investigator for the Army. That’s not the only reason he says he lets Diaz but members of his command staff who his command staff do much of the talking. He took the lead in talking to the public. Assissays he also wants to give others credit for tant Chief Mike Sanford has been out in front the work they’re in charge of, a self-effacing working on the “20/20” reform plan, SPD’s ethos also noted by SPD spokesperson Sean response to the sweeping criticism leveled Whitcomb. by the federal Department of Justice of the Diaz’s elusiveness may well stem from SPD’s use-of-force policies. Deputy Chief some admirable traits. Still, it’s bound to leave Nick Metz answered reporters’ questions some in the city wondering who exactly the about the department’s recent gun buyback. man in charge of the oft-criticized SPD is. Clark Kimerer, another deputy chief, has on other occasions been in the limelight. NINA SHAPIRO Harrell, chair of the council’s public-safety committee, says he personally does have a sense of the chief, whom he describes as “very likable, extremely knowledgeable” and “loyal, both to the department and to the mayor.” The councilmember goes on to say that where he believes Diaz “falls short” is in his failure to deliver “inspirational leadership” that reassures the public in times of crisis or tragedy. Perhaps unsurprisingly, given Harrell’s campaign for mayor, he finds a way to blame Mike McGinn. The mayor, Harrell says, has not given the chief “clear directions to folPRINT IS GREAT, but if you low.” Harrell cites such want to know why a Yakima bomb squad blew up perfectly good herb, issues as the drones go to The Daily Weekly. police wanted to use and In the ’90s, TV sitSEATTLEWEEKLY.COM/DAILYWEEKLY surveillance cameras com character Murphy on Alki, both of which Brown became a single sparked criticism from the mayor. According mom, and the country went nuts—or at least to the councilmember, “the chief’s absence is a then-vice-president Dan Quayle did, conresult [of wanting] not to screw up.” demning the show for glorifying out-of-wedDiaz insists that’s not the case. Just back » CONTINUED ON PAGE 9

Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

news» The Daily Weekly » FROM PAGE 7

NINA SHAPIRO

Lying Whore

Tim Eyman and his tax-hating buddies, Jack and Mike Fagan, made waves last week when they fired off an e-mail calling Governor Jay Inslee a “lying whore.” The e-mail came in response to what Eyman and the Fagans paint as the governor’s displayed openness to raising taxes, even though Inslee has said he would veto new taxes in Washington should

“Jay Inslee violated the public trust exponentially worse than Reardon and Holland ever did.” Commissioner Rob Holland, both of whom recently resigned,” writes Eyman. “In both cases, the media did their jobs, highlighting their multiple violations of the public trust . . . It was the media fulfilling its mission: holding the people in power accountable. Governor Jay Inslee? Not even close.” “Jay Inslee violated the public trust exponentially worse than Reardon and Holland ever did,” Eyman continues. “Why was it exponentially worse? Because Inslee’s violations of the public trust may end up costing Washington’s citizens billions in higher taxes even though these same voters were promised an ‘any-tax’ veto and no transportation taxes in 2013.” And as for that “lying whore” comment: “When it comes to criticizing Inslee . . . it was a tacit criticism of the media that you’ve let Inslee off the hook. Was it tough? Yes. Crass? Sure. But nothing would need to be said about Inslee if the press was as morally outraged and incensed by his violations of the public trust on taxes as they were with Reardon and Holland,” scolds Eyman. MATT DRISCOLL E

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lock births. In Vietnam around the same time, attitudes toward single-motherhood were oddly more accepting, as Seattle anthropologist Harriet Phinney discovered. She’s poised to write a book about the subject, and has already gotten some advance publicity from The New York Times. The Times highlighted Phinney’s work in a Feb. 14 piece about a number of women who defied cultural norms and asked men to father their children—no strings, or wedding ring, attached. Phinney, now an assistant professor at Seattle University, first brought the phenomenon to light in her 2003 Ph.D. dissertation. Talking with Seattle Weekly, Phinney explains that she went to Vietnam intending to research something else entirely: reproductive health. “Everyone I talked to said, ‘Yeah, well, fine, but have you heard about these women who have asked for a child?’ ” So she started looking into it. These women, Phinney learned, had made their decision in the years following what is known in Vietnam as the American War. They had contributed to the war effort in various ways only to find that afterward they were considered too old to be eligible. In any case, given the war’s casualties, there weren’t enough men to go around—or at least enough men whom the women considered husband material. Phinney said she asked these women why they didn’t marry the older men who’d escaped the war. They explained they didn’t love these men, and pointed to an interesting law passed by the ruling communists that outlawed marriages not based on love (a law aimed at ending arranged marriages). As radical as it was for these women to become single moms, the government’s reaction may have been even more radical, as Phinney tells the tale. Instead of condemning these women a la Dan Quayle, the government passed a law recognizing every woman’s right to have a child. In other words, Phinney says, the government decreed that these women and their children “should be treated equally.” After delving into the subject for her dissertation, Phinney recently decided to return to it for a book. She is planning a trip back to Vietnam this summer or fall, when she hopes to reconnect with the 25 women she initially interviewed, as well as their children, to find out how things are going for them now. And she wants to examine attitudes toward singlemotherhood in modern Vietnam. Her question: “Have they created a space for women to ask for children out of wedlock?” Or, she wonders, was the empowerment once offered to single moms a product of the postwar era?

they reach his desk. As The Seattle Times reported in the aftermath of Eyman’s e-mail, though Inslee did say he would veto new taxes passed by the legislature, he didn’t rule out increasing taxes for transportation or extending current taxes, and indicated that he supported the idea of sending a tax measure to the ballot to raise transportation dollars. While some, including GOP Chairman Kirby Wilbur, have called for Eyman to apologize for the colorful comment, it should come as no surprise that the former Mukilteo watch salesman isn’t backing away from his harsh words for Inslee. In fact, he’s doubling down. In an e-mail sent last Friday, Eyman blames the media for largely ignoring Inslee’s alleged tax lies while journalists far and wide recently skewered the likes of Snohomish County Executive Aaron Reardon and Port of Seattle Commissioner Rob Holland. (Reardon, of course, recently announced his resignation amid a sensational Nixonian scandal uncovered by the Everett Herald, and Holland has done the same, announcing he will step down after the Times published a story indicating he misused a Port of Seattle credit card; started failed businesses with a convicted burglar and sex offender; and, just six months ago, had a warrant out for his arrest in Pierce County for driving with a suspended license.) True to form, Eyman calleds Inslee’s perceived flip-flopping on taxes “exponentially worse” than anything Reardon or Holland did. “In recent weeks, we’ve seen the power of the press, and the critical role of the press, when it comes to Snohomish County Executive Aaron Reardon and Port of Seattle

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Their daughter murdered, a Renton family struggles to rebuild.

BY ELLIS E . CONKLIN

» CONTINUED ON PAGE 12

Doug Scholl and Stephanie Scholl at King County Superior Court after Jarod Lane pleads not guilty to murdering Jessica. Left: Jessica Scholl and her dog, Ming.

Seattle weekly • FE BRUARY 27− MARCH 5, 2013

On a blue, sunswept morning last May, the mountain is out, rising sugary-white above the mist. It will be 71 degrees by the time the Folklife festival kicks off the long Memorial Day weekend. In Renton on this gorgeous morn, David Hawron peers out his bedroom window and sees dark smoke pouring from an upper-floor window of the gray split-level next door. He calls 911. Below he notices two residents of this well-ordered neighborhood with garden hoses, doing what little they can. It is 7:48 a.m. Within 10 minutes, firefighters appear, EMTs, three ambulances, and a blaze of patrol cars, their blueand-red lights flashing. Hawron takes it all in: the churning smoke, the body being carried out in a fireman’s arms, the futile efforts to restore a heartbeat with chest compressions, and then the sheet going over the corpse, covering the girl who used to knock on his door at holiday time toting a tin of green- and redsprinkled cookies. A half-hour goes by, and now he spots tall, gangly Doug Scholl, his next-door neighbor, running down Southeast 164th Street. Hawron has known him for 10 years, this happy-golucky guy with a lopsided, aw-shucks grin and a country twang, always ready to lend a helping hand. Scholl, who left the house before 6 a.m. to get to work, has gotten a call in Auburn to hurry home. Hawron can hear the 44-year-old, a bindery manager at Printco, yelling over and over, “Is my dog all right?” No one could possibly be home except Ming, the family’s beloved Pekingese/Pomeranian. Surely Jessica is at school, just across the way at Lindbergh High. The fire has been extinguished, and Hawron watches in horror as his neighbor turns to the lump entombed beneath the sheet in the front yard of the four-bedroom house Scholl bought in 1996 for $137,000; the place he and Stephanie, his wife of 24 years, raised their only child, Jessica. Hawron remembers Scholl asking him, his voice trembling, “What is that?” And, Hawron continues, Doug Scholl then screamed, “Tell me, is she alive? Tell me, is she alive?” “It is something I’ll never forget,” whispers Hawron.

Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

A chaplain delivers the crushing news. Scholl will regret later, in a moment of despair, that he hadn’t ducked his head into Jessica’s room earlier that morning to say goodbye, as he’d done almost every day, or tickled her feet when he saw them sticking out from under the covers. Several minutes after Doug learns his daughter is dead, Stephanie Scholl arrives, having rushed home in a panic from the pathology lab where she works in Fremont. She sprints to him, asking, “Doug, is Ming all right?” He hugs her tight and tells her not to let go. Finally, she asks, “Where’s Jessica? Is she OK?” “No,” he says, gazing at the awful sheet in the yard of the smoldering home. He loosens the grip of his wife’s embrace, looks into her anguished face, and says, “No.” “They told me, ‘You don’t want to see her this way. Better to keep a memory of her.’ ” Five months from this hellish spring morning, Doug Scholl will tear this place down to its very foundation. He won’t live in the house where he watched his beloved daughter grow into a confident, smart, and beautiful young woman who one day hoped to attend the Seattle Art Institute—the house where, on this day, Friday, May 25, 2011, she was murdered. Two weeks earlier, Jessica, a 17-year-old

junior, had called her boyfriend to say that their two-year relationship was over. Jarod Lane, 19, tried desperately to win her back, but nothing worked—not even the gold necklace with the diamond he bought her. She’d had enough. She told friends, teachers, her parents that he was too controlling. He became distraught, angry, depressed. Friends noticed cut marks on one of his forearms. At 6:14 a.m. on May 25, Jessica texted Aundre Ruth, a guy she used to date and stayed friends with. It read “OMG.” Ruth asked what was wrong, and, according to court records, she replied, “Jarod won’t leave me alone…PLZ call him and tell him to leave me alone…PLZ.”

“You don’t sleep. You don’t eat. You sit around and cry. Lots and lots and lots of crying, and you deal with stuff you never thought you’d ever deal with.”

Ruth phoned Lane. He was crying and said he wanted to “see her face one last time”— that if she agreed to do that, he’d leave her alone, according to the Renton police report. Ruth called Jessica back and said to get

KOMO NEWS

» FROM PAGE 11

In January, seven months after his daughter’s murder, Doug Scholl tore down his Renton home.

hold of the police. She told him that if Lane came over, she’d just open the door a crack and yell at him, then he’d go away. Ruth didn’t hear back from either one for nearly 30 minutes. At 6:40 a.m., Lane arrived at Jessica’s house. A student told police he saw the two yelling at each other on the front porch. Then at 7:30, Lane called Ruth and, according to police, said something like “ . . . maybe you should ask her out again, she needs someone. Hey, you should ask her out.” Ruth said Lane was very calm.

even months later, on a cold January afternoon, a pile of hay still covers the charred grounds at 12770 S.E. 164th St. where Doug and Stephanie’s

home once stood. Blue tarps, ruffling in the wind, cover parts of the lot, desolate save for Scholl’s aluminum-paneled tool shed. On the frozen lawn, the excavator Doug Scholl used last fall to rip down the house remains. The insurance company said it would pay for a major rehab but not a full-out rebuild of the smoke-, water-, and fire-damaged dwelling. Fists clenched, Scholl describes taking the first blow at his own home with that purple wrecking machine, pulling down its whole front half. As the demolition began, Scholl said he couldn’t live in a house where his daughter had been murdered. Puddles of Jessica’s blood drenched the bathroom, her bedroom, a shower door, and the toilet. Blood streamed into the kitchen,

Scholl says his anger persists and he can’t seem to get past it. KEVIN P. CASEY

where her body was discovered by firefighters two minutes after they doused the fire Jarod Lane had allegedly set on the second floor. A dented frying pan and a black knife with its blade broken off were also found. On the kitchen counter lay a fireplace poker, its point red with blood. King County Medical Examiner Dr. Richard Harruff, who performed the autopsy, concluded that Jessica died from numerous stab wounds and blunt-force injuries, and that her killer had employed “multiple weapons.” The autopsy also showed that she was dead before the fire started. The dog, Ming, survived. Doug Scholl tucks his lanky frame into a booth at the Puerto Vallarta Restaurant, a Mexican eatery in a large strip mall near Wild Waves in Federal Way. He comes here after work sometimes, just to sit by himself and have a beer or two, maybe some chips and salsa, and watch ESPN. He and Stephanie live close by, in Edgewood, where they moved with only the clothes on their back the day after their daughter’s murder. They’ve been here since, in a furnished rancher his brotherin-law made available to them for as long as they need it. “We had nothing,” Scholl begins. “We stopped at a Fred Meyer, bought a toothbrush and a change of clothes.” Few of his new neighbors know why he’s come to Edgewood. “I don’t talk about it. I know one neighbor knows. She lost a son in Iraq.” Sipping a Bud Light, Scholl rehashes his haggles with his insurance company, now largely resolved: There should be enough

» CONTINUED ON PAGE 14

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» FROM PAGE 13 money, along with some service donations from well-wishers, to build a new home in that same close-knit Renton neighborhood. The insurance company had wanted him simply to retrofit the house, to paint over the walls that had been covered by his daughter’s blood. Recounting his decision to bring the house down, Scholl tears up, and after a painful moment he chokes out the words, “I wouldn’t feel right living in there again. When it makes you sick to your stomach, how could you live there?” After the murder, Scholl took three weeks off from the bindery job he’s held for almost 11 years. “You don’t sleep. You don’t eat. You sit around and cry,” he says. “Lots and lots and lots of crying, and you deal with stuff you never thought you’d ever deal with.” Now, eight months later, the shock has barely worn off. “I’ve been to counselors, and I’m not a big counselor person. I mean, what can they tell you? How many of them have gone through this?” He shakes his head. “Really, how many?” Tina Harris, a domestic-victims advocate in the Renton Police Department, put the grieving couple in touch with the organization Families & Friends of Violent Crime Victims. They were supportive, of course, giving the Scholls a 31-page booklet, “Rebuilding Our Life After a Homicide.” Its cover depicts a bright stream of sunlight illuminating the golden leaves and thick branches of a mighty oak. “Your anger, pain, and grief will be extensive,” reads the introduction. “It will be a different life, but you can go on.” Did it help? No, not really, says Scholl. “I’ve tried to stay busy. You can’t just sit and drown in your pity. They say it’s supposed to get easier, but no, it doesn’t get easier. It doesn’t get easier at all. They say to try and remember the happy times, but, you know, that makes you cry too.” He’s gone back to Renton a few times. On one visit in November, he discovered that his tool shed had been broken into. Three chainsaws and a nail gun, stolen. Enraged, he put a note in the toolbox of the shed’s front porch: “It’s bad enough that my daughter was murdered and my house was burned. Now

you want to steal from me. I know you will rot in hell, and I hope someone shoots your lame ass.” Later, on another visit, he noticed that someone had cut down the little Douglas fir he’d transplanted from a backyard flowerpot into the ground in front of where his house once stood. It was just three feet tall. Then, on the day after Thanksgiving, his wife’s car, a 2000 Ford Escort, was hit by a tour bus and totaled. He tapped his daughter’s $20,000 life-insurance money to buy a new car, a 2013 Ford Focus. “I kept the Escort,” Scholl says, brightening. “Gonna make it into a Hornet race car.” aised by a stepdad who owned a small tugboat business on Lake Coeur d’Alene, Doug Scholl grew up poor on an Indian reservation near Worley, Idaho. His mother is part Sioux. Scholl remembers killing his first chicken, for food, at age 5. It was a big deal, Scholl says, getting shoes to play basketball. Somehow he managed to get through high school, finishing in Spokane. From his stepdad, Scholl learned how to work with his hands. He helped him build

COURTESY OF THE RENTON REPORTER

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COURTESY SCHOLL FAMILY

Jessica and her father.

Jarod Lane, accused of Jessica’s murder, was caught fleeing to Mexico.

docks, decks, and storage sheds on the lake. “It was a seasonal business, and there wasn’t much money. But you know, all that stuff builds courage.” The rough-and-tumble upbringing forged a deep craving to raise a family, to set up a nice, stable, normal home, with enough money for the occasional getaway—even an ocean cruise, which he was able to do. In the folds of his skinny black wallet, Scholl carries two pictures of Jessica. One was handed to him at her memorial service last June. The other is a color snapshot he and Stephanie took of a beaming Jessica on her 4th birthday, December 28, 1998, which they celebrated aboard a

“I’ve told prosecutors, ‘Just put me in there for five minutes with him and we won’t have this problem anymore.’ ”

too easy to shoot him. I’d rather just beat him with the end of it.’ “I’ve told prosecutors, ‘Just put me in there for five minutes with him and we won’t have this problem anymore.’ ” he problem, of course, is Jarod T. Lane. The teenager came into their life during Jessica’s sophomore year. Their first date was Lindbergh High’s homecoming dance in October 2011, the year Lane was finishing at Renton Technical School. “He seemed fine,” remembers Stephanie Scholl. “A little immature, but I attributed that to him being a boy. Only now when I look back, I can recall that he was very clingy and controlling. I remember once, Jessica agreed to babysit for my niece and nephew, and my sister told her that if she had anything else to do, it would be no problem. And Jarod goes, ‘I’ll make sure she’s there.’ And then there was a time I saw him hugging her, going, ‘Mine, mine, mine.’ I didn’t like that.” Still, no real warning bells sounded, although both Doug and Stephanie wish they’d known that Lane was the subject of a sexual-assault civil-protection order. The order stemmed from a 2009 incident when Lane, a sophomore at Renton’s Hazen High School, allegedly assaulted a 15-year-old classmate. Though never charged with a crime, a King County judge barred him from attending Hazen, acting on a complaint from the girl’s mother, who’d told the court—as The Seattle Times reported the day after the May 25 murder—that “her daughter had been severely traumatized after Lane pushed her against a wall at school and put his hand on her genitals.” After Lane transferred to Lindbergh in 2009—shortly after the order was handed down—the principal, Tres Genger, notified all teachers who would have Lane in their class to briefly explain what had happened at Hazen, says Renton School District spokesman Randy Matheson. “We had no problems with him” at Lindbergh, stresses Matheson. It is not known whether Jessica was ever made aware of the civil-protection order. Doug Scholl, meanwhile, took his daughter’s boyfriend under his wing. “I tried to help

» CONTINUED ON PAGE 16

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Princess cruise ship in the Caribbean. Doug and Stephanie were both 26 when Jessica was born, a Christmas present three days delayed, in 1994. She came into the world at Group Health Central Hospital on Capitol Hill at 5:47 a.m. She weighed 5 pounds, 12 ounces and measured 18 1/2 inches. Stephanie, a thin-boned thirdgeneration Japanese woman who grew up on a remote slice of Whidbey Island, spent 18 hours in labor. For Jessica’s middle name, they chose Kumiko, Japanese for “child of everlasting beauty.” Doug Scholl used to look forward to having his Jessica around when he got home in the late afternoon and she’d returned from her day at school. He still misses that hour or two together. “So now I come home in the afternoon to a quiet house and a dog.” Scholl concedes that his anger persists and that he can’t seem to get past it. He says that shortly after the murder, he went to Renton City Hall to apply for a concealed-weapons permit. “They were kind of curious why I was doing that, and I finally said forget it—‘It’s

COURTESY SCHOLL FAMILY

Jessica and her mother.

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Puget Sound Symphony Orchestra: Winter Concert (3/2) LUCO: Chamber Music Cabaret (3/3) Scratch Night: David Mitsuo Nixon: Kunjabunja Art Party (3/3) Gavin Newsom with Toby Crittenden: Take the Town Square Digital & Reinvent Government (3/4) w 3/5 Double feature! Two for $5 w UW Science Now: Sonia Singhal: Evolution Comes Alive (3/5) Po Bronson & Ashley Merryman: The Science of Competition (3/5) NW Children’s Fund Forum: Adverse Childhood Experiences and Building Resilience (3/6)

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A memorial in early June 2012, attended by about 1,000, at Lindbergh High School.

» FROM PAGE 15 the kid out,” he recalls. He’d pay him to wash his car. Took him into the woods to shoot. Showed him how to change the oil in his car. Even brought him on a family vacation to visit Scholl’s parents in Idaho, where the two cut firewood together. All the while, though, Scholl remained the ever-protective father, laying down some firm rules: Lane was to be out of their home by 8 p.m. on school nights and 11 p.m. on weekends, and had to call before he came over. He grilled Lane on his driving record. Scholl can’t forget the rage he felt when his good friend, Brian Hanson, noticed the hickey on Jessica’s neck. After ordering a second Bud Light at Puerto Vallarta, Scholl says, “About a month and a half ago, I had this vivid dream. My wife and Jess were sitting at my parents’ house in Idaho, and there [Lane] is, standing there. And I get up and go over and put my arms around his neck, and I’ve got him in a chokehold and I’m dragging him off. “And then Jess goes, ‘No, Dad, it’s OK.’ I can picture this as clear as day.” ust after 8 a.m. that May morning, Jarod Lane’s mother, Bobbi, called 911 after getting a call from her son. She told the dispatcher that Lane had told her, “I love you. I’ve done something wrong I’m not proud of. I have to run away.” Around that time—as Stephen Johnson, a friend of Lane’s in Yuma, Ariz., later told Renton Det. Keith Hansen—Lane had phoned Johnson and said, “I killed her.” Johnson said it was a short conversation, and that Lane didn’t seem upset. He told him he planned to go to Mexico. With $1,000 in cash that he’d saved from his job at Red Dot in Tuk-

wila—work Scholl’s buddy Hanson had gotten him—and $300 in vacation money reportedly stolen from the Scholls, he sped off in his 2001 Mazda Protegé. At 8:29 a.m., recovered receipts show that he filled his tank at a 76 station in North Bend. On Sunday, May 27, police in Enid, Okla., received a report of a possible sighting of Lane. The next morning, Memorial Day, a state trooper patrolling I-35 found Lane’s abandoned car with a handwritten sign noting that he had gone to get gas. The trooper ran his plates and seized the vehicle. It was clear the car was linked to a homicide suspect. The news was posted on the patrol’s Facebook page to alert the media and to warn drivers not to pick up Lane along the road. That morning, a KFOR-TV reporter in Oklahoma City called to report that he and his photographer and seen the 5'9", 152-pound suspect on their way out to cover the story. Lane was arrested shortly afterward. Earlier this month, in a police conference room on the second floor of Renton City Hall, Detectives Keith Hansen and Steve Morris recounted the red-eye flight they caught to Oklahoma City, arriving early Tuesday morning and heading straight to the county jail. “We wanted to talk to him before he got an attorney,” says Hansen. Clad in an orange prison jumper, Lane was brought to an interview room and read his rights. “He was willing to talk to us right away,” continues Hansen, a personable man with short-cropped, graying hair and glasses. Lane was perfectly calm and talked to the detectives “like he was talking about a baseball game.” He confessed to the crime straightaway. “There was no remorse,” Hansen says. “When he was going through all the gruesome stuff, it bothered me, but it didn’t seem to bother him at all.”

“This was one of the worst ones I have ever seen in my career,” says Morris. For a solid hour, the detectives questioned Lane. He killed Jessica because she refused to get back together. That was it. He offered no other motive. After getting a search warrant, the detectives went through Lane’s Mazda for several hours. They found Jessica’s blood on napkins shoved under the seat, alongside bloodsoaked clothing, maps, hotel receipts, and McDonald’s bags. Later that day, May 29, Lane, who waived extradition and later returned to Washington, was charged with first-degree murder. Bail was set at $2 million. He pleaded not guilty on June 13, 2012, and remains at the King County Jail. Says Doug Scholl: “I prayed for him to plead guilty.” A hearing to set a trial date is scheduled for March 11. Lane’s public defenders, Robert Jourdan and John Ostermann, have declined all comment on the case. t was Kara Crum, her favorite teacher at Lindbergh High, a woman she felt she could confide in, whom Jessica sought out two weeks before her death. She wanted to talk about problems with her boyfriend and her intention to split up with him. For 10 years, Crum has taught independent-living and child-development classes at Lindbergh. She knew both Jessica and Lane

For Jessica, that final week was a living hell. Lane kept calling and texting. Friends began to walk her home, and told her she shouldn’t be alone.

owerful memories come flooding back as, in her temporary home in Edgewood, Stephanie Scholl reflects on her daughter’s life. How to put in it words? How does a parent capture the essence of a child, a daughter, so dearly loved and convey it to stranger with a notepad? She loved fashion, Bugs Bunny cartoons, video games, wrestling with her dad, hanging out at home, going to the ocean, sunning by the pool, cooking rice with every meal she prepared, singing, hip-hop dancing, watching Family Guy and Swamp People, laughing. She was popular, a member of the honor society at Lindbergh High, kind and caring. As her mother puts it, “She was just beginning to bloom.” One of the hardest things, Stephanie continues, “was making a list, like the insurance company wanted us to do, of everything we’d lost. Imagine writing down everything in your house. Imagine sitting down after this and writing everything in your house.” Here, in the living room, the Scholls have gradually amassed a sort of shrine to Jessica. Pictures of her line the walls. There is artwork a fellow student made in her honor. The maple cabinet in the corner, four shelves tall, is filled with stuffed animals and touching farewell notes. Their daughter’s death, says Stephanie, has made her marriage stronger, brought her and Doug closer together, for now they have only each other. Both of them are keenly attuned to each other’s moods, especially the down times when the pain is most searing. For Doug, afternoons are worst; for Stephanie, the evenings are when she remembers being in the kitchen, cooking and talking with Jessica. It was a difficult decision, tearing down the house. “So many memories of her were there growing up, and then it being the place where she died. So I wondered, ‘Is her spirit there?’ ” Tina Harris, the domestic-victims advocate, notes that the Scholls did not ask for much from the house. There was so much else to do: the autopsy, the clean-up, the insurance issues, the cremation in June at Auburn’s Klontz Funeral Home. “They told me they just wanted her quilted baby blanket,” Harris says. Made by Doug’s sister, it has bears on the front and a pink backing, Jessica’s name embroidered in Japanese letters. “A detective found it, all soppy, wet, and smoky, and he brought it to me. I had it laundered, and I gave it to them.” Stephanie Scholl, the mother of Jessica Kumiko Scholl, her eyes swelling with tears, confides, “You know, late last summer I thought I was forgetting the sound of her voice. And then I heard her—I heard, ‘Mom, Mom, Mom.’ ” She looks over at Doug and adds, “I don’t think I’ll ever get her face or her voice out of my head, ever.” E

econklin@seattleweekly.com

MARCH H O T T IC K E T S Thursday, February 28, at 7:30pm Saturday, March 2, at 8pm

M OZART’S FLUTE C O NC ERTO NO. 1 M A I N LY M O Z A R T S E R I E S Sponsored by Douglas Boyd, conductor / Demarre McGill, flute Seattle Symphony Principal Flute Demarre McGill takes center stage to perform Mozart’s stunning Flute Concerto No. 1. Demarre McGill

Demarre McGill’s performance generously underwritten by Bob and Clodagh Ash.

Saturday, March 2, at 11am

PETER AND THE WOLF WITH MAGIC CIRCLE MIME THE GILMAN FAMILY DISCOVER MUSIC SERIES Stilian Kirov, conductor Magic Circle Mime Company Prokofiev’s exhilarating musical tale springs to life as Magic Circle Mime Company and their musical friends outwit a fearsome wolf! Concert is 50 minutes in length. Pre-concert activities begin at 10am in the Grand Lobby. Supporting sponsor:

Magic Circle Mime Company

Friday, March 8, at 8pm Saturday, March 9, at 8pm

VIVALDI’S FOUR SEASONS BAROQUE & WINE SERIES Emma McGrath, violin & leader Hear Vivaldi’s beloved Four Seasons led by the Seattle Symphony’s own Emma McGrath. Wolfgang Puck Catering wine tasting events in the Grand Lobby before each concert from 6:30 to 7:45pm. $10 for 4 pours. Emma McGrath’s performance generously underwritten by Sue and Robert Collett. Friday sponsored by

Emma McGrath

Most tickets start at $19 206.215.4747 | SEATTLESYMPHONY.ORG

Seattle weekly • FE BRUARY 27− MARCH 5, 2013

well. In fact, Lane had gone to her for advice on how to ask Jessica to the homecoming dance two years prior. “He had his ups and downs, and struggled with his emotions,” says Crum. She noticed his dramatic mood swings; the time he punched his locker so hard his hand turned black and blue; his need to be liked by everyone. “He could be a little bit aggressive, but again, there was really nothing on my radar to think that he would ever hurt anyone.” As for Jessica, “She was shy and quiet, but very infectious around her friends. She could light up a room. She didn’t lack for self-confidence.” When Jessica came and told her she wanted to break it off with Lane, Crum recalls giving her information about dating and relationships, including the number of a crisis line to call to cope with a breakup. “I was really there just to give her support and tell her that I knew it was going to be hard.” Ten days before the murder, on May 15, Jessica told Crum she was going to end it that night with a phone call. The next day she reported that it went badly—Lane had become so furious that she’d hung up on him. For Jessica, that final week was a living hell. Lane kept calling and texting. Friends began to walk her home, and told her she shouldn’t be alone. Stephanie Scholl says it

got to the point that her daughter was afraid he’d show up at her school and cause a scene, and that police would have to be called. Crum says school security was alerted on Wednesday, May 23—the last time Crum would ever speak to Jessica—and told that Jarod Lane was not to be allowed on campus. “I still [wonder], even now, what could I have done. What should I have known? How could I have ever known? God, I mean, never in my wildest dreams,” says Crum, “did I think I would lose a student this way.”

Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

the»weekly»wire fri/3/1 COMEDY

Too Smart for the Gloom

BRIAN KELLY

LILLIAN BIMBAUM

Hey, what’s Marc Maron up to these days? Always a popular draw when he visits for Bumbershoot or other comedy gigs, the acerbic veteran stand-up artist has lately been diversifying his media platform, if you will. First came blogging, then podcasts (WTF With Marc Maron), and the inevitable Twitbecome known as Raiders: The Adaptation, ter. Lately he’s sold a short-run sitcom to IFC which for copyright reasons—because, duh, (home of Portlandia), and he’s even embarked it’s a copy—enjoys somewhat extra-legal on a memoir, to be published this year. status and is rarely screened. Still, it bears Maron can be cranky, but he’s the stamp of approval from never a crank. With a failed the little-known director of marriage, a stalled career, and that obscure original picture, certain addictions behind him, Steven Spielberg. And in his recent success feels all the tonight’s double feature, to more earned and satisfying. be introduced by Zala and The guy grew up on Johnny Strompolos, you can also see Carson, only to see the standthe long-forgotten source up boom collapse just as he text, Raiders of the Lost was building his career. Then Ark . Before the age of Final came the alt-comedy crowd Cut Pro and laptop editing, and the Dane Cook-ization of these resourceful kids crehis craft, one reason Maron ated all their own costumes retired to his garage to interand effects, performed their view his peers about the state own stunts (including the of their profession. Yet just boulder scene), wrangled the when things seemed darkest, actors, and eventually grew the acclaim for WTF proved into young men. Whatever Maron has now written there was still a market for your feeling about Spielberg’s an IFC series called— smart comedy. Appropriately, what else?—Maron. three Raiders sequels, few Maron’s new tour is called Out films inspire so much ardor of the Garage, which has a ring today. SIFF Cinema Uptown, of vindication to it. The Neptune, 1303 N.E. 511 Queen Anne Ave. N., 324-9996, siff.net. $10–$15. 7 p.m. BRIAN MILLER PHOTOGRAPHY

sat/3/2 FILM

Keep the Boulder Rolling

Once upon a time (1981, to be precise), there was a quaint little period movie about an archaeologist. Two Mississippi children were dragged to see it, probably against their will, dreading anything so educational during their summer vacation. (“Moooom! Nooo!”) And yet they and their friends were strangely enthralled with this dry-sounding film, so much so that they picked up a bulky old video camera and attempted a shot-forshot remake on VHS. This turned out to be a seven-year process, begun when Eric Zala and Chris Strompolos were 12 and 11, respectively. What they finally finished would

Enduring Images

Opening today, curated by visiting scholar Deborah Willis from the Henry’s permanent collection, Out [o]Fashion Photography: Embracing Beauty is a big survey show covering over a century in the medium. “Beauty” is certainly a fraught, contentious term. It’s constructed and arranged long before the model sees the lens. It’s a received tradition, a product of culture and all its biases (toward symmetry, smoothness, white skin, blonde hair, whatever). The Vogue-ready images of Cecil Beaton veer toward the conventionally pretty, while Nan Goldin, Diane Arbus, and Cindy Sherman later bent that notion to their own purposes. Then there’s Warhol and his flash-lit Polaroid frames, his subjects sometimes startled at parties, often without time to fix their hair or makeup. Beauty is something you rehearse; it takes lots of time and training before that fraction of a second when the shutter opens. Later, printed on photographic paper, it becomes an object of study for future

generations of artists to reject, embrace, and recast. Other photographers in the exhibit include André Kertész, Lee Friedlander, and even our own Edward S. Curtis, all of whom NYU’s Willis will consider in her opening lecture tonight. (Through Sept. 1.) Henry Art

University St., 215-4747, seattlesymphony. org. $41–$144. 4 p.m. GAVIN BORCHERT

Gallery, UW campus, 543-2280, henryart.org. $6–$10. 7 p.m. BRIAN MILLER FILM

Knocked Up

The Seattle Jewish Film Festival is not, strictly speaking, just about film. Among its various venues (including SIFF Cinema Uptown) and events are a pre-opening gala dinner (Wed., Feb. 27 at the Palace Ballroom), a Sunday brunch screening with preshow klezmer music (tomorrow), a senior lunch and screening (Wed., March 6 at the Stroum Jewish Community Center), and a panel discussion on “What is Jewish Art?” (Sun., March 10, venue pending). Still, movies are the main draw, and 21 titles will be screened through March 10. Opening the festival tonight is the French dramedy The Day I Saw Your Heart, with Mélanie Laurent (Inglourious Basterds, Beginners) as a childless young woman who can’t seem to hold onto a guy. Then her father (Michel Blanc) knocks up his girlfriend, who’s younger than our heroine. So she should be pleased, angry, or what? Get there early for the happy hour, then stay late for sweets from Holly Levin (aka The Cake Lady). Pacific Place, 600 Pine St., 324-9996, seattlejewishfilmfestival.org. $9–$12 (passes $72 and up). 7:30 p.m. BRIAN MILLER

sun/3/3 CLASSICAL

Cresting on Her Laurels

On glamour alone (her patrician yet smoldering persona, the imperious, piercing intensity of her playing), violinist Anne-Sophie Mutter

mon/3/4 BOOKS

Who You Callin’ Epicurean?

Digital this, digital that, DRM, and Kindle— sometimes the business of managing all your content can be a chore. So many devices to sync, so many passwords, and then there’s the cloud. Things were a lot simpler in 1417, when Poggio Bracciolini, a roving scholar who’d recently lost his job with the pope, wandered into a German monastery. A secularist and ardent student of the Greeks and Romans, he was on the search for manuscripts that had survived two millennia of neglect in handcopied parchment editions. What he found was On the Nature of Things by Lucretius, which argued (indirectly) against religion and posited that we and everything else in the universe were made of atoms. (Lucretius was building on the work of Greek philosopher Epicurus.) This, understandably, was heresy to the Catholic church, so detective Poggio had to tread lightly as he began disseminating the explosive text, a signal discovery of the Renaissance. His story is laid out in fascinating detail by Harvard professor Stephen Greenblatt in the Pulitzerwinning The Swerve: How the World Became Modern (Norton, $16.95, new in paperback). In response to the radical materialism of On the Nature of Things, the church devised the slander “epicure”—meaning a mere pleasureseeker. But the forgotten philosophy was much grander, and Poggio’s sleuthing much more important, as Greenblatt will explain tonight. Presented by Seattle Arts & Lectures. Benaroya Hall, 200 University St., 621-2230, lectures.org. $15–$70. 7:30 p.m. BRIAN MILLER

Seattle weekly • FE BRUARY 27− MARCH 5, 2013

45th St., 877-784-4849, stgpresents.org. $27.50. 7 p.m. BRIAN MILLER

Mutter brings her glamour to the Benny.

could have made a smash of a career with a mere handful of popular warhorses. But that intensity stems from a probing curiosity that’s led her to explore the entire violin repertory, from Bach and Vivaldi forward to contemporary European music. From that modern trove, she’s championed, inspired, and commissioned works by composers like Penderecki, Gubaidulina, Dutilleux, André Previn (her husband for four years, which made her Woody Allen’s stepmother-in-law), and Witold Lutosławski, whose 1985 Partita she’ll play in today’s recital with pianist Lambert Orkis. It’s a somber but not dour work, full of darkly soulful lyricism, with astringent, sinewy fast passages functioning as—well, as sinews, binding the whole together. She’ll precede it with a Mozart sonata and a Schubert fantasy. And for dessert there’s Saint-Saëns’ Sonata in D Minor, its shamelessly empty but flashy finale a guaranteed standing O if ever there was one. Benaroya Hall, 200

arts»Stage

BliNd BOyS Of AlABAmA Saturday | march 9 $40, $45 & $50, $15 youth/student Sponsored by mike & leslie foley

lAdySmith BlAck mAmBAzO Sponsored by terry Vehrs/Windermere

Hollis Wong-Wear plays the younger Kyla.

NANci Griffith friday | April 5 $30, $35 & $40, $15 youth/student Sponsored by the cheesemonger’s table and keith & teresa Simanton

ec4arts.org | 425.275.9595 410FOURTHAVENUENORTHEDMONDSWA98020

2012–2013 SEASON presented by

2013

University of Washington LECTURE

SERIES

March 6 - 6:30pm

Ron Eglash, Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

of Rensselaer Polytechnic Institute, will be speaking on: Computing for Social Justice and Sustainability

Righting History’s Songs

Not quite a docudrama or a musical, this grunge show throws grievance into the mosh pit.

10% discount for Seniors 62+ & Military on events presented by ECA!

PUBLIC

CHARLES PETERSON

Wednesday | march 13 $35, $40 & $45, $15 youth/student

May 7 - 6:30pm

Dolores Hayden, of Yale University, will be speaking on:

Green Fields and Growth Machines: Building American Suburbs, 18202000

May 14 - 6:30pm Anne Whiston Spirn, of Massachusetts Institute of

Technology, will be speaking on: Restoring Mill Creek: Reflections on 26 Years of Action Research in an Inner-City Neighborhood.

May 15 - 6:30pm

Colin Phillips, of University of Maryland, will be speaking on: Linguistic Illusions: Where You See Them, Where You Don’t 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 IN KANE HALL RM 120 ON THE UW SEATTLE CAMPUS

evisiting Seattle’s grunge era through the eyes of four fictional characters, These Streets aspires to be to the ’90s what The Big Chill was to the ’60s—a vehicle that evokes the giddy rush of bygone times, revisits its pivotal players 20 years later, and finally puts the entire zeitgeist into proper historical perspective. These Streets boasts a solid local pedigree, with its script—based on interviews with women of the grunge years—credited to Sarah Rudinoff, Elizabeth Kenny, and musician Gretta Harley (who leads the stage band; Rudinoff and Kenny act in the show). These Streets arrives with a mission: to explore how and why women were integral to the grunge scene, even while Nirvana, Soundgarden, and Pearl Jam relegated them to commercial obscurity. (Courtney Love gets no love from the playwrights.) Frustratingly, what emerges instead is a blustery hodgepodge of name checks (the Off Ramp, the OK Hotel, etc. ), amalgamated characters whose angst is never fully explained, and live snippets of both new and familiar tunes from the flannel decade. DJ Bryan (John Q. Smith) explains at the outset that he’s working on an oral-history project about the women who helped forge the Seattle sound. In the present and in flashbacks, Bryan—his younger self played by Evan Crockett—acts as both emcee and referee, but his presence is largely structural. He’s just there to move things forward—even stapling the dates to a poster-laden pole—and help the audience distinguish past characters from present, occasionally adding his own comments as cultural historian. Each lead—Dez, Ingrid, Christine, and Kyla—is portrayed by two actresses, and all of them invest their roles with varying degrees of passion and believability. There are the inevitable boy troubles (Peter Richards plays grunge-rocker Jarrad, who alone represents all the dudes of the day), and a poker-game reunion that nearly capsizes when a whowrote-what argument tests the bonds of time and circumstance among these four women.

BY KEVIN PHINNEY Very much a hybrid show, These Streets trips on its own hurdles. For the sake of local street cred, do its creators want a documentary with inside references to bands, performers, and clubs that no one outside Seattle has heard of? (And, let’s face it, many of the city’s newcomers will be equally clueless.) Or do they want an actual character-driven drama that recreates a flashpoint in time, then reveals how that moment permanently marked everyone who was there? Also at issue is whether this is a concert interrupted by dialogue or a play with music, because both vie for time and audience attention. Clearly music is the star of These Streets, and whenever the house band is in the spotlight, the show roars to life. (Harley leads an ensemble including Ron Nine of Love Battery, Fiia McGann of Goodness, and Mitch Ebert of Landlord’s Daughter.) Sadly, that band is often used only to play musical snippets that bookend scenes or to substitute a song for character development. There’s a mosh-pit chaos to the proceedings, and director Amy Poisson seems divided about how to focus the maelstrom of energy thrown her way. She simply lets the narrative slug it out with the music, and the result is a caterwauling mélange that does neither idiom justice. And, as with many who believe they’ve been slighted by history, there’s an unmistakable self-congratulatory tone here. It suggests that while other (male) bands made a bigger splash, the forgotten women here are the real deal. None of these flaws is fatal, but leaving them unresolved means that These Streets won’t get much traction south of Portland or north of Everett. Has the broader world really been waiting to see a stage show about the danger and daring of grunge, what drove its players, and how it changed the course of popular music? If so, that wait continues. E stage@seattleweekly.com THESE STREETS ACT Theatre, 700 Union St., 296-7676, acttheatre.org. $5–$30. 8 p.m. Thurs.–Sun. Ends March 10.

arts»Performance B Y G AV I N B O R C H E R T

Stage OPENINGS & EVENTS

THE ADVENTURES OF GILBERT & SULLIVAN Improv

operetta: The librettist and composer themselves become characters in a Victorian fantasy (or wherever the audience decides to send them). Wing-It Productions, 5510 University Way N.E., 781-3879, jetcityimprov.com. $12–$15. Opens Feb. 28. 8 p.m. Thurs.–Fri. Ends April 19. AND THE SUN STOOD STILL Infinity Box’s discussion series, Galileo Dialogues, presents a reading of Dava Sobel’s play. Seattle University Student Center, 1100 James St., infinitybox.org. Free. 7:30 p.m. Tues., March 5. ANNIE The King’s Players take on the popular uplift-fest. Shorecrest Performing Arts Center, 15343 25th Ave. N.E., kingsplayerstheater.org. $17–$22. Opens March 2. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends March 10. BOYS! BOIS! BOYZ! Jett Adore, Waxie Moon, Sir Eddie Van Glam, and others star in this boylesque revue., Oddfellows Hall, 915 E. Pike St., 800-838-3006, brownpaper tickets.com. $20–$50. 7:30 & 10 p.m. Fri., March 1. THE EDGE Bainbridge Island’s own improv troupe. Bainbridge Performing Arts, 200 Madison Ave. N., Bainbridge Island, 842-8569, bainbridgeperformingarts. org. $12–$16. 7:30 p.m. Sat., March 2. AN EVENING WITH ACT’S YOUNG PLAYWRIGHTS

Script readings from ACT’s workshop, to preview the March 7–9 festival. Elliott Bay Book Co., 1521 10th Ave., elliottbaybook.com. $5. 6 p.m. Sun., March 3. FIVE WOMEN WEARING THE SAME DRESS Rogue Theatrics stages Alan (Six Feet Under) Ball’s comedy set at a Tennessee wedding reception. Theatre Puget Sound, Armory, Seattle Center, roguetheatrics.com. $15–$20. Opens Feb. 28. 7 p.m. Thurs.–Sat., 2 p.m. Sun. Ends March 17. HARRIET’S RETURN Karen Jones Meadows’ solo show about the Underground Railroad’s Harriet Tubman. Langston Hughes Performing Arts Center, 104 17th Ave. S., 800-838-3006, brownpapertickets.com. $10–$25. Noon & 7:30 p.m. Fri., March 1, 7:30 p.m. Sat., March 2. MARCH IS CABARET MONTH The cream of local cabaret performers. Egan’s Ballard Jam House, 1707 N.W. Market St., 789-1621, ballardjamhouse.com. $15 + 2 drink min. 7 & 9 p.m. Sat., March 2, 9, 23, 30. MARC MARON SEE THE WIRE, PAGE 19. SARCASTIC VOYAGE Ron “AAlgar” Watt and Matt Rowbotham’s comedy podcast, live. ACT Theatre, 700 Union St., 292-7676, acttheatre.org. Free. 4 p.m. Sat., March 2. SPIN THE BOTTLE Annex Theatre’s late-night variety show, every first Friday. Annex Theatre, 1100 E. Pike St., 7280933, annextheatre.org. $5–$10. 11 p.m. Fri., March 1.

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CURRENT RUNS

ALMOST, MAINE A romantic comedy set in the titular

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

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Tempest acrobats, juggling, and costumes, and the 2,600-seat Grand Chapiteau adds to the spectacle. GWENDOLYN ELLIOTT Marymoor Park, 6046 W. Lake Sammamish Pkwy. N.E., Redmond, 800-450-1480. $43.50 and up. See cirque dusoleil.com for exact schedule. Ends March 24. CROSSING DELANCEY Seattle Jewish Theater Company presents staged readings of Susan Sandler’s play of Manhattan romance. Eight performances through March 30; see seattlejewishtheater.com for full info. 5 X TENN A quintet of one-acts by Tennessee Williams. Stone Soup Downstage, 4029 Stone Way, 633-1883, stone souptheatre.org. $14–$25. 8 p.m. Thurs.–Sat., plus 4 p.m. Sun., March 3. Ends March 9. I WON’T BE IGNORED Blood Squad, Seattle’s horrorimprov troupe, takes on the crazy-stalker film genre. Balagan Theatre, 1117 E. Pike St., 800-838-3006, balagan theatre.org. $10. 11 p.m. Fri. Ends March 8. JEEVES IN BLOOM Margaret Raether’s adaptation of several P.G. Wodehouse stories may appeal most to those who haven’t read the books or seen the definitive early-’90s BBC series starring Hugh Laurie and Stephen Fry. 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 Gussie is in love. It’s standard Wodehouse fare, but somehow lacking seasoning and definition. MARGARET FRIEDMAN Taproot Theatre, 204 N. 85th St., 781-9707, taproottheatre.org. $20–$40. 7:30 p.m. Wed.–Thurs., 8 p.m. Fri., 2 & 8 p.m. Sat. Ends March 2. JESUS CHRIST SUPERSTAR An all-female production seems a little out-there for Burien, but good for them. Burien Little Theater, S.W. 146th St. and Fourth Ave. S.W., Des Moines, 242-5180, burienlittletheatre.org. $7–$20. 8 p.m. Fri.–Sat., 2 p.m. Sun. Ends March 24. • THE MUSIC MAN Director Bill Berry left not a stitch out of place: The orchestra (under Joel Fram’s direction) is as crisp as a Disneyland parade; Bob Richard’s choreography innovates while nodding to tradition; and Gregory Poplyk’s costumes surprise and delight. None of that would matter without a cast that can sell this canned corn, the tale of traveling salesman Harold Hill (a nimble and winning Noah Racey), who overstays his welcome after winning the heart of the town librarian (nightingale Laura Griffith). Not only are the leads spot-on, but the chorus and all the supporting roles pile on the pleasures. KEVIN PHINNEY 5th Avenue Theatre, 1308 Fifth Ave., 6251900. $31 and up. Runs Tues.–Sun.; see 5thavenue.org for exact schedule. Ends March 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. 8 p.m. Thurs.– Sat., 2 p.m. Sun., plus matinees; see balagantheatre.org for exact schedule. Ends March 2. NICKEL AND DIMED Joan Holden’s stage adaptation of Barbara Ehrenreich’s Plimptonesque look at the lives of minimum-wage workers. Raisbeck Performance Hall, 2015 Boren Ave., 726-2787, cornish.edu. $5–$15. 8 p.m. Wed., Feb. 27–Sat., March 2, 2 p.m. Sun., March 3. NORTH STAR VAUD K. Brian Neel’s neo-vaudeville show. Stage One Theater, 9600 College Way N., 527-3600, north seattle.edu. Pay what you can. 7:30 p.m. Fri.–Sat., 2 p.m. Sun.; also noon Wed., March 6. Ends March 10. • PENTECOST In an unnamed Balkan country, local curator Gabriella (the astonishingly good Amanda Hilson) shows English academic Oliver (Jonathan Shue) the Giotto-like fresco she found in a church. Who invented perspective (and was thus the parent of modern humanism)? Was it Italy, as traditionally thought, or an unknown artist on the supposedly barbaric “ramparts of Europe”? David Edgar’s 1994 play is gigantic in ambition, cast, and duration (over three hours, plus intermission), packed with fascinating questions about ethnic, cultural, and political identity. Director Andrew McGinn teases out a relentless churn of character-evoking moments while the complications proliferate. American art historian Leo (Darius Mousavi) and priests represent the Western view, while government ministers and colorful locals calculate how to appropriate the fresco’s meaning to their advantage. Like the politics it espouses, the play is epic in its narrative inclusion (everyone has a story to tell). Yet on Jennifer Sipila’s gritty set, the energetic performances and suspenseful writing make Pentecost electrifying. Hydrate, stretch, and don’t miss it. MARGARET FRIEDMAN Jones Playhouse Theatre, 4045 University Way N.E., 543-4880, drama.washington.edu. $12–$20. 7:30 p.m. Wed.–Sat., 2 p.m. Sun. Ends March 3. • PHOTOGRAPH 51 In chauvinistic early-’50s London, scientist Rosalind Franklin works in the shadows of James Watson and Francis Crick, who claimed all the credit for describing our DNA. Her X-ray images helped reveal DNA’s double-helix structure; that much of Anna

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Ziegler’s 2008 drama is based on the historical record. The rest is invention, as Franklin (Kirsten Potter) rebuffs the romantic attentions of her intellectually inferior boss (Bradford Farwell). Problem is, the two are in a race with the Watson/Crick team, and Franklin’s refusal to cut deals in the lab will put them behind. MARGARET FRIEDMAN Seattle Repertory Theatre, Seattle Center, 443-2222. $12– $70. Runs Tues.–Sun. plus some matinees; see seattlerep. org for exact schedule. Ends March 10. TEATRO ZINZANNI: DINNER AT WOTAN’S The Norse mythos may seem an odd fit for Teatro ZinZanni’s voluptuous red-velvet atmosphere (one thing Viking culture was not was sybaritic), but here’s how they make it work as the theme of their new dinner circus/cabaret: It’s Ragnarok eve, aka the final battle of good vs. evil, and Wotan and the rest of the Wagnerian pantheon are ready to par-tay! Geoff Hoyle plays Wotan himself—and his mother (something like Dame Edna seen through a Craig Ferguson lens), and, in what weirdly turned out to be the show’s funniest bit, borscht-belt comic “Red Bottoms.” Soprano Kristin Clayton plays Brünnhilde, PNB alumna Ariana Lallone adds statuesque beauty with her dance routines, and the “Vertical Tango” team of Sam Payne and Sandra Feusi return from TZ’s previous show to earn the evening’s wildest applause. Wall-to-wall music— ”Norwegian Wood,” Grieg, The Police, Carmina burana, and Queen—seasons the five-course dinner spread out leisurely among the impressive acrobatic acts and nudgenudge shtick. Teatro ZinZanni, 222 Mercer St., 802-0015. $106 and up. Runs Thurs.–Sun. plus some Wed.; see dreams.zinzanni.org for exact schedule. Ends May 12. THESE STREETS SEE REVIEW, PAGE 20.

Dance

The Fabulous Thunderbirds

MARCH 7

TICKETS FROM: $40

BLUES AT THE CROSSROADS TWO: MUDDY AND THE WOLF

S. MARK TAPER FOUNDATION AUDITORIUM

ALL 4 1 DANCEPALOOZA DASSdance presents works

by choreographers including Daniel Wilkins, Adriana Lallone, and Jill Marissa. Washington Hall, 153 14th Ave., 800-838-3006, dassdance.org. $10–$15. 7 p.m. Sat., March 2, 5 p.m. Sun., March 3.

Classical, Etc.

• UW SYMPHONY The Seattle Symphony’s Ludovic

Morlot guest-conducts Messiaen, Ravel, and more. Meany Hall, UW campus, 543-4880, music.washington. edu. $10–$15. 7:30 p.m. Thurs., Feb. 28. SEATTLE SYMPHONY All-Mozart: his Symphony no. 1, Flute Concerto in G, and more. Benaroya Hall, 200 University St., 215-4747, seattlesymphony.org. $19–$76. 7:30 p.m. Thurs., Feb. 28, 8 p.m. Sat., March 2. SPU CHOIRS The Men’s and Women’s Choirs perform. First Free Methodist Church, 3200 Third Ave. W., spu.edu. Free. 7:30 p.m. Fri., March 1.

• MICHAEL NICOLELLA & JOHNAYE KENDRICK

From this guitarist and singer, music by Berio, Carter, Dowland, Billie Holiday, and many others. Cornish College/PONCHO Concert Hall, 710 E. Roy St., cornish.edu. $10–$20. 8 p.m. Fri., March 1. SEATTLE COMPOSERS SALON Seattle’s new-music open-mike night features works by Marcus Oldham, Matthew James Briggs, Tom Baker, and Doug Palmer. Chapel Performance Space, 4649 Sunnyside Ave. N., composersalon.com. $5–$15. 8 p.m. Fri., March 1. METROPOLITAN OPERA AT THE MOVIES Wagner’s mystical ritual/opera, Parsifal. (Encored March 20.) See metopera.org for theaters. $24. 10 a.m. Sat., March 2. JAMIE LAVAL Music and stories from this Celtic fiddler and friends. Phinney Neighborhood Gallery, 6532 Phinney Ave. N., jamielaval.com. $8–$16. 7:30 p.m. Sat., March 2. PUGET SOUND SYMPHONY Beethoven’s Seventh and rarities by Barber and Bax. Town Hall, 1119 Eighth Ave., psso.org. $5–$11. 7:30 p.m. Sat., March 2. SEATTLE REPERTORY JAZZ ORCHESTRA Jazz composer/trumpeter Thad Jones is honored. At Benaroya Recital Hall, Third Ave. and Union St., 7:30 p.m. Sat., March 2, and Kirkland Performance Center, 350 Kirkland Ave., 3 p.m. Sun., March 3. $15 and up. 523-6159, srjo.org. LA BOHEME SEE REVIEW, PAGE 22. MEDIEVAL WOMEN’S CHOIR Music evoking pilgrimage sites on “From Santiago to Canterbury.” St. James Cathedral, 804 Ninth Ave., 264-4822, medievalwomens choir.org. $22–$25. 8 p.m. Sat., March 2. MARIANNA Light-opera excerpts from this vocal trio. Seattle Central Library, 1000 Fourth Ave., spl.org. Free. 2 p.m. Sun., March 3. MUSIC OF DEBUSSY At 2:30 p.m., a lecture-recital, by Paul Roberts, on Debussy’s Preludes; at 4:30, a concert (his string quartet and more). Brechemin Auditorium, School of Music, UW campus, 685-8384, music. washington.edu. $10. 2:30 p.m. Sun., March 3. ANNE-SOPHIE MUTTER SEE THE WIRE, PAGE 19. KHATIA BUNIATISHVILI From this pianist, Ravel and Stravinsky finger-busters. Meany Hall, UW campus, 5434880, uwworldseries.org. $35–$39. 7:30 p.m. Wed., March 6.

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Nancy & Ann Wilson

APRIL 9

TICKETS START AT: $56

ANN & NANCY WILSON OF HEART

S. MARK TAPER FOUNDATION AUDITORIUM

Acoustic Concert & Conversation with Biographer Charles R. Cross. Media sponsor: KMTT

Mary Chapin Carpenter & Shawn Colvin

APRIL 19 TICKETS FROM: $38 AN ACOUSTIC EvENING WITH

MARY CHAPIN CARPENTER & SHAWN COLvIN

ON STAGE TOGETHER

S. MARK TAPER FOUNDATION AUDITORIUM

FOR TICKETS:

206.215.4747

BENAROYAHALL.ORG

Seattle weekly • FE BRUARY 27− MARCH 5, 2013

fictional town. Presented by the SPU Theater Department. E.E. Bach Theatre, McKinley Hall, 3307 Third Ave. W., 2812959, spu.edu. $6. 7:30 p.m. Wed., Feb. 26–Sat., March 2. ALTAR BOYZ “Christian boy band”—this popular musical’s about as high-concept as it gets. Seattle Musical Theatre, 7400 Sand Point Way N.E. # 101N, 363-2809, seattle musicaltheatre.org. $35–$40. 7:30 p.m. Fri.–Sat., 2 p.m. Sun., plus 7:30 p.m. Thurs., March 7. Ends March 10. ANNA KARENINA Kevin McKeon’s reduced Anna isn’t bad once you’re past the annoying opening, when Anna (Emily Grogan) jarringly appropriates Tolstoy’s famous maxim about happy families. Cast-wise, the Anna/Vronsky/ Karenin love triangle works reasonably well. Pretty Grogan is a little undersexed for Anna, relying more on her Gibson-girl tragic eyes to do the seducing. Andrew DeRycke may be the priggiest Karenin ever. By contrast, Scott Ward Abernethy’s Vronsky is gratifyingly underplayed, leaving him almost as much a cipher for us as for Anna. Director Mary Machala makes efficient, multizone use of Dan Schuy’s cavernous, minimalist set, suggestively floored like a chessboard. Marnie Cummings’ lighting further divides space and reflects character—particularly in Anna’s final “mad scene.” Bleached in a harsh glare, she writhes with guilt, social rejection, drugs, and thwarted desire. MARGARET FRIEDMAN Center House Theatre, Seattle Center, 216-0833, book-it.org. $25 and up. 7:30 p.m. Wed.–Sat., 2 p.m. Sat.–Sun. Ends March 3. BURIED CHILD Sam Shepard’s dark comedy about family secrets. Seattle University, Lee Center for the Arts, 901 12th Ave., 296-5360, seattleu.edu. $6–$10. 7:30 p.m. Wed.– Sat., 2 p.m. Sun. Ends March 3.

DE SOLEIL: AMALUNA Inspired by The • CIRQUE but not heavy on plot. Kids will appreciate the

arts»Opera

Haste and Havoc

Please don’t abbreviate the Puccini. BY GAVIN BORCHERT

Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

Amsellem as the fickle Musetta.

Caballero proved more convincing in acts 3 and 4 as a Mimì who’s lived through heartbreak than as the innocent gamine of the opera’s first half. Michael Todd Simpson and Norah Amsellem, as off-again, on-again lovers Marcello and Musetta, provide a few good comic-relief moments, but treat their characters rather broadly and reductively; he’s pouty, she’s vain. (Also, the vertiginous wobble in Amsellem’s high notes probably shouldn’t go unmentioned.) The production’s one undeniably effective element is Erhard Rom’s set: vintage sepia-toned photographs of Paris blown up as backgrounds and projected on the scrim as act drops. Pretty and bittersweetly nostalgic, they contribute what they can to the romantic atmosphere, but a Bohème that looks better than it sounds has to be counted a misfire. E gborchert@seattleweekly.com LA BOHÈME McCaw Hall, 321 Mercer St. (Seattle Center), 389-7676, seattleopera.org. $25 and up. Ends March 10.

TICKETS ON SALE

NOW!

Art Openings & Events chance • BAM’S FREE FIRST FRIDAYS Here’s yourLove

to check out the museum’s current shows, Me Tender (in which artists mess with money) and Maneki Neko: Japan’s Beckoning Cats–From Talisman to Pop Icon (very kawaii ceramics). Bellevue Arts Museum, 510 Bellevue Way N.E., Bellevue, 425-519-0770, bellevuearts.org. Free. 11 a.m.–8 p.m. Fri., March 1. BONNETS, BASKETS, AND BEADS An ensemble of local artisans shows textile and beaded work. Opening reception: 6–8 p.m. Fri., March 1. The Island Gallery, 400 Winslow Way E., Bainbridge Island, 7809500, theislandgallery.net. Opens March 1. Mon.–Sat., 11 a.m.–6 p.m.; Sun., 1–5 p.m. Through March 31. MONIKA DALKIN She shows sculpture and prints. Auburn City Hall Gallery, 25 W. Main St., 253-931-3000, auburnwa.gov. Opens Feb. 28. Mon.–Fri., 8 a.m.–5 p.m. Through March 26. RAENELL DOYLE She shows still lifes and landscapes. First Friday reception, 6–8 p.m. Roby King Galleries, 176 Winslow Way E., Bainbridge Island, robykinggalleries.com. Opens March 1. Tues.–Sat., 10 a.m.–5:30 p.m. Through March 30. FACING FORWARD This group show features carvings and painted masks by Neeka Cook, Art Thompson, and Kathleen Carlo. First Thursday opening celebration, 6–8 p.m. Stonington Gallery, 123 S. Jackson St., 405-4040, stoningtongallery.com. Opens March 3. Sun., noon–5 p.m.; Mon.–Fri., 10 a.m.–6 p.m.; Sat., 10 a.m.–5:30 p.m. Through March 30. BECKY FLETCHER Her oil paintings are inspired by hikes in the North Cascades. Artist reception: 5–8 p.m. Sat., March 2. Smith & Vallee, 5719 Gilkey Ave., Bow, 360-766-6230, smithandvallee.com. Opens March 2. Wed.–Sun., 11 a.m.–5 p.m. Through March 31.

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

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• FREMONT ART WALK Venues include Activspace,

Fremont Brewing Co., 509 Winery and Tasting Room, Caffe Vita, and Fremont Abbey. See fremontfirstfriday. com. 6–9 p.m. Fri., March 1. HUMAN + NATURE Curated by Anna Braden, this group show includes nine artists considering man’s interaction with the environment. Opening reception: 6–8 p.m. Fri., March 1. Kirkland Arts Center, 620 Market St., Kirkland, 425-822-7161, kirklandartscenter. org. Opens March 1. Tues.–Fri., 11 a.m.–6 p.m.; Sat., 11 a.m.–5 p.m. Through April 3. INSCAPE SPRING ARTS FESTIVAL Demos, performances, and exhibitions in disciplines from theater and dance to sculpture and photography are part of this event at the massive old INS Building, now converted to artist studios. Inscape, 815 Seattle Blvd. S., 257-3022, inscapearts.org. Sun., March 3, noon–6 p.m. MINIATURE AND SMALL PAINTINGS SHOW Dot Stanton juries this show of over 300 wee works in multiple media. Awards reception: 1–3 p.m. Sun., March 3. Gallery North, 508 Main St., Edmonds, 425-774-0946, gallery-north.com. Opens March 1. Mon.–Fri., 11 a.m.– 6 p.m.; Sun., noon–6 p.m. Through March 31. MINTCONDITION ISSUE #2 In collaboration with Emerald City Comic Con, this comic book-inspired show features over 50 artists, including Mike Capp, Daisy Church, Michelle Coffee, Scott Derby, Camilla d’Errico, Carl Faulkner, and Alex Gabbott. Opening reception: 7–10 p.m. Fri., March 1. Ltd. Art Gallery, 307 E. Pike St., 457-2970, ltdartgallery.com. Opens March 1. Tues.–Sun., 11 a.m.–7 p.m. Through March 31. PLAYFUL BEAUTY Working in oils, acrylics, sculpture, and photography, Beth Betker, Ed McCarthy, Maria Porter, and Ellen Witebsky exhibit their work. Artist reception: 5:30–7 p.m. Tues., March 5. Shoreline City Hall, 17500 Midvale Ave. N., 417-4645. Opens March 5. Mon.–Fri., 9 a.m.–5 p.m. Through April 26. WAR IS TRAUMA Exhibited in the M. Rosetta Hunter Art Gallery, these prints were created by the Justseeds Artists Cooperative in conjunction with the Iraq Veterans Against the War (IVAW). Note opening reception, featuring speakers from veteran-run resource center GI Voice/Coffee Strong, 5–7 p.m. Wed., Feb. 27. Seattle Central Community College, Broadway and Pine St., 344-4379, seattlecentral.org. Tues.–Wed., 5–7 p.m.; Mon.–Fri., 9:30 a.m.–3:30 p.m. Through March 22. DEBORAH WILLIS SEE THE WIRE, PAGE 19.

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TheFussyeye » by brian miller

No Shelter

Though he helped save the Market and Pioneer Square, and his son may yet be our next mayor, I am not a fan of his namesake park, located at the foot of Virginia Street and deafened by the viaduct below. Sure, Victor Steinbrueck Park offers a great view of Elliott Bay and the Olympics, but it’s not a place to linger—unless, like so many of its patrons, you’re passed out drunk on the lawn or there to score drugs. Steinbrueck should be honored, but with something better and quieter when the viaduct goes down in 2016. (The plaza, established in 1970, was redesigned in ’82 and posthumously named for Steinbrueck in ’85.) Meanwhile, Clark Wiegman’s new Tree of Life is also something that needs to be rethought in a post-viaduct future. The twinstalked bronze piece is intended to inspire “community gathering, hope, and healing; to recognize that we are one people, homeless and housed together, and we can end homelessness.” That’s a big ask for any piece of art. The agenda here is overwhelming. Will the homeless and other poor, damaged souls who come to the park be transformed by Tree of Life? When I visited the sculpture, installed last October, only tourists were bothering to snap photos. The homeless have other priorities—namely food and shelter.

BRIAN MILLER

rom the first garbled bar, conductor Carlo Montanaro made Seattle Opera’s opening-night performance of La bohème the speediest I’ve ever heard, live or recorded. The first place his haste wrought some real havoc was, unfortunately, the end of Act 1: Rodolfo and Mimì’s meet-cute, everyone’s favorite scene. It’s simple in outline—he sings, she sings, they sing, curtain—but no opera composer ever more expertly timed and musically stage-managed a scene than Puccini did this one. It was apparent something was wrong as tenor Francesco Demuro ended his solo, “Che gelida manina,” and I thought, “That’s it?” It felt rushed—not passionate and youthfully eager, which would’ve been a legit approach to the aria, but perfunctory. Here’s a poet telling his life story to a woman he wants to impress; he has to take her (and us) somewhere. The mood needs to expand, the music to breathe. Ditto for soprano Elizabeth Caballero’s response, “Si, mi chiamano Mimì,” corseted by the crudeness of Montanaro’s phrasing, forgoing expressive tempo subtleties in favor of simply slamming on the brakes for every money note. Then came their duet, the hero and heroine, now in love, strolling off the stage together: over before you know it, no magic. Later, in Act 2, the poor children’s choristers who had to try to sing the name “Parpignol” intelligibly at Montanaro’s tempo were just out of luck. Also to blame on the conductor were the pit/stage balance issues. Demuro, for example, has a ringing, gracefully carrying voice, but not a big one; more care needs to be taken not to drown him out. Even with a stageful of singers at full throttle, the orchestra dominated.

B Y G W E N D O LY N E L L I O T T

And yet the project’s $54,000 budget, funded by the Homeless Remembrance Project, wouldn’t provide much of that for very long. Instead it’s an exercise in awareness, with the names of those who’ve died on the streets commemorated by “fallen” metal leaves embedded in the pavement. Then go to a website, fallenleaves.org, to read their stories. Again, how many tourists or lunchtime park visitors will bother? Fewer, I suspect, than those who drop change in a panhandler’s cup. 2001 Western Ave., seattle.gov/parks, homelessremembrance.org.

film»This Week’s Attractions P Beware of Mr. Baker

between conservatives and the Red Guard. The tide of history is about to turn, but young Wang here remains in its gentle ebb, his unwitting position framed by a prologue and postscript from the grown director’s perspective. 11 Flowers thus feels like a chapter of a larger project that Wang needs to film— perhaps a TV miniseries charting his hero’s future political education. BRIAN MILLER

RUNS FRI., MARCH 1–THURS., MARCH 7 AT GRAND ILLUSION. NOT RATED. 92 MINUTES.

Hors Satan RUNS FRI., MARCH 1–THURS., MARCH 7 AT NORTHWEST FILM FORUM. NOT RATED. 110 MINUTES.

JOE SCARPULLA AND DAVID BELL

When I asked bassist Jack Bruce last year if he was jealous that Eric Clapton gets the credit for the hits he wrote for Cream (including “White Room” and “I Feel Free”), he said no: “He might get the credit, but I get the cash.” Ginger Baker, the drummer who put Cream together, got neither—even though, if you believe his testimony here, he pulled the levers that made the band great. “Cream was my thing,” he tells director Jay Bulger. “It did exactly what I told it to do. Only I lost out on it. I’m fucking broke right now.” Respectful and appreciative, Beware of Mr. Baker is, mercifully, never fawning—which cannot be said of the drummers who line up to pay their respects. Rush’s Neil Peart is here; so is the Stones’ Charlie Watts; and Chad Smith (Red Hot Chili Peppers) and Lars Ulrich (Metallica) drop in for chats to accomplish the film’s first order of business: to establish Baker as a maniac who helped create the template for the rock-and-roll drummer. The second is to reveal Baker as an unreasonable human being with a long history of drug, social, familial, and financial problems. No less a source than the Sex Pistols’ John Lydon says, “I know what my life’s experiences are, and I like to exemplify them in music. Mr. Baker does the same. If that makes him an unpleasant person socially— well, that’s required for the music from him to be so superb.” Baker was living as a semi-recluse in South Africa when Bulger interviewed him. Beware of Mr. Baker also successfully conveys Baker’s abilities as an arranger and bandleader—which Clapton and Carlos Santana were happy to build upon. The doc also depicts Cream as a pop-up band that, as Ulrich points out, was together for less time (1966–68) than Metallica spent promoting its last album. “We had no responsibility,”

says Clapton, “other than to that moment in time.” Consequently, the band spent little time analyzing itself—it helped that there was little or no precedent for Cream’s music—but simply blazingly engaged itself with the psychedelic era. Is that music now dated? Sure. But Beware of Mr. Baker makes this look like a success. As Clapton observed, the band had no interest in doing anything other than what it wanted to do right then and there. And the result is a small, brilliant catalogue that could not have been made at any other time. With music today so nostalgic and derivative, Beware of Mr. Baker is a reminder of what rock and roll was like when it had fewer ideas about what it should be. CHRIS KORNELIS

11 Flowers RUNS FRI., MARCH 1–SUN., MARCH 3 AT SIFF FILM CENTER. NOT RATED. 110 MINUTES.

The Chinese likely will never stop making movies about the Cultural Revolution; it’s a

One of Mr. Baker’s animated sequences.

subject as wrenching and traumatic as our own Civil War. Wang Xiaoshuai’s autobiographically inspired tale is set in a small factory town in Guizhou, far from Beijing, where his educated—and therefore suspect—family once lived. It’s 1975, meaning this great social experiment is about to end, but 11-year-old Wang Han has no way of understanding that, or his parents’ frustration. He only wants a new white shirt to lead his school’s calisthenics class. Then, down by the river, young Wang encounters a fugitive who killed a corrupt official. Don’t turn me in, says the killer, and Wang agrees. Setting his story so specifically in a place and time, director Wang (Beijing Bicycle) creates a mood that’s Proustmeets-Stand by Me, as his hero and three buddies discuss what to do about the killer in the woods. Meanwhile, their parents whisper about riots and violence in other cities, battles

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JOEL HODGSON: RIFFING MYSELF

The creator of Mystery Science Theatre 3000 in person!

Seattle weekly • FE BRUARY 27− MARCH 5, 2013

A NEW DOCUMENTARY ABOUT LEGENDARY DRUMMER GINGER BAKER

During Hollywood’s first-quarter dumping ground of bad movies, silly movies, and a few Oscar stragglers finally reaching Seattle, a downright difficult movie can be a bracing change of pace. French director Bruno Dumont’s prior Flanders and Humanité played NWFF in 2007 and ’00, respectively, and you’ll see some parallels with Hors Satan. Again a phlegmatic stranger stares intently at the glowing horizon. Again there are sudden episodes of sexual violence. And again we drum our fingers impatiently, wondering where it all will lead. Dumont, a former philosopher, works in the tradition of Robert Bresson, only slower. His two nameless protagonists, a vagrant (David Dewaele) and a rural teenage girl (Alexandra Lematre), speak very little. The performers are cast for their inverse charisma, their opaque faces. They’re less people here than instruments in some kind of religious allegory. The drifter lives in a forest camp, not far from the English Channel, depending on alms and praying to the sun (though not with a Christian’s steepled hands). He could be a saint, the devil, a holy fool, or a psycho hobo, but Dumont isn’t saying. The vagrant takes it as his task to protect the girl (this first involves a shotgun and later his fists); then he rebuffs her grateful overtures. “Why don’t you want me?” she

film»This Week’s Attractions

Event MARCH 1

NEIGHBORHOOD SNACKDOWN The Dude cares about hunger, too. MAGNOLIA PICTURES

» FROM PAGE 23

Event APRIL 4

Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

VORACIOUS TASTING & FOOD AWARDS

facebook.com/swvoracious

ered in that light, this well-intentioned doc by Kristi Jacobson and Lori Silverbush is really best suited for the children of those overeducated foodies, something that ought implores. Yet he’s not some celibate neoto be screened in middle school (the gatemonk. When a lusty backpacker appears, he way years to veganism and dubstep). fucks the sin out of her. Though Pollan sits this one out, Nestle Dewaele’s craggy face carves through the joins the procession of talking heads, which air with an indifferent scowl. It’s a shock Place attempts to enliven with real-life when he smiles or laughs, as when Lematre vignettes featuring sympathetic poor folk jumps on his back, demanding a piggy-back from Philadelphia to rural Colorado to the ride. (But even Christ cracked a smile occaMississippi Delta. sionally, right?) As you’d expect, With her waxy skin there are no Whole and ink-black hair Foods from which in a pixie cut, the to purchase fruits nonprofessional and veggies; more actress Lematre to the point, they has a moony, gentle couldn’t afford such presence, a somehealthy fare even if what otherworldly it were convenient. benevolence. (In the Among other nonpress notes, Dumont surprises here are speaks admiringly of the thwarted efforts “the way she has difin Washington, ficulty sharing her The girl (Lematre) and D.C., to increase the feelings,” not usually her protector (Dewaele). purchasing power considered an asset of food stamps and on set.) If the girl is NEW YORKER FILMS decrease the lobbyno holy vessel, she at least shares the hermit’s numinous apprecia- ing power of big agribusiness. And though one can’t expect Frontline thoroughness tion of nature. As they march through the from an advocacy doc, it would’ve been nice dunes and grass, it’s almost like a Terrence if Jacobson and Silverbush had interviewed Malick movie, only without the voice-overs. somebody from K Street or the GOP—for Still, they are not a fun couple. just a bit of pepper in the do-good stew. All this builds slowly, without biblical For a little stardust, concerned citizen economy or poetry, to the vagrant’s familiar Jeff Bridges adds his comments—and final act (see John 11:38). By the time he they’re entirely intelligent. (“It’s a problem leaves town, leading a flock of exactly one people are ashamed of acknowledging,” dog, you know what sort of mission lies says the Dude of poverty and malnutriahead. BRIAN MILLER tion.) He’s run an antipoverty foundation since the ’80s; like everyone else in Place, A Place at the Table OPENS FRI., MARCH 1 AT VARSITY. he wants to see increased federal spending RATED PG. 84 MINUTES. to fight hunger. Where might such funding come from? “We’re spending $20 bilSeattle is a town full of overeducated foodlion a year in agricultural subsidies for the ies who can tell you everything you need wrong foods,” says Nestle. Well, tell that to know—and far more than you want to to the congressional representatives from know—about gluten allergies, GMOs, food red-voting farm states. That’s where Place deserts, corn-syrup subsidies, the obesity/ needs to be screened, not the U District. poverty paradox, etc., etc. Every time Michael Pollan or Marion Nestle comes to BRIAN MILLER E town, their lectures are sold out. Considfilm@seattleweekly.com

film» BY BRIAN MILLER

Local Film • CABARET Liza Minnelli stars in the 1972 Cabaret,

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

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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, Sat., 2 p.m. Through March 23. THE TERMINATOR Who knew the that the future Republican governor of California once worked in the movies? We had no idea. James Cameron made a star of Arnold Schwarzenegger in this tremendously enjoyable and propulsive 1984 action smash, which has spawned two sequels to date and influenced countless movies and video games. (In fact, The Terminator may have been responsible for combining those two industries.) In a masterstroke of casting, the Austrian bodybuilder plays a robot sent back in time to kill mankind’s future savior. His overmuscled stiffness and puny command of the English language become the movie’s strengths, of course, as Michael Biehn and Linda Hamilton (the chosen mother) battle a hulk that seems unstoppable—except for a telling inability to improvise. Movie screens at midnight. (R) BRIAN MILLER Egyptian $8.25, Fri., March 1; Sat., March 2.

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

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Fisher, a teen who shot the wife of her much older lover (Joey Buttafuoco), three TV movies were subsequently produced. The best known starred Drew Barrymore. Now, filmmaker Dan Kapelovitz has edited together a mashup of all three, and he’ll introduce the Saturday screening. (NR) Grand Illusion, $5-$8, Sat., March 2, 9 p.m.; Wed., March 6, 9 p.m. VIVA L’ITALIA From 1964 Pietro Germi’s comedy Seduced and Abandoned has a Sicilian household— and its patriarch’s code of honor—disrupted by an unplanned pregnancy. (NR) Seattle Art Museum, 1300 First Ave., 654-3100, seattleartmuseum.org, $63-$68 series, $8 individual, Thurs., 7:30 p.m. Through March 7. WAXIE MOON IN FALLEN JEWEL The local dancer/ choreographer appears in this performance film, directed by Wes Hurley. (NR) Central Cinema, $12, Thu., Feb. 28, 8 p.m.; Thu., March 28, 8 p.m. WELCOME TO THE DOLLHOUSE Todd Solondz had what in retrospect seems his greatest success with this 1995 coming-of-age picture, about the travails of awkward Dawn Weiner (Heather Matarazzo). This Jersey Girl doesn’t know what to do with her alternating lust and disgust; and among his spiteful oeuvre, Dawn appears to be the character closest to his conflicted heart. (R) Central Cinema, $6-$8, March 1-5, 9:30 p.m.

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Ongoing AMOUR Hollywood generally treats aging as an

ennobling process, a time of gauzy reflection or an opportunity to transmit sage wisdom to tow-headed grandkids. This is not a view shared by Austrian director Michael Haneke (Funny Games, Caché), who has specialized in an impeccably crafted cinema of cruelty, repressed passion, and dread. So it’s something of a shock for Amour to begin as a loving portrait of a marriage between retired music teachers Georges and Anne (Jean-Louis Trintignant and Emmanuelle Riva), who remain independent in their 80s. Amour’s story is nothing if not logical and familiar: the medical crisis, doctors, the daughter’s visit, nurses, rehab, moments of resiliency and love, the “never take me back to the hospital” demand, setbacks, adult diapers, despair. Haneke renders Georges and Anne’s dilemma with dispassionate, clinical observation. Amour often plays like a Frederick Wiseman documentary. (PG-13) Brian Miller Egyptian, Sundance Cinemas, Lincoln Square ARGO Ben Affleck’s Oscar winner begins with the November 4, 1979, attack on the U.S. embassy in Tehran. While 52 Americans are held hostage, six embassy workers manage to escape, ultimately hiding out at the home of Canadian ambassador (Victor Garber). Determined to smuggle the houseguests out of Iran by disguising them as a film crew on a location scout, CIA exfiltration expert Tony Mendez (Affleck) enlists the help of John Chambers (John Goodman), a movie makeup artist, and Lester Siegel (Alan Arkin), an old-school producer. Between hokey wisecracks ribbing industry idiocy, the trio seizes on a dusty script for a Star Wars rip-off called Argo. (R) Karina Longworth Varsity Theatre, Oak Tree, Lincoln Square, Meridian, iPic, others DJANGO UNCHAINED In Quentin Tarantino’s blood-spattered historical tent show, set in antebellum Dixieland, Jamie Foxx stars as the captured runaway slave Django. He’s given his freedom by an unlikely savior: a German-American bounty hunter (Christoph Waltz) who trains Django to become his partner. Together, they make their way toward a sprawling Mississippi plantation known as Candyland, where Django’s wife (Kerry Washington) is owned by a brutal, foppish master (Leonardo DiCaprio), abetted by his old house slave (the astonishing Samuel L. Jackson). Wagnerian hellfire ensues, though Tarantino’s true reference point is a century of Hollywood cinema’s failure to engage with the ugly realities of the “peculiar institution,” from Gone With the Wind to Spielberg’s Lincoln. Like all of the best pop art, Django Unchained is both seriously entertaining and seriously thoughtful, rattling the cage of race in America onscreen and off. Tarantino earned his second Oscar for the script. (R) Scott Foundas Meridian, Thornton Place, Vahshon, others 56 UP In Michael Apted’s ongoing documentary series, well-off barrister Andrew declares, “There is still a class system, 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’s been made redundant. The Labor Party has failed, she says, and others from her circle share that view, criticizing Thatcher and David Cameron

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Seattle weekly • FE BRUARY 27− MARCH 5, 2013

which won her an Oscar among the film’s seven other statuettes. Based on Christopher Isherwood’s original stories of life in Weimar Berlin (later a play, I Am a Camera, then the musical with songs by Kander and Ebb), the film was a breakthrough for director Bob Fosse, who choreographed the Kit Kat Club stage numbers with all the verve he brought to Broadway shows. Joel Grey also scored an Oscar as the fey, monocled emcee. (NR) BRIAN MILLER Central Cinema, $6-$8, March 1-5, 7 p.m. DIAL M FOR MURDER: Alfred Hitchcock’s 1954 femalein-jeopardy thriller, starring Grace Kelly, is not one of his better pictures. But it’s being screened in 3-D, so her grabbing at the scissors to defend herself against an assailant will have that much extra urgency. Ray Milland plays her husband. See siff.net for showtimes. (NR) SIFF Cinema Uptown, $6-$11, March 1-3. DOES MY BRAIN HAVE A SEX? This new doc investigates the differences between male and female brains. Discussion follows. (NR) Alliance Francaise de Seattle, 4649 Sunnyside Ave. N, 632-5433, afseattle.org, $5, Wed., Feb. 27, 6:30 p.m. FOURPLAY Director Kyle Henry will introduce his fourchapter anthology film, about changing sexual mores in Skokie, Austin, Tampa, and San Fran. (NR) Northwest Film Forum, $6-$10, Mon., March 4, 7 & 9 p.m.; Tue., March 5, 7 & 9 p.m. LLOYD KAUFMAN The famed founder of New York’s sub-low-budget horror/exploitation studio, Troma Entertainment, will discuss his oeuvre and books including Produce Your Own Damn Movie! Following (at 6:30 p.m.) at the Grand Illusion is a screening of 1984’s The Toxic Avenger. (NR) Grand Illusion Wed., Feb. 27, 4:30 p.m. L.A. REBELLION Originating at UCLA, this traveling retrospective honors African-American filmmakers who, after the Watts riots, brought street politics into their indie films. Beginning the four-weekend series are Julie Dash’s 1991 Daughters of the Dust (8 p.m. Fri.), the 1979 Bush Mama (8 p.m. Sat.), and A Different Image (8 p.m. Sun., plus short films). Next weekend, Charles Burnett will be a special guest. See nwfilmforum. org for full schedule and details. (NR) Northwest Film Forum, $6-$10, Opens March 1, Frid.-Sun. Through March 24. MIDNIGHT HORROR Call the tavern, or just drop by, to see what random gore flicks are playing in this ongoing series. Plus drink specials! (NR) Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com, Free, Thurs.-Sun. RAIDERS: THE ADAPTATION SEE THE WIRE, PAGE 19. SEATTLE JEWISH FILM FESTIVAL SEE THE WIRE, PAGE 19. SILENT MOVIE MONDAYS Organist Jim Riggs provides live accompaniment for the whose series. First up is Mary Pickford in Heart o’ the Hills (1919), about a plucky Kentucky mountain girl trying to save the family farm. Bluegrass band North Country will also perform tonight. (NR) The Paramount, 911 Pine St., 877-7844849, stgpresents.org, $10, Opens March 4, Mondays, 7 p.m.; Sun., March 10, 2 p.m. Through March 25.

TRIPLE FISHER: THE LETHAL LOLITAS OF LONG ISLAND Inspired by early-’90s tabloid staple Amy

film» for weakening the welfare state. 56 Up’s subjects seem rather pessimistic, if not quite bitter, about the UK’s enduring inequalities. Apted is a sympathetic, off-camera presence, yet he resists any overview or analysis. Each individual story subsumes the issue of class. Apted is more interested in coping than social advancement, how his subjects—rich and poor—adapt to their circumstances. (NR) Brian Miller Guild 45th JOHN DIES AT THE END Don Coscarelli’s John Dies, based on David Wong’s novel, is a somewhat muddled story full of undead creatures and face-bending special effects. College dropouts David (a hammy Chase Williamson) and John (Rob Mayes) embark on a time-traveling quest to save humanity from a colony of parasitic spores that has invaded Earth. There’s your plot, which allows Coscarelli to indulge his love for body-chomping aliens and oversized Kafkaesque insects. Dave and John have a Bill-and-Ted chemistry, only with more deadpan. Paul Giamatti’s small role as a newspaper reporter contributes a trace of gravity to the messy story—then we find out that … well, let’s just say things aren’t what they seem. Per the title, some characters die, but death is never a final obstacle in a monster movie. Anyone/thing can be resurrected. Clearly intended to be a wacky cult movie, John Dies will appeal to those who enjoyed his Coscarelli’s 2002 Bubba Ho-Tep. (R) Gwendolyn Elliott Varsity LINCOLN Our 16th president becomes an almost 4-D character made flesh by Daniel Day-Lewis, arguably the best actor of his generation. The challenge for director Steven Spielberg is to square the Georgia white marble of the Lincoln Memorial with the fleshand-blood reality we can never really know—evoking the man without diminishing the leader. His other challenges include relating the complications and subtleties of political maneuvering, and the inherent suckiness of the biopic form. Spielberg solves that by lensing the portrait through a single event: the fight to pass the 13th Amendment. The film is studied and often somber, but it is also hugely entertaining, a bitchingly fun story of political gamesmanship, influence trading, patronage, cronyism, and outright bribery. This Lincoln is quietly ironic, an indulgent storyteller, a hugely char-

Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

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ismatic leader. Day-Lewis deservedly won an Oscar for the role. (PG-13) Chris Packham Guild 45th, Kirkland Parkplace, Lincoln Square, Pacific Place, Thornton Place, others SEARCHING FOR SUGAR MAN Malik Bendjelloul’s Oscar-winning documentary is such a gift. In telling the tale of Sixto Rodriguez, a Mexican-American balladeer from Detroit who cut a couple of tepidly received LPs in the early ‘70s, vanished, and subsequently became an Elvis-sized rock god in South Africa, the Swedish filmmaker sidesteps arthritic VH1-style “where are they now” antics in favor of a more equivocal interrogation of celebrity culture. Bendjelloul interviews pertinent parties in standard rock-doc style, as well as the singer-songwriter’s charming, touchingly loyal grown daughters. Rodriguez’s casual disinterest in PR-blitzing his resurrection and apparent contentment with an ordinary working life lets Searching for Sugar Man hold up a mirror to what we’ve come to expect—and cynically refuse to accept—from artists in an age of pervasive, entitled notoriety. (PG-13) Mark Holcomb SIFF Cinema Uptown SIDE EFFECTS Steven Soderbergh is a total filmmaker who handles his own camera, but is only as good as his script. And this big pharma/crime tale by Scott Z. Burns is not a great script. Yet it starts out 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. Understandably, Emily is depressed, and she’s on a lot of pills. Her new shrink, Dr. Banks (Jude Law), provides suicidal Emily with modest meds and a sympathetic ear. Then he enrolls her in a clinical trial that will, conveniently, provide him some much-needed extra income. Disaster follows. 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. Side Effects ultimately feels like a remake. And if that’s the way Soderbergh chooses to end his career, fine. Side Effects embodies the pleasures of the familiar, if not

the discoveries of his past. (R) Brian Miller Sundance, Oak Tree, Kirkland Parkplace, Lincoln Square, Majestic Bay, Cinebarre, Pacific Place, others SILVER LININGS PLAYBOOK If you took the fighting out of The Fighter, David O. Russell’s previous movie, you’d be left with a close, fractious family like the Solitanos of his hugely appealing new Silver Linings Playbook. Instead of Boston Irish and boxing, we have Philadelphia Italian and the Eagles. The family patriarch (a fine, restrained Robert De Niro) is an OCD bookie bound by strange rituals to the team; his wideeyed wife (Jacki Weaver) is the nervous family conciliator/enabler; and their volatile son Pat (Bradley Cooper, wired) is fresh out of the nuthouse with a restraining order from his ex. But Pat is looking for those silver linings through self-improvement: reading, running, losing weight, scheming to win back his wife. Russell’s pellmell approach perfectly suits the story of Pat’s mania and wrong-footed romance with young widow Tiffany (the Oscar-winning Jennifer Lawrence), who’s even more titanic in her instability than Pat. (R) Brian Miller SIFF Cinema Uptown, Ark Lodge Cinemas, Seven Gables, Oak Tree, Kirkland Parkplace, Lincoln Square, Majestic Bay, Cinebarre, Pacific Place, Big Picture, others SNITCH This solid little B-movie has an actual issue involved. Dwayne “The Rock” Johnson plays Matthews, whose 18-year-old son accepts FedEx delivery of ecstasy pills from a pal. Then comes the bust. Because of mandatory minimum sentencing guidelines, Matthews is told, his kid is going away for 10 years. Matthews then pitches an unlikely deal to the stern, childless, politically ambitious federal prosecutor (Susan Sarandon!). Let me do a drug deal for you in place of my son, he says, then he can get off on probation and go to college. Because this is a movie, the prosecutor agrees, meaning that upright family man Matthews has to penetrate the criminal underworld he knows nothing about. By the time he hooks up with a scary dealer (Michael K. Williams), Matthews realizes he’s in way over his head. There’s much less action than you expect in Snitch (the script was inspired by a Frontline report), and the car crashes and gunshots

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feel plausibly weighted by gravity. (PG-13) Brian Miller Lincoln Square, Meridian, Cinebarre, Thornton Place, iPic, others ZERO DARK THIRTY Director Kathryn Bigelow and screenwriter Mark Boal dramatize the manhunt for Osama bin Laden. From the major details to the smallest ones, the reporting is so good you scarcely question a beat. Jessica Chastain gives a sensational performances as Maya, a young CIA officer obsessed with bin Laden. Waterboarding and starvation are depicted, without any of the moral outrage some might expect from a Hollywood treatment of this subject. Rather, Bigelow and Boal come not to judge but to show, leaving the rest up to us. This is superb journalism and even better filmmaking, culminating in an electrifying re-enactment of the raid on bin Laden’s Pakistan hideout. (R) Scott Foundas Lincoln Square, Meridian, iPic, others THEATERS: Admiral, 2343 California Ave. SW, 9383456; 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.

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food&drink»

Shanik’s South Lake Sputter

An upscale Indian restaurant, and its naan, fall flat. BY HANNA RASKIN

with a plate of samosas that apparently didn’t belong to any of the tables he approached, while another reached around the used, stacked-up plates on our table to drop off more food. He left empty-handed.

PHOTOS BY JOSHUA HUSTON

till, the restaurant’s sloppy cooking is its ultimate undoing. Perhaps the best dish I sampled at Shanik was a griddled pura. Although its crowning tomatoes and onions were lost in a bacon haze, the crepe itself would be the pride of any Sunday-morning pancake flipper. But it was burdened with, as a server put it, “all the seasonings we use.” The cumin, turmeric, coriander, and cardamom were applied in bizarre proportion, making the dish as off-kilter as a string quartet with three double basses and a violin. A pile of Brussels sprouts, sautéed to the leaf-shedding point, probably made sense on a spreadsheet: With cashews for crunch,

The cumin, turmeric, coriander, and cardamom were applied in proportions that made the dish as off-kilter as a string quartet with three double basses and a violin.

A rare highlight: vegetarian curry.

than heavy city traffic. Fortunately, my server wasn’t especially interested in carrying on an extended conversation. When I asked for recommendations, she zeroed in on an appetizer of sautéed onions and a short-rib entrée. “So I’ll just put that in for you,” she announced, pulling out her iTouch order pad without waiting for my response. I asked instead for a few more minutes to consider the menu, an act of disobedience that inadvertently made me memorable. “Normally, I’d say that’s too much food,” the same server snarled when she took my return-visit order. “But I remember how much you packed away last time.” None of the other staffers I encountered was quite so contemptuous, but service issues abounded: One hapless runner was stuck

paneer for silkiness, bell peppers for acid, and the sprouts for bitterness, the dish should have worked. But without any spice to stitch together its components, the dish tasted flat. Undercooked short ribs, slathered with a mahogany-colored tomato-cream curry, would have benefited from a shake of salt. Overcooked salmon needed more zip than a sheer curry of coconut and ginger offered. Vegetarian dishes aren’t safe bets either: Paneer, barely noticeable in the background of the Brussels sprouts preparation, doesn’t have the star power to hold down a dish layered with tomatoes and onions. Instead, the dense, chalky cheese tastes like a co-op member’s first stab at homemade tofu. And rubbery deviled eggs are stuffed with a curry so gritty it sticks in your teeth. Better is the kale, jackfruit, cauliflower, and potato curry, which gains pop from a sprinkling of roasted almonds. Here, the sauce has a warm, appealing balance. All you have to do is resist the urge to dredge Shanik’s bum naan through it. E hraskin@seattleweekly.com SHANIK 500 Terry Ave. N, 486-6884, shanikrestaurant.com. 11:30 a.m.–2 p.m. Mon.–Fri., 5:30–10 p.m. Mon.–Sat.

Seattle weekly • FE BRUARY 27− MARCH 5, 2013

he lifeblood of Mehak Indian Cuisine is delivery, as the Northgate restaurant’s interior makes abundantly clear. The sheer white curtains and tablecloths look as though they’ve been dipped in weak tea, the salmonpink wall paint has faded to a canned-tuna hue, and the ratty Berber carpet isn’t perfectly flush with the floor. The dining room’s sparsely ornamented with a mirror and a coat stand, although a back room that a fancier restaurant might make its storage closet is crammed with cots, games, and a huge plastic tub of salty snacks. In addition to being a takeout hub, Mehak is a home. Yet guests who make the trek to Mehak anyhow will be rewarded by a warmth that can’t be exported in a Styrofoam box. When owner Mit Kaur brings a plate of chicken tikka masala to your table, she squeezes your shoulder with bear-hug intensity: “Welcome,” she says. Soon, perhaps, the two of you could be playing cards and eating pretzels. Shanik’s posh lounge at lunchtime. Kaur speaks English haltingly, but if you ask, she’ll lead you through her kitchen to the So there’s nothing theoretically wrong tandoor, a fiery clay pit with crooked disks with a meal at Shanik costing four or five of naan affixed to its inner perimeter like times as much as a meal at Mehak. What’s lichens on a log. Peeled from the oven, the regrettable is that in elevating dishes that chewy bread is as impressive as the ancient eaters may recognize from takeout containcontraption that produced it, its uneven surers and steam-table buffets, Shanik has left face ridged with air bubbles and bruised with behind a certain soulfulness. With its dreadsmoke. This is naan too good to spend on ful service, mangled dishes, and often irratiosauce-sopping. nal insistence on modernity, the ambitious Shanik—which opened last December in restaurant has snuffed out the compelling South Lake Union, after what felt to Seattle’s energy that emanates from traditional tanfood-fixated tribe like an excruciatingly long doors. wait—serves naan too. Unlike Mehak, Shanik is a restaurant to be seen: At the back end of its boxy dining room is a conspicuously posh he management team, always lounge, furnished with exposed light bulbs, an well represented on the floor elaborately cut-out cornice, scrolling wooden when there wasn’t a server availbenches, and darker wooden tables of the same able to take a drink order or a squat height. The naan, though, is considerbusser around to clear the previous course’s ably less baroque. Shanik’s buttered triangles plates, is apparently aware of the restauof prairie-flat bread taste like cut-rate pita rant’s troubles: During my two visits, they that’s been frozen and thawed, then frozen and hovered around the open kitchen, looking as thawed again. It’s firm and flavorless, flaws not concerned as Ravens fans during the third given much cover by the cold serving temperaquarter of the Super Bowl. Dhalwala has also ture. This is naan to make you sad. openly acknowledged problems, using her As great chefs who’ve Twitter feed to apologize tried charging doublefor equipment failures digit prices for tacos have which hobbled Shanik’s » PRICE GUIDE DEVILED EGGS $11 learned, there’s a collecsoft opening and, three PURA $12 BRUSSELS SPROUTS $12 tive American reluctance weeks later, to advertise KALE, JACKFRUIT, CAULIFLOWER, to pay serious money for for cooks and a head chef. AND POTATO CURRY $16 SALMON $24 dishes associated with No restaurant’s perfect out SHORT RIBS $23 the developing world. of the gate, of course. But Folks like their pho and it’s rare for a restaurant falafel cheap. But a series with such an estimable of accomplished restaurateurs—including pedigree to underwhelm so radically after Shanik’s Meeru Dhalwala, who co-owns Van- months of service. couver, B.C.’s critically acclaimed Vij’s with The Vij name and desirable location have her husband, Vikram Vij—have helped dinconspired to keep Shanik very busy, and the ers understand there’s nothing oxymoronic restaurant’s slatted wooden ceiling doesn’t do about upscale Indian food. The cuisine’s much to muffle the crowd noise. On my first sophistication is highly compatible with visit, the room’s decibel level measured 86 on elegance and the price it commands. my smart-phone app, which is slightly louder

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$ = $25 or less per person; $$ = $25–$40; $$$ = $40 and up. These capsule reviews are written by editorial staff and have nothing to do with advertising. For hundreds more reviews, searchable by neighborhood and type of cuisine, go to seattleweekly.com/food.

City of Seattle PIKE PLACE MARKET

MATT’S IN THE MARKET 94 Pike St. Ste. 32, 467-7909.

Twice as grand as as it used to be, Matt’s is still the tiniest great restaurant in Seattle. The chef and staff are your buddies without being unctuous, and the seasonal, Pacific Northwest inspired cuisine reflects what’s fresh in the Pike Place Market just downstairs, be it seared scallops with winter-squash hash to lamb cassoulet. These days, reservations are a must—even for lunch. $$$

rolled, lightly fried beef or chicken tacos are a reliably scrumptious and filling option. Basic is king here. And there’s nothing wrong with basic. Malena’s isn’t as showy as some of the more ambitious new Queen Anne restaurants, but its tidy ivory curtains, silk flowers, and friendly family service make it the neighborhood darling of frenzied families, newspaper-reading singles, and hungry skate punks. $ PANOS GREEK TAVERNA KLEFTIKO 815 Fifth Ave. N., 301-0393. Located on a quiet lower Queen Anne side street, Panos is a dead ringer for the shabby continental restaurants which represented the heights of dining culture in most 1970s New York City neighborhoods. The food is coarse, but the owners are charming, and the menu includes every Hellenic greatest hit. The braised lamb is tender and flavorful, and the restaurant’s signature preparation involves baking it in a round of sourdough bread. Panos stresses the taverna in its name, making sure guests linger over glasses of Greek red wine. $

QUEEN ANNE

RAINIER VALLEY

N. 1st Ave.), 282-2511. The Mexican lounge takes pride in offering a full page of grub on its bar menu, promoting $2 off during happy hour. Its fare is described as “fine Mexican fusion” that throws in some seafood dishes like seared scallops and crab cakes and tops them with salsa. There’s even a fancied-up version of a grilled cheese sandwich. Without any traditional Mexican decor, it’s hard to tell what La Luna is all about without glancing at its menu. If anything, the lounge offers a more professional atmosphere for Queen Anne-ites who are tired of having to dodge the partiers at Pesos in order to get a taco. $$ MALENA’S TACO SHOP 620 W. McGraw St., 284-0304. Malena’s can’t be beat for after-work takeout. The

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. $ TEA GARDEN 708 Rainier Ave. S., 709-9038. It would be wrong to compare dim sum to a three-ring circus. It’s more like a three-dozen-ring circus in which the acts never stop coming. Tea Garden, which serves dim sum all day, accommodates all comers in its expansive space, which mixes the usual kitsch with wood floors and other classy finishes. Pork wrapped with bean

LA LUNA 2 Boston St. (between N. Queen Anne Ave. &

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The Barkeep: Victor Victorino is energetic and fun, fluttering about, chatting with custom» by kyle houk ers, and joking with fellow staffers. The name? “My mother loved me so much, she named me the same thing twice,” he offers. He’s been with Goldie’s for three years, of which he says, “I like coming to work, you know? It’s hard to say that. It’s homey.” The Watering Hole: Goldie’s Shoreline The Drink: Victorino recommends a TrashCasino, 15030 Aurora Ave. N., 440-8754, can to aid and abet a long night of gambling. SHORELINE The frou-frou drink consists of two parts Long The Atmosphere: ”Casino” to me means Island mix, a dash of sweet and sour, a splash thick, damp, musty air and old ladies with perms, of 7 Up, and a little Blue Curaçao. A can of Red eyes glazed over, hypnotized Bull is then plunged into the by the blinking lights, pulling concoction at a 120-degree on slot-machine handles with angle so that as you drink, yellow, cigarette-stained finyou’re continually resupgernails. So I was pleasantly plied with gambling energy. surprised when I walked into There’s no fresh-squeezed Goldie’s. It’s clean, the air is anything in this drink. It’s fresh, and it’s full of Asians pure sugar, caffeine, and playing cards, which seems alcohol meant to keep you classier than video gambling. up and having fun. The Verdict: Goldie’s Half the building is filled with serves cheap drinks with a bustling tables of games of side of playful energy. On the chance, the other half is a food menu lives that most lounge area. The bar divides disgusting of Filipino dishes: the two. Mirrors line the walls “I can’t even go down on my balut, a duck embryo left to and ceiling. The dim, red pregnant girlfriend.” develop in its shell until an neon lighting provides comfy adventurous diner cracks cover for a barfly. Even late it open to snack on bones, on a Monday night, the place beak, and feathers. I ask Victorino if he’d ever is abuzz. tried it. “I can’t even go down on my pregnant Although it’s located on Aurora Avenue, girlfriend,” he replies. With $3 you-call-its from Goldie’s is devoid of riffraff, despite the unbeliev3–6 p.m. and 9 p.m.–midnight, a frugal Robert De ably cheap prices. In fact, Goldie’s vibe is like a Niro may not approve of this casino. I leave very neighborhood pub that’s done it right. Regulars buzzed and with a fun evening behind me for the are on a first-name basis with the staff. The only measly sum of $10. That makes Goldie’s my new difference is the huddled masses of focused ace in the hole. E gamblers in the background, which is entertainfood@seattleweekly.com ing in itself.

Embryos and Inebriation

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RAVENNA & WEDGWOOD

JULIA’S INDONESIAN KITCHEN 910 N.E. 65th St.,

522-5528. Everything about Julia’s is built on the scale of cute: a tiny Craftsman house on 65th, a slim dining room wrapped around a central hearth, elaborate Javanese puppets all around. Julia Suparman’s Javanese food tends toward the sweet, the coconutbased, and the complexly spiced. Order a “mini rijsttafel,” and your entree (say, beef rendang or chicken curry) will be served with a mound of rice, a subtle but fragrant white vegetable curry, and a corn fritter. For the house specialty, ayam goreng kremes, Julia braises chicken in a broth spiced with lemongrass, galangal, and candlenut, then coats it with a batter that goes all crackly and golden in the deep-fryer. Eat the chicken, and “crispy bits” on the side, with dabs of her pepper-charged sambal. $-$$ THRIVE 1026 N.E. 65th St., #A-102, 525-0300. Good food is like sunshine for the soul. Thrive is completely glutenfree, vegetarian, and extremely friendly toward those with other allergies as well. Aside from serving raw food in the cafe, they also teach classes, have a rawfood “immersion program,” and offer pricey getaway “cleanse and detox” programs at their Sedro Woolley Wellness Center. $$

SODO

URBAN ENOTECA 4130 First Ave. S., 467-9463. Deep in

the industrial guts of the southern reach of Sodo, this gorgeously rehabbed warehouse is part mega-tasting room, part special-event space, with a tasty restaurant on the side. The sweet-potato doughnut with maple glaze and tart cranberry paired amazingly with Cote Bonneville’s late harvest Riesling, not overly sweet,

ALittLeRAskin » by hanna raskin

A Whale of a List

SOUTH PARK

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

family-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

MARS BISTRO 5247 University Way N.E., 632-5132.

From the outside, it looks like a dive-bar or a cheap diner, the type that features glossy pictorials of every dish. But inside is a colorful space with modest decor—stained wood chairs, simple place settings and Formica tables. Fortunately, the interior does not match the menu at this wholesome restaurant. The food looks and tastes homemade (and not in a “are you sure you remembered to add the sugar?” sort of way). The menu features organic sandwiches, salads, soups and every pancake and omelet dish imaginable. $ MEMO’S MEXICAN FOOD 4743 University Way N.E., 729-5071. Open 24 hours a day, seven days a week, this greasy Mexican joint is a hit with college students, clubgoers, and stoners. It offers fast, cheap meals like tortas and jumbo burritos for $3.99, and combo plates loaded with rice and beans for just a couple bucks more. Memo’s customers never leave broke or hungry—a guarantee that sounds especially appetizing on a Friday at 2 a.m. $ RAM RESTAURANT & BREWERY 2650 N.E. University Village, 525-3565. Even as the University Village around

and Rachel Yang and Seif Chirchi of Joule. Many of the most familiar names in Portland are also long-listed for Best Chef Northwest honors: Greg Denton and Gabrielle Quiñónez Denton of Ox, John Gorham of Toro Bravo, Naomi Pomeroy of Beast, Gabriel Rucker of Le Pigeon, and Cathy Whims of Nostrana. In the prestigious “Outstanding Chef” category, Seattle’s Maria Hines—a participant in the Foundation’s inaugural Chefs Boot Camp for Policy and Change— and Portland’s Vitaly Paley were the only Northwesterners to make the cut. The region also fared well in the “Rising Chef” category, which recognizes chefs age 30 or younger. Interestingly, two of the three Seattle-area semifinalists represent restaurants associated with hotels (Mark Bodinet of Copperleaf and Blaine Wetzel of The Willows Inn), while the third, Chris Weber, works for the long-established Herbfarm. While stalwarts are perhaps better positioned to take a chance on young talent, it’s a shame there isn’t a Pacific Northwest upstart restaurant on the list. Also on the list for potential finalist status: Canon for Outstanding Bar Program; William Leaman of Bakery Nouveau for Outstanding Pastry Chef; Cafe Juanita for Outstanding Service, and John Howie for Outstanding Restaurateur. Good luck, folks. (See the full list at jamesbeard.org.) E hraskin@seattleweekly.com

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Seattle weekly • FE BRUARY 27− MARCH 5, 2013

With so many names on the James Beard Foundation’s newly released list of semifinalists for its 2013 restaurant awards, there’s ample grounds for grousing. Nearly every eater will be able to cite at least one snub or nonsensical nomination. So to get the bone-picking out of the way, I was very surprised to see Shanik score a best-new-restaurant nod. Not only was the Vij’s spinoff open for only 27 qualifying days, but over the course of my recent review visits, I didn’t detect anything like the “excellence in food, beverage, and service . . . that is likely to make a significant impact in years to come,” which the award requires. See page TK to learn why I’ll pitch a fit if the South Lake Union restaurant robs fellow local semifinalist The Whale Wins of a finalist slot (an extremely unlikely occurrence, since the list also includes such heavyweights as Portland’s Ox; Oxheart and Underbelly, both in Houston; and San Francisco’s State Bird Provisions.) The highly exceptional The Whale Wins was one of two Seattle restaurants to appear on the list twice, earning a Best Chef Northwest mention for chef Renee Erickson. (Canlis also doubled up, with a Best Chef Northwest slot for Jason Franey and an Outstanding Restaurant nod.) Erickson and Franey are joined in that category by Nathan Lockwood of Altura, Ethan Stowell of Staple & Fancy, Jason Stratton of Spinasse,

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it has steadily grown ever more upscale and generic, The Ram remains a genuine purebred Husky holdout. True, it’s also a chain, but it’s a homegrown one like Red Robin, and has a similar Northwest-original feel. The burgers are where the main action is: They’re big, juicy, and satisfying. The Extreme is a one-pounder. The Ram’s onion ring tower is also a big hit, especially if you’ve got your Dad in tow. The Ram reinvented itself as a brewpub some years ago and the beers are terrific too. $-$$

WALLINGFORD

JHANJAY VEGETARIAN THAI CUISINE 1718 N. 45th

St., 632-1484. In a city where Americanized Thai is everyone’s favorite cuisine and where vegetarians run rampant, the existence of Jhanjay, a veggie Thai restaurant, is inevitable. What isn’t inevitable is that it’s so good. The restaurant is designed to impress, with its gold-dusted burgundy walls, gleaming kitchen, and plastic-glove-wearing chefs. Each of the curries, salads, stir-fried dishes, and noodles comes packed with a confetti of crisp vegetables, enough to make the USDA “Eat Your Colors” campaign, as well as your choice of tofu, soy meat, or mushroom cake. Not surprisingly, you can order brown rice on the side. $

WEST SEATTLE

LOCÖL BARLEY & VINE 7902 35th Ave. S.W., 708-7725.

Just out of reach of The Junction, Locöl was designed for neighbors to easily meet one another in a comfortable environment: The colors are warm, the narrow bar is intimate without being claustrophobic, and most important, the lighting is dim (strangers don’t need to see your drunk face under bright lights). The motto here should be, “Won’t you be my neighbor?” $$ SHOOFLY PIE CO. 4444 California Ave. S.W., 938-0680. Pocket-sized, lime-green Shoofly Pie was Seattle’s first all-pie shop to open in years. Baker Kimmy Hsieh Tomlinson is a proponent of the all-butter crust in her quiches, pot pies, and desserts (check shooflypiecompany.com for the season’s menu). The recipe creates a delicate, slightly caramelized crust that shows better in her cream pies and single-crust fruit pies than in the double-crusted apple or cake-like shoofly pies, where it can solidify quickly. No need to commit to a whole pie–Shoofly Pie sells by the slice. $ MA’ONO 4437 California Ave. S.W., 935-1075. Spring Hill is no longer—it’s been renamed Ma‘ono Fried Chicken & Whisky and has traded its linens and braised short ribs for paper napkins, kimchi, and expanded bar seating. In addition to the items already familiar to fans of Spring Hill’s wildly popular Fried Chicken Mondays, the new standard menu includes poke, short ribs, barbecue pork buns, whipped pan drippings, and mochi cake for dessert. $$-$$$ 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. $

WHITE CENTER

EL PAISANO ROSTICERIA Y COCINA 9615 15th Ave.

S.W., 763-0368. Not surprisingly, White Center’s El Paisano Rosticeria Y Cocina, which is owned by the butcher shop two doors down, specializes in meat. Its Mexican-style roast chickens vary from cracklingskinned to dry, depending on how long they’ve spent out of the oven and under the heat lights. Uniformly fantastic: tacos filled with moist and porky carnitas, creamy octopus served in a tomato-based coctel campechana, and goat birria stewed so long that sheer lethargy keeps it from disintegrating. Given the portion size, a small plate should be all you need. $

Eastside NEWCASTLE

YEA’S WOK 6969 Coal Creek Parkway S.E., Newcastle,

1514 Pike Place Market Location #7 www.losagaves.net Call 206-504-0202 to place your order to go.

425-644-5546. Yea’s Wok is beloved by Eastsiders, but for different reasons. People who can’t read Chinese think its hot-and-sour soup, Mongolian beef, and clams with black bean sauce are darn tasty (and they are!). People who can read Chinese are luckier, because they get access to the Chinese menu stocked with Taiwanese regional specialties: three-cup chicken with ginger and basil, tofu noodles with mustard greens and fresh soybeans, and dozens of other dishes that you will never get a chance to taste unless you make nice with the perfectly bilingual waiters and get them to translate. $

BELLEVUE

I LOVE SUSHI 11818 N.E. Eighth St., 425-454-5706. People

love I Love Sushi. I Love Sushi is bright and clean, with a bright and clean staff, and bright, clean-tasting sushi. The popular spider roll surrounds a soft-shell crab with avocado, cucumber, mayonnaise, rice, and flying fish eggs; the I Love Roll, with unagi (broiled eel), is equally well loved. I Love Sushi leans toward the upscale–both atmosphere and food are reliably lovable for I Love Sushi lovers, who crowd into both the South Lake Union and Bellevue restaurants to love them. (Note the Bellevue branch actually consists of a strip-mall restaurant, and behind it, a swanker spot with views of “Lake Bellevue.”) $$ MEDITERRANEAN KITCHEN 103 Bellevue Way N.E., 425-462-9422. After the first bite of zahrah, a deep-fried cauliflower appetizer, you may forget that you’re in a former one-hour photo shop. Try the lamb couscous and chicken shawarma (a combination of red winemarinated chicken, grilled onion, and green pepper) under a sauce of garlic and lemon. $ THAI GINGER 3717 Factoria Blvd. S.E., 425-641-4008. The special at Thai Ginger, with locations in Bellevue, Redmond, Issaquah and Downtown and Madison Park in 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. $

WOODINVILLE

RISTORANTE ITALIANISSIMO 15608 N.E. Woodinville-

Duvall Pl., 425-485-6888. Come here for simple, pleasing fare—pizzas with olive oil-rich crusts or smoky eggplant parmigiana in a tangy, garlic-rich sauce. Try the veal scaloppine, thin and tender and dotted with pleasantly unsweet Marsala sauce. Finish with homemade gelato or tiramisu. $

North of Town KENMORE

TAI HO 6312 N.E. Bothell Way, 425-485-4020. To

Westerners, this rainbow-hued restaurant, the architectural equivalent of a Chinese teapot, is a typical beefwith-broccoli, almond-ding joint. But Koreans will tell you of Tai Ho’s second menu: Chinese-Korean favorites like sweet-and-sour pork, jjampong, and jjajangmyeon. The latter two are the lasagna and spag-n-meatballs of Korea, made with Tai Ho’s yard-length hand-pulled noodles. Jjajangmyeon, every child’s favorite dish, are thickly coated in a coal-black bean sauce chunky with pork, onions, and zucchini. The (much better) jjampong is a seafood udon soup seasoned by Satan, its demonic red color proof of the fire within each drop. Make sure you’re not wearing white when you start slurping. $

South of Town FEDERAL WAY

GARDEN KOREAN CUISINE 1636 S. 312th St., 253-941-

2483. Garden may be the most unique Korean restaurant in Federal Way. Not just because it serves Jeju Island regional specialties like sliced pork braised with bean sprouts in a sweet-spicy chile sauce. And not just because the owners offer a half-dozen seasonal specialties (cold buckwheat noodles in summer, for example). What’s most distinctive about Garden are all the herbs and greens grown on the owners’ organic plot of land. The dish that features the most of them is the ssambap, rice and pork served with a half-dozen fresh leaves for wrapping. Don’t think of ordering the barbecue here— instead, fill the table with gogi mandoo (steamed dumplings), soups, and noodles. $$

RENTON

NAAN-N-CURRY 709 S. Third St., 425-271-6226. The

Pakistani food this Bay Area-based micro-chain serves is the gutsier, rough-around-the-edges cousin to much of Seattle’s American-friendly Indian cuisine. The chunks of garlic and ginger are almost big enough to see—you sure can taste them—and the spices in the curries and marinades all but glow as they emit flavor. Chicken karahi is pungent with aromatics and tomatoes. The cooks don’t need to dye their chicken tikka red with food coloring to make the juicy, spiced-up meat look appetizing. And the naan, as you would hope, is a puff of air surrounded by tandoor-blistered bread dough. There is a chandelier just to gussy up the room a bit, but this is not luxury food; it’s hot and succulent—and, just as important, cheap. $

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Seattle weekly • FE BRUARY 27− MARCH 5, 2013

Sunday-Thursday in March. See our website for details!

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Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

Reverb»

TIM’S TAVERN

North Seattle’s Friendliest Pub and Newest Entertainment Venue!

Enter Light

Pete Quirk and the Cave Singers relight the torch after a dark year. BY TODD HAMM

We have the best House-smoked Ribs and Pulled Pork sandwiches around! The Swamp Dogs Saturday, 3/2, 9 pm Industry People, Stafford & the Bentz Bros Saturday, 3/9, 9 pm Benjie Howard Band Saturday, 3/16, 9 pm ST. PATTY’S DAY BASH! Live Bands rotating thru all day! Sunday, 3/17, 9 pm Silky Sam w/ Buffalo Stage Coach Saturday, 3/23, 9 pm

MON - TRIVIA TUES - OPEN MIC WED THRU FRIDAY - KARAOKE 2ND SUN - LIVE JAZZ 7PM - 9PM The Modern Cave Bros. Quartet.

KYLE JOHNSON

load of baggage, it’s no surprise the Seattle band’s fourth full-length is its most lyrically dense. A more surprising outcome, though, is how light they managed to keep their sound. “When the world, it tumbles and falls/ Reach out your hand/A solitary man, that’s all I know,” sings Quirk on closer “When the World”: It’s a line that should sound as heavy as it reads, but it comes out more reassuring— triumphant even—than you could imagine. Aside from Quirk’s confident delivery and guitarist Derek Fudesco’s happily clustered picking, the biggest reason for the album’s upbeat mood is the addition of bassist Mor-

“This [album] is sort of a story of letting go. Letting go of different ideas of things that you had that made up who you are.” gan Henderson, who has a storied history as a multi-instrumentalist with Blood Brothers, Past Lives, and Fleet Foxes. His reassuring bass lines buoy each of Naomi’s melodies from the bottom up. When Quirk singes “I’ve got no sorrow” on “No Tomorrows,” Henderson confirms the claim with a few bouncy notes in sequence. “It’s been since 2007 that I’ve played the electric bass in a band,” he explains, “so by the time I was done touring with Past Lives and Fleet Foxes, I had really missed it. The bass is my first instrument and the one that

I have the most instinct for. So by the time I started playing through the new Cave Singers songs, the time away made it so I didn’t have to think of bass lines—I just played and my parts came out.” On her own, “Naomi” is not a real person. As Quirk explains: “On one level, it’s just a pretty name that I like, and it sounds good— it’s got, like, a good beat to it or something.” In the end, though, she was also an unwitting scapegoat for the band’s personal struggles. “That name also served as sort of a fictional muse for some of these nonfiction fiction stories,” Quirk says. “It sounds like [the songs] are about one person, maybe, but they’re actually an amalgam of lots of different people from over time.” This duality also characterizes the band’s ethos. Each move they make builds toward a higher level of personal understanding, but in the end, they wouldn’t do it if it didn’t sound pretty—a novel concept, considering the members’ edgier rock resumes. But though you could play up the novelty of a bunch of punks playing folk-rock (Fudesco was in heavy hitters Murder City Devils and Pretty Girls Make Graves; Quirk sung in gloom-rock outfit Hint Hint; and drummer Marty Lund drummed in Cobra High), Cave Singers feels like a necessary progression. “You can’t have one without the other,” explains Quirk. “I had to do that [older] stuff to do this stuff. It’s all in the same lineage of what’s going to happen, like what grows off of your last experience. What do you learn from it, and what are you done with?” E music@seattleweekly.com

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Seattle weekly • FE BRUARY 27− MARCH 5, 2013

ete Quirk has always had a powerful imagination. He’s penned songs about highway towns and trains whistlin’ over blizzards and pines in studios well within a city’s limits, and dreamt up wispy tales of pure love aplenty. He’s driven across the country to live in a place he’d seen only in pictures on its promise of rejuvenation and beauty. But some of the most profound lessons he’s learned have been in coming to grips with the reality behind those visions (“[Seattle] doesn’t look exactly what I thought it was gonna look like”), and it’s in those moments of realization that the Cave Singers’ Naomi (out March 5 on Jagjaguwar) was born. “This [album] is sort of a story of letting go,” the vocalist says. “Letting go of different ideas of things that you had that made up who you are on some level, and letting go of relationships, letting go of regret over relationships—things like that.” He continues: “I had gone through a breakup [last year]. But more than that, just sort of like different things changing in my life, and sort of a transitional period. A time of being more clear that things are more impermanent than I would like to believe. For me, that was sort of a great moment, and also a difficult, uncomfortable moment to be like ‘I can’t just nail everything to the ground,’ and be like ‘This is how life is, and it’s going to be great,’ because it’s changing constantly.” Quirk has a striking way of taking vague or imagined imagery—primarily tales of love and spirituality—and making it feel universal and immediately human. So considering that he set out this time to write an album with a full

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Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

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BY CHRIS KORNELIS

ast Thursday afternoon in Olympia, Dan Cowan told the state Senate’s Ways and Means committee that he knows every major promoter in the state and many club owners, and in the 20 years he’s owned the Tractor Tavern, neither he nor any of his colleagues knew that they were supposed to collect sales tax on cover charges and tickets if their clubs provided customers an “opportunity to dance.” He learned about the tax, he said, when the Department of Revenue retroactively charged him $250,000 for unpaid sales taxes. He’s not alone. The DOR is quick to point out that the tax—which also affects aerobics and jazzercize classes—has been part of state law for decades. But representatives of other local venues, such as the Century Ballroom and Neighbours, also have said they didn’t know they were supposed to collect sales tax for tickets and cover charges to events that provide their patrons an “opportunity to dance”—and they too are now facing back taxes in the six-figure range. Cowan told the committee that he settled for $91,000, but for his nine-employee Ballard club, which sells tall boys of Pabst and Hilliard’s while regulars listen to rock, rap, and roots bands, “it’s a huge impact upon us. I think if we don’t do something about this now, it’s going to come back. [The law is] extremely vague.” Just how vague? Sen. Ed Murray, sponsor of SB 5613—which would amend the current law so that venues providing an opportunity to dance would not have to collect the full retail sales tax—and the DOR articulate the state law completely differently. Explaining how the “opportunity to dance” tax works in the afternoon before the hearing, DOR spokesperson Mike Gowrylow forwarded Seattle Weekly a section of an updated Tax Guide for Nightclubs, Bars, and Lounges that “we hope to publish soon.” It stipulates that “Any charge that allows a customer an opportunity to dance is subject to sales tax. The DOR presumes that an opportunity to dance is provided when a venue has a dance floor, or any dance area or location where dancing customarily occurs, and provides music, whether the music is provided live, by a DJ, or by some other arrangement.” Note that last sentence: “. . . whether the music is provided live, by a DJ, or by some other arrangement.” When Sen. Murray took the mike to introduce the bill he’s sponsoring, his interpretation of the law was in complete contradiction to the DOR’s: “The tax doesn’t make sense for these reasons: It applies to bars and clubs with DJs and recorded music but not to concerts with live bands, even though those different events might happen in the same venue and the people would both have the opportunity to dance.” Really?

RENEE MCMAHON

Chris Potter Quartet

Reverb»

Seattle club owners are just as confused. The owner of one of the city’s most popular clubs told me last Thursday that he understands the tax to be “only for dance clubs, and [we are] a live music venue.” Another longtime club owner told me that he believed concerts were exempt from the sales tax. Reached for follow-up earlier this week, Murray said in a statement that “One of the main difficulties of the current law is the varied interpretation of a ‘concert’ venue versus

“If you got to the Gorge and the Gorge is actually promoting a dance festival, then they should collect a tax.” a venue that is used for both concerts and the opportunity to dance.” One such venue is the Gorge. In the past, Gowrylow has used the amphitheater as an example of a venue that doesn’t promote dancing, and that therefore was exempt from charging sales tax on ticket sales. Last week Gowrylow said no music venue is patently exempt from the tax, and he seemed surprised to learn that the Gorge was gearing up for its second annual Paradiso, a festival riding the electronic-dancemusic wave, and that dancing had become a large part of the 11-year-old Sasquatch! Festival. Gowrylow says sales tax should be assessed if dancing—not just sitting or standing while watching a performance—is part of the draw to buy a ticket, regardless of the

Are Sasquatch! patrons given an opportunity to dance?

venue. “If you go to the Paramount and you watch a concert down there, you can’t stop people from jumping up [and dancing near their seats],” he says, explaining that such an event would not require collection of sales tax. “But if you got to the Gorge and the Gorge is actually promoting a dance festival, then they should collect a tax.” (Sales tax was not added to the price of tickets for Sasquatch!, which has sold out. And it’s not clear if the tax was included as part of the sticker price. Gowrylow’s earlier comments about the Gorge’s exemption suggests that they do not collect the tax. A representative for Live Nation, which owns the venue, would say only that “We are currently in good standing with all taxing authorities on all events that we produce.”) Gowrylow says it doesn’t matter if an event or club promotes itself as a “dance” club or “dance” festival. If dancing is an implicit part of the festival experience—as it clearly is at Paradiso, and increasingly is at Sasquatch!, which features a large tent where DJs spin for rabid throngs of dancers—the DOR believes it should be collecting a sales tax. “It all depends on what people go and expect to do when they get there. If people are coming there to dance, then they should be collecting the tax.” SB 5613 has until Friday to get out of committee and head to the floor for a vote. If it doesn’t pass, a continued state of confusion over the current law’s various interpretations, and the possibility of unexpected tax bills, remains certain. E ckornelis@seattleweekly.com

Reverb»Reviews »EVERY LOCAL RELEASE

LOCAL BANDS Devilwood, Osmanthus Americanus (out now, self-released, facebook.com/devilwood rocks): You have to admire rockabilly artists for toiling in a genre where the potential for commercial success is just north of xylophone funk. They make music they love, even if the audience for such music is severely limited. Devilwood operates in this tight sphere, their edges shrewdly sharpened by lead vocalist Hilary Allison, who sounds like Neko Case would if she got ditched by her fiance and had to play a show the very same night. MIKE SEELY Jennifer Kelly, Nothing’s Lost (out now, selfreleased, jenniferkellymusic.com): Cheerful folk rock for grown-ups anchored by Kelly’s strong voice, which, like the songs, lacks any edge or bite. DAVE LAKE Kylmyys, “Cosmosis” (out now, Automation Records, kylmyys.moonfruit.com): Kylmyys is Brian Kidd and Jason Chamberlain, ambient musicians and professional soundscapers (their website urges you to have them score “your next event or art gallery”), and this down-tempo electronic track falls somewhere between background noise and the club. Call it music for chilled-out contemplation. ANDREW GOSPE Nathaniel Talbot Quartet, Here in the Fields (out now, self-released, nathaniel talbot.com): Challenging what folk music is capable of, Talbot’s powerful, uplifting voice harnesses a country twang complemented by lush acoustic finger-picking and a violin that feels like it was birthed next to a babbling brook in the mountains. JOE WILLIAMS

Renata, First Sip (out now, self-released,

reverbnation.com/renatamusic): Little can be said about Renata other than that it’s fronted by a strong, spirited woman with powerful vocal cords and a penchant for jazz piano. While Renata itself is shrouded in mystery, the instrumentation alone is worth praising. JOE WILLIAMS

Service Animal, The Gravity Bear

Demonstration (out now, self-released, serviceanimal.bandcamp.com): What starts as a grungy homage to 1990 Seattle’s signature sound evolves into a dynamic album that reveals a rangy, energetic act with one of the better band names in town. If you bred Alice in Chains with World Party (no easy task, given the seeming discrepancy), this is what you’d end up with. MS (Thurs., Feb. 28, Skylark)

Peter Vukmirovic Stevens, August

Ruins (out now, petervukmirovic stevens.bandcamp.com): This five-movement, 53-minute suite for solo cello is lush and uncompromisingly brooding; “Leave them wanting more” is not one of Stevens’ aesthetic philosophies. Paige Stockley plays it stunningly; I would relish the chance to hear her do it live. GAVIN BORCHERT

Waxahachie, Transitory Discontent

(out now, self-released, waxahachie music.bandcamp.com): Duane Rubinowits’ project sounds a lot like what you might imagine Weird Al would sound like if he were the lead singer of Cake and specialized in jazz. Rubinowits’ jams are addictingly absurd, and the man is astonishingly talented. JW

(out now, Legacy, rollingstone.com):

A long-lost single from the late-grunge-era supergroup’s never-finished second album, Disinformation, “Locomotive” finds Screaming Trees growler Mark Lanegan sitting in for the band’s departed original singer, Layne Staley. Lanegan powers home outlaw lyrics over a tumbling guitar line that captures the band’s original drive as well as anything you’d imagine they would have cranked out after their lone classic, Above. More conveniently psychedelic than their occasional forays into Halloweenish zombie blues, but not as drawn-out as some of their trippier numbers, it’s a happy medium that old fans, and really any traditional rock fan, can dig. TODD HAMM

Seattle weekly • FE BRUARY 27− MARCH 5, 2013

* MAD SEASON, “Locomotive”

Reverb»The Short List Toro y Moi

WEDNESDAY, FEBRUARY 27

Chaz Bundick has come a long way since making heads nod on Causers of This, his long-form debut as Toro y Moi. In 2010, his most popular pieces were dramatically compressed beats that breathed inand-out like many of his contemporaries’, and although there was much more to his style, he was haphazardly lumped in with the chillwave and beat scenes. Since then, Bundick increasingly has reached back through time to become one of today’s most competent purveyors of retro-falsetto funk and light disco. His latest album, Anything in Return, is the culmination of his quest to sonically stir up the past, but rather than simply pay homage to it, he’s improved upon it. With Sinkane, Dog Bite. Crocodile. Sold out. TODD HAMM

Wintergrass

THURS., FEBRUARY 28–SUN., MARCH 3

Scene, The David Grisman Sextet, Peter Rowan and the Travelin’ McCourys, California, Laurie Lewis and the Right Hands, Della Mae, the Cleverlys, Sarah Jarosz, 18 South, Hills to Holler, Mollie O’Brien, Spinney Brothers, Mamajowali, Matuto, Pert Near Sandstone, Darol Anger and the Furies, The Kenny and Amanda Smith Band, the Deadly Gentlemen, the Paperboys, Polecat, The Student Loan, Wayward Vessel, Tim Connell & Jack Dwyer, The Modern Grass, North Country Bluegrass, Kevin Brown & the Beloved Country, the Howdy Boys, Pickled Okra, Highway Home. 6:30 p.m. $25 Thurs., $55 Fri., $70 Sat., $40 Sun.; pass $135.

Mico de Nocho FRIDAY, MARCH 1

MdN are bruisers. Get your hands on a copy of their latest LP, Cherries or their 2009 split 10" with Brothers of the Sonic Cloth, and grab hold of something. They rock with such might and ferocity that sometimes . . . they get a little sleepy, so from 2010 to mid-2011 they took a little band nap (aka hiatus) before returning to the studio and the stage. Now they’ve brought us their first post-break release: a self-titled, four-song 7-inch (released tonight) that reflects all that pent-up hiatus energy, from Michael Crum’s rugged animal howl to their truckload of distorted guitar. They clearly haven’t lost 36 a step, and sound like they had some wild

ANDREW PAYNTER

Toro y Moi gives Anything in Return to ticketholders on Wednesday night.

dreams while they were away. With Mos Generator, Ancient Warlocks, Serial Hawk. Chop Suey, 1325 E. Madison St, 324-8005. 9 p.m. $8. 21 and over. TODD HAMM

Hey Marseilles FRIDAY, MARCH 1

To celebrate Lines We Trace (out March 5), the long-awaited sophomore LP from Hey Marseilles, they’ll play a sold-out hometown show tonight before setting off on a sixweek tour. It’s been more than four years since the band released To Travels & Trunks, their debut, but in that time they’ve built a solid following outside of Seattle. Lines will further their cause, especially with the local management company that helped launch

the Lumineers on their side. Like Travels, Lines is at once intimate and soaring, staying true to its folky roots while expanding the songs with lush instrumentation. And even if singer Matt Bishop’s lyrics find him still searching for answers, the band, at least, seems to have found them. With Y La Bamba, Pollens. Showbox at the Market. Sold out. DAVE LAKE

Dave Alvin FRIDAY, MARCH 1

Call it alt-country, roots rock, Americana, or just good old rock and roll: After more than 30 years of tearing it up with the likes of the Blasters, X, the Knitters, and his own various projects, Dave Alvin continues to stake a

claim as one of the most influential ambassadors of good old-fashioned American music. Alvin’s latest excursions into the heartland include his honky-tonkin’ contributions “Harlan County Line” and “Beautiful City ’Cross the River” for the new soundtrack to the FX redneck-cop drama Justified. His latest LP, Eleven Eleven, leaves no doubt he’s still the man decades after he introduced a generation of punk rockers to the roots. On his latest tour, Alvin is teaming with standout guitarist/singer/songwriter Marshall Crenshaw, best known for his ’80s hit “Someday, Someway.” The posters feature a longhorn-emblazoned jukebox, which tells you pretty much all you need to know about what they’re serving. Tractor Tavern. Sold out. JOSH KERNS

EDITOR’S PICK

EL CORAZON’S EIGHTH ANNIVERSARY SHOW FRIDAY, MARCH 1

For their b-day, El Corazon hosts a trio of acts who could all headline—Reverend Horton Heat, Jello Biafra, and Guttermouth—which ought to make for one seriously sweaty evening of psychobilly and punk rock. Besides turning eight, El Corazon has plenty more to celebrate: Concert-industry trade publication Pollstar recently recognized the venue as one of the busiest in the nation for tickets sold in 2012. With the Spittin’ Cobras. El Corazon, 109 Eastlake Ave. E., 381-3094. 9 p.m. $20 adv./$25 DOS. DAVE LAKE

The Reverend holds court Friday at El Corazon.

COURTESY VICTORY RECORDS

Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

After a 16-year run at Tacoma’s Hotel Murano, 2013 is the fourth year the annual bluegrass festival will be held in Bellevue. The move was slow to warm the hearts of South Puget Sound roots-music aficionados, but not of the fest’s devoted fans, who continue to flock to the workshopcrammed weekend intensive known for 24-hour jam sessions and a lineup featuring some of the finest pickers and fiddlers around. In the circuit, David Grisman and Peter Rowan—known for their many string-based projects, along with their work with Jerry Garcia in the group Old and in the Way—are sure to up the jam factor, if not the “grass” one. With The Seldom

America's Greatest Big Band Show “Our emotions ranged from goosebumps to tears.” —Ken and Elaine Aubrey

Benaroya Hall

Sunday, Mar 10 1 pm Matinee & 5 pm

Box Office: 200 University Street, Seattle Tickets: 206-215-4747 or 866-833-4747 Online: www.benaroyahall.org Info: artbeatshows.org & inthemoodlive.com Also Playing: Saturday, Mar 9 ~ Everett, Civic Auditorium ~ 7:30 pm

presented by:

Seattle weekly • FE BRUARY 27− MARCH 5, 2013

Group Discounts! 8 or more $5-off 16 or more $10-off

A nostalgic, patriotic, upbeat musical revue featuring the music of Glenn Miller, Benny Goodman, The Andrews Sisters and more! 19 on stage: Big Band with six singers and some high-flying swing dancing!

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robben ford

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freddypink SAT/MARCH 2 • 7PM & 10PM - SEALED WITH A KISS PRESENTS

tyrone wells

w/ brett young (7pm) & graham colton (10pm) SUN/MARCH 3 • 7:30PM

carrie clark & the lonesome lovers w/ shenandoah davis MON/MARCH 4 • 7:30PM

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TUE/MARCH 5 • 7:30PM

rhett miller w/ shelby earl Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

THU/MARCH 7 • 7:30PM

mason jennings solo w/ friendly gomez

next • 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 • 3/24 the kinsey sicks • 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 • 3/30 the english beat • 4/2 battlefield band • 4/4 my goodness • 4/5 steep canyon rangers • 4/6 janis ian • 4/11 eddie jobson “four decades” • 4/12 super jam plays squeeze • 4/13 massy ferguson w/ the bgp

happy hour every day • 2/27 the gloria darlings / nathaniel talbot quartet: cd release! • 2/28 closed for a private event • 3/1 danny godinez / donny mccaslin • 3/2 the giraffe dodgers • 3/3 ranger and the ‘re-arrangers’ cd release! • 3/4 free funk union w/ rotating hosts: d’vonne lewis and adam kessler • 3/5 song sparrow research w/ the corespondents • 3/6 flip and fly / jargon TO ENSURE THE BEST EXPERIENCE · PLEASE ARRIVE EARLY DOORS OPEN 1.5 HOURS PRIOR TO FIRST SHOW · ALL-AGES (BEFORE 9:30PM)

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216 UNION STREET, SEATTLE · 206.838.4333

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Reverb»Seven Nights 1303 NE 45TH ST

Wednesday, Feb. 27 CHILDREN OF KIDS This local electronic trio’s songs

are playfully experimental and moderately danceable. With Vibe Warrior, Werebearcat. High Dive, 513 N. 36th St., 632-0212, highdiveseattle.com. 8 p.m. $6. PATTI SMITH A formative figure in the history of independent rock, Smith is touring behind Banga, her first album of original material since 2004. The Neptune, 1303 N.E. 45th St., 784-4849, stgpresents. org. 8 p.m. $36 adv./$38.50 DOS. All ages. RORY JAMES, a former minor-league pitcher (in his one forgettable season for the Sioux City Explorers, he posted a 1-6 record and a 6.70 ERA), now makes dusky, straight-outta-Ballard acoustic folk. With Petty Party, the Hobo Nephews of Uncle Frank. Comet Tavern, 922 E. Pike St., 322-9272, comettavern.com. 8 p.m. $8.

DILLON WARNEK AND THE DISMAL TIDE On last

year’s A Stranger Here, Warnek’s songwriting is melancholy and introspective, but with his four-piece band, his songs have a muscular pop-rock bravado. With the Texas Teardrops, Sam Russel with the Harborrats. Columbia City Theater, 4918 Rainier Ave. S., 723-0088, columbiacitytheater.com. 8 p.m. $8. HEARTLAND STRING PROJECT Typically a quartet, this New Haven, Conn., Americana group has slimmed down to a duo (violinist Corinna Smith and bassist Andrew Small) for a batch of Seattle dates. Cafe Racer, 5828 Roosevelt Way N.E., 523-5282, caferacerseattlecom. 9 p.m. Free. MIDDAY VEIL Tune in for drawn-out compositions from the dark side of synth-rock for all you Bacchic revelers. With A Story of Rats, Great Falls, Hekate. Chop Suey, 1325 E. Madison St., 324-8005. 8 p.m. $8. 21 and over. SNOWDEN It’s been nearly seven years since Jordan Jeffares’ previous album as Snowden, but his postpunk band is set to return to form in May with the release of No One in Control. Barboza, 925 E. Pike St., 709-9951, thebarboza.com. 8 p.m. $10 adv.

COURTESY ANBERLIN

Thursday, Feb. 28 Anberlin brings its Vital new LP to the Showbox on Sunday.

this Columbus, Ohio, MC released Deleted Scenes last year. With TH3RDZ, Fatal Lucciauno, Jewels Hunter, Nathan Wolfe, The Sharp 5. Nectar Lounge, 412 N. 36th St., 632-2020, nectarlounge.com. 8 p.m. $10. WHY? On 2012’s Mumps, Etc., this Yoni Wolf–led band continues to confound with its hard-to-classify mixture of hip-hop, art rock, and Wolf’s confessional (emo?) songwriting. With Astronautalis, Dream Tiger. Neumos, 925 E. Pike St., 709-9442, neumos.com. 8 p.m. $15 adv.

It’s a testament to the strength of their live show (and perhaps to the general appetite for ultra-traditional rock) that this blues-rock/soul quartet has now jumped to a much larger venue. With Michael Kiwanuka, Sam Doores, Riley Downing. The Paramount. Sold out. ANBERLIN This Florida post-hardcore band has deep ties to Seattle, including records on Tooth & Nail and a new album, Vital, produced by Aaron Sprinkle, which topped Billboard’s Christian Albums chart. With Paper Route, All Get Out. Showbox at the Market, 1426 First Ave. S., 888-929-7849. 7 p.m. $20 adv./$23 DOS. ANDY GLOVER Acoustic singer/songwriter Glover will release his Visions of the Future EP at this show. With Raven Zoe, Caren Taylor, Norm Bowler. Rendezvous. 7 p.m. $5 DOS. YES Today, calling a band “prog” is a pejorative in many circles. But that wasn’t the case when Yes helped form our modern conception of the genre in the early ’70s, when rock-star excess was the norm and a concept album about obscure Hindu scriptures (1973’s Tales From Topographic Oceans) could crack Billboard’s Top 10. The band released Fly From Here, its 20th album— sans classic frontman Jon Anderson—in 2011. The Moore, 1931 Second Ave., 467-5510, stgpresents.com. 7 p.m. $32.50–$62.50. All ages.

Saturday, March 2 BOAT In conjunction with the release of their forthcoming

Pretend to Be Brave, this local art-pop group curated an album of covers of its songs, featuring contribu-

Monday, March 4 BOY Just as Girls started as two dudes, BOY is actually

Friday, March 1 ANDY COE One of Seattle’s pre-eminent jazz guitarists,

Coe’s credentials are matched by those of the other musicians on this bill, who play in groups like McTuff, Spellbinder, and Mad Season. With Danny Godinez, Joe Doria, Barrett Martin. High Dive. 9:30 p.m. $7. THE CRY! Most music that bills itself power-pop relies on big, anthemic, traditional rock songs to get the point across, but these Portlanders draw from ’50s and ’60s pop and doo-wop as well as punk, making for wry music that seeks to please rather than overwhelm. With Big Eyes, Sweet Pups, the Piniellas. Rendezvous, 2322 Second Ave., 441-5823, jewelboxtheater.com. 9 p.m. $8 DOS. BLUEPRINT A signee of influential underground hip-hop label Rhymesayers (Brother Ali, Aesop Rock, MF Doom), Send events to music@seattleweekly.com See seattleweekly.com for full listings = Recommended, NC = no charge, AA = all ages.

•

tions from Throw Me the Statue, SW columnist John Roderick, and the two bands who’ll open this show. With Aqueduct, Quiet Ones. Barboza. 7 p.m. $10 adv. MARCH FOURTH MARCHING BAND Their mélange of big band and funk works because of the musicians’ technical proficiency and, most of all, spectacle. Nearly half the 20-plus members are dancers or acrobats, lending its live shows a circus feel. With Cascadia ’10. The Neptune. 9 p.m. $16.50 adv./$20 DOS. All ages. RAMONA FALLS has been Brent Knopf’s main focus since the multi-instrumentalist and songwriter defected from Menomena two years ago, and he has one severely underrated album of artsy indie pop—last year’s Prophet—to show for it. With Social Studies, Cathedral Pearls. Tractor Tavern, 5231 Ballard Ave. N.W., 789-3599, tractortavern.com. 9:30 p.m. $12 adv./$15 DOS.

Sunday, March 3 ALABAMA SHAKES Fourteen months ago, Alabama

Shakes played the Crocodile when they visited Seattle.

Tuesday, March 5 THE HUSH SOUND After three albums and tours with

bands like Fall Out Boy and All-American Rejects, the Illinois quartet went on hiatus in 2009. But it’s back at work, with a new album slated for spring and a string of West Coast dates, their first in four years. With the Last Royals, Sydney Wayser. El Corazon, 1426 First Ave. 6:30 p.m. $7 adv./$10 DOS. LEMOLO It’s that time of year again when up-andcoming bands venture to the marketing-teaminfested wilds of Austin, Texas, for SXSW. See these locals off at this show—which is also one of much-hyped hip-hop producer OCnotes’ last performances as a Seattle resident before he relocates to Portland. With Spac3man, Seacats. Neumos. 8 p.m. $10 adv. PASSION PIT Michael Angelakos and co. are arguably the world’s biggest electro-pop act, and the songs from their sophomore album, Gossamer, are outsized and catchy enough to fill arenas (the band played Madison Square Garden earlier this month) and sell Doritos® Locos Tacos™ in equal measure. With Matt & Kim, Icona Pop. The Paramount. 7:30 p.m. $33.25. All ages.

Seattle weekly • FE BRUARY 27− MARCH 5, 2013

COURTESY COLUMBIA

Patti Smith is at the Neptune on Wednesday night.

two women, Valeska Steiner and Sonja Glass. The Hamburg-based duo’s agreeably ramshackle pop tunes are reminiscent of those of Feist and Neko Case. The Triple Door, 216 Union St., 838-4333, thetripledoor.net. 7:30 p.m. $12 adv./$15 DOS. All ages. MONKEY BAT This local power trio deals in jammy, acoustic guitar–led jazz-funk. Comet Tavern. 8 p.m. PSYCHIC ILLS The New York psych-rockers favor slow-paced, reverbed-out guitar that oozes California lifestyle. With Folkazoid, Kingdom of the Holy Sun. Crocodile, 2200 Second Ave., 441-4618. 8 p.m. $10. All ages.

Seattle weekly • FEBRU ARY 27− MARCH 5, 2013

dategirl»By Judy McGuire

Emotional Abuser or Simply a Bastard?

When I was dating the psychotic closet case, I spent many an hour digging through my assorted psychology and criminology books, trying to discern whether this jerk was a sociopath or a full-on psychopath. It’s embarrassing to admit that I seriously thought it mattered. That is, until he “accidentally” nearly broke my thumb and with that pain came clarity: A scumbag is a scumbag is a scumbag. Who cares what the DSM IV says? You don’t need to figure out whether or not your boyfriend is emotionally abusing you—all you need to know is that when you’re with him, you’re constantly being belittled and told you’re not good enough. And your family hates him? Unless you’re a member of the Phelps or Manson families, that is generally a VERY BAD SIGN. That your friends think he’s an ass is even more of a red flag. You say he’s never hit you (high-five for that, I guess), but what he’s doing is isolating you, which can be a baby step toward escalating abuse. It took me a horrifyingly long time to figure out that your partner’s main job (besides being on call for sex 24/7) is to make you feel hotter, smarter, and more charming than you might actually even be. So many people out there are more than happy to tell you that your shoes don’t match or your hair looks like crap. Or that your work isn’t up to par or your feet stink. You’re a businessperson, so riddle me this: Why would you want to emotionally invest in someone who doesn’t think you’re fucking amazing? 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.

Dear Dategirl, I’m not sure if I’m being emotionally abused by my boyfriend, or if I’m oversensitive. He says I’m hypersensitive. We have only been together for a year, yet I’m constantly questioning whether or not it’s OK for me to be upset when he acts selfish or criticizes me about everything you could ever imagine. When I speak up, he tells me I’m too demanding and he only wants the best for me. I have a MBA and a fantastic job that I love, which he constantly belittles. He says it’s because he thinks I could do so much better and earn much more money. (I already outearn him by far more than he knows.) My friends are “stupid.” My clothes are “boring and unsexy.” He has even tried to teach me how to kiss. Well, I’m 30 years old and nobody has ever complained about that before! It probably comes as no surprise to learn that my friends and family can’t stand him, so our social life is limited to either us alone, or out with his friends, who are fine, but nobody I’d pick to spend time with. I want to have a family, and he does have many good qualities, and I love him, but I just don’t know. He has never raised a hand to me, or even yelled. It’s just this constant picking that I don’t know how to stop. How can I convince him to stop? Please don’t suggest therapy, because he won’t go. —Tired

dategirl@seattleweekly.com

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in the morning and you’ll be nausea-free for hours. Tahoe Kush, though considered a member of the indica-dominant Kush family, reputedly contains 50 percent sativa genetics. Its bright-green, trichome-stacked, swollen calyxes glisten with heady promise and have a sweet-edged, fuelish, lemontinged odor. Toking reveals the lemon terpenes more fully, along with the expected diesel and a lingering, pleasant aftertaste. Tahoe results almost immediately in pronounced relaxation; you can feel tension leaving your body with each toke. A pleasantly warm numbness suffuses the limbs as a calm reverie fills the brain. This strain is great for pain, depression, anxiety, and stomach ailments; it was originally bred for AIDS patients and those suffering from breakthrough pain. It is also reportedly quite effective for those withdrawing from chemical dependency on either pharmaceuticals or street drugs. Concentrates, including Rick Simpson Oil, bubble hash, butane hash oil, and “thai sticks” (cannabis flowers double-dipped in hash oil) are available, as are four flavors of tincture and one cannabis-infused topical lotion for muscle pains. New patients at Nice Guys get to pick either a free prerolled joint or a medible, a $5 value. Easy parking is available directly in front of the shop. E tokesignals@seattleweekly.com

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he first thing I wondered about Nice Guys—open in Tacoma since last June—was “Is this a medical-marijuana dispensary?” My uncertainty was due largely to the puzzling sign above the storefront: “Nice Guys Management.” Unsure where “Management” fit in—unless maybe it meant pain management?—I went inside after spotting a reassuring green cross on the window. That almost always means you’re at the right place. The only patient in the shop, my authorization was quickly confirmed. The bud room was medium-sized as bud rooms go, with sativas and hybrid strains in one glass display case, indicas in another. I was pleased to note that everything, flower-wise, went for the same donation level: $10 a gram across the board. Knowledgeable budtender Jermaine helped me explore the flower selection, offering useful feedback from his personal experience and from that of other patients. The sativa/hybrid case held about 10 strains, half of them sativas, and the indica case had about 10 more. Four varieties of medibles were on top of the indica case—unlabeled as to manufacturer, ingredients, or potency, but they looked good (and as it turned out, tasted good and worked well). I selected one sativa strain, Acid Diesel, and an indica-dominant, Tahoe Kush, for sampling, based upon their looks and bouquet. Acid Diesel is a powerful variant of the popular Sour Diesel/New York City Diesel family, giving a cerebral, energetic, and uplifting high. Smoke some Acid Diesel

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