Now everybody's doing it. First Wm. Steven Humphrey devotes an entire column to how he's gonna break his foot off in the ass of the guy who's cybersquatting on the domain name www.ilovetv.com; now the ever-ready legal team employed by Courtney Love is suing the two guys who own www.kurtcobain.com, www.hole.com, and www.courtneylove.com. Complaints include trademark dilution, trademark infringement, statutory misappropriation of name and right of publicity, unfair competition, and copyright infringement. The plaintiffs-Love; the Estate of Kurt Cobain; the End of Music, LLC, which owns the Kurt Cobain trademark; and Doll Head, Inc., which owns the Hole trademark-are seeking up to $100,000 for each infringement. The suit claims that the infringements total "more than 90 recordings of musical works written and/or performed by Kurt Cobain, the lyrics for more than 75 musical works by Mr. Cobain, and at least one video for a musical work written and performed by Mr. Cobain." Three days later Canada's National Post reported that one of the accused men, Adam Corelli, claims innocence, blaming it all on a technical malfunction caused by a web company in Toronto called Wired Solutions Inc. Corelli is demanding a public apology from Love-and respite from the Cobain fans who have been bombarding him with hostile phone calls and e-mails. At press time, It's My Party still hasn't decided which party is the bigger jackass.

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Here's a great pairing we won't get to see: The Flaming Lips and Built to Spill are playing a series of shows together, but only on the East Coast. Blast.

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While I'm feeling cranky, I feel a need to address the state of the sound system over at the Breakroom. Twice I've gone there to see Carissa's Weird, and twice the sound was totally fucked up. What's going on? Is that a mannequin stationed behind the sound board? Carissa's Weird is one of this city's best bands, and the first time they played the Breakroom their mics weren't even turned on. Then last Saturday the high end was so loud that half the club's patrons had their fingers stuffed in their ears. I'm not kidding-it was excruciating, and even my dulled ears were practically falling off the sides of my head. Death Cab for Cutie's recent shows at the Capitol Hill club were sound disasters as well. Now, I prefer to see shows at the Breakroom simply because it's one of the few clubs where a person of my height can actually see the band without climbing up into the rafters. And since there's no real socializing space once the band starts playing, I don't have to be subjected to Nordstrom chicks and their incessant babbling above the music. But the sound is atrocious. The Crocodile has great sound, but I always seem to be standing behind that pillar no matter how much I try not to. And when that partition is open, it's yakkety-yak city. As a matter of fact, now that I'm fully in rant mode, several popular clubs in Seattle could be taken to task for their shoddy sound management. Graceland? Bad sound. I-SPY? Bad sound. And oh my God, I know it's not a rock club, but could somebody PLEASE do something about the speakers at the Cha-Cha? Talk about bleeding ears! Funny that everyone who works there is a musician. I guess I'll be spending more time at the Showbox-which has great sound-especially since they have so many cool shows in March and early April: Bob Mould, Peter Murphy, Methods of Mayhem (for the laugh factor), Luna, the Charlatans U.K., Stereophonics, and the Melvins. And don't forget about the Fenix-I know, it's in the heart of Idiotville, otherwise known as Pioneer Square, but it's got GREAT SOUND-where Frank Black and the Catholics will be playing on March 3. See you there.