Sub Pop Snafu

The increasing crossover of comedy and indie rock was set largely in motion when local label Sub Pop released Shut Up, You Fucking Baby!, the two-disc album of stand-up comic David Cross' live act, in 2002; a year later, the label released a Cross DVD, Let America Laugh. Now there's a related Web site—only instead of a product tie-in, www.wearenotlaughing.com chronicles the attempts of Nashville's Thomas Weber to sue Cross, Sub Pop, and all related parties (including Cross' production aegis, Liberal Jew Run Media). Apparently, Weber, who was managing the Nashville venue where much of Cross' material was recorded, did not give permission to include his likeness in Cross' CD and DVD. Reached by phone, Sub Pop's head of media relations, Joan Hiller, was unable to comment. MICHAELANGELO MATOS

BOWLED OVER

Fans of two-toned shoes will be saddened to learn that Greenwood's tiki-themed bowling alley, Leilani Lanes, is going the way of the Rainier Brewery, Chubby & Tubby, and the Twin Teepees restaurant: It will close in spring 2006 after 45 years at 10201 Greenwood Ave. N. The lanes' owners, who also operate Ballard's old-school Sunset Bowl, got an offer they couldn't refuse from developer Michael R. Mastro, who plans to put an apartment and commercial complex on the site. Could it be coincidence that the same day The Seattle Times reported the deal, ACME Bowling announced plans to open "one of the largest bowling and event venues on the West Coast" in November in Tukwila? Promising 30 lanes with customizable lighting and sound, 13 plasma screens, and WiFi capability, ACME says the new facility will be "hip . . . edgy . . . and completely smoke-free." Could be: But will it have cool, kitschy tribal masks on the walls? We doubt it. LYNN JACOBSON

OUT, OUT DAMN OPERA

If planning an opera season five years in advance is a challenge, reworking it one year in advance is a nightmare; but with Seattle Opera's recent budget struggles, General Director Speight Jenkins had to shelve (or postpone, we hope) two productions this season—two operas requiring expensive sonic luxuries like big choruses and offstage orchestras. To replace Shostakovich's Lady Macbeth of Mtsensk (scheduled for next January, the start of the composer's centennial year) and Donizetti's fluffy, proto-Gilbert-&-Sullivan-esque The Daughter of the Regiment, Jenkins found another comedy and an even more contemporary work: Die Fledermaus, with Jane Eaglen, opening Jan, 14; and the current production of Jake Heggie's The End of the Affair (see review, p. 64). "I refuse to fall into the Aida/Boheme/Carmen trap," Jenkins says, referring to three popular works too often dragged out reflexively whenever an unimaginative opera company needs a cash cow. "That's not the kind of subscriber base we have." GAVIN BORCHERT

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