Wednesday, May 28, 2014
Let Your Kids Enjoy in a Family Restaurant in Sand Point Seattle
Tuesday, May 27, 2014
Edmund White Fantasizes About Timothy McVeigh
by Christopher Frizzelle
Terre Haute
is a two-person play set on death row in Terre Haute, Indiana. The man on death row is Harrison, “lean and with a light brown brush-cut,” but
he’s clearly modeled on Timothy McVeigh—he’s about to be executed for blowing up the Alfred P. Murrah Federal Building in Oklahoma City
in 1995, killing 168 people, including 19 children under the age of 5. He’s visited in jail by an urbane American named James, clearly modeled on the
author Gore Vidal, who says, regarding Terre Haute and America generally, “If I had to live here, I’d become a terrorist, too.” In
reality, McVeigh and Vidal never met, but they did correspond by mail, the basis for some journalism Vidal did about the bombing. In this theatrical work,
the dynamic between the 71-year-old writer and the 28-year-old criminal is lightly flirtatious and then explicitly flirtatious—they both want to
impress each other, but for very different reasons. As we learn early on, the 28-year-old reminds the old man of an ex-lover of his. Earlier this week, White and I spoke by telephone.
When Timothy McVeigh blew up the Federal Building, I was a teenager, and I remember seeing him on TV—I thought he was as handsome as a movie
star.
Edmund White: I think so, too. I always had sexual fantasies about him. It’s that he looks very masculine with that huge Adam’s apple and those
intense eyes.
Gunshot eyes, you call them in the play.
Yeah. Right. And all that willfulness. But in his own way, he was kind of an intellectual. He really had a point of view. He wasn’t like a lot of
dumbass people who believed the same things he believed in. He was really moved by the nightmare at Waco. That’s what really set him off. He was from
upstate New York, the same world that Joyce Carol Oates comes out of—very poor white people. Rural people. And usually quite decent and idealistic.
And anyway, I think he was so upset by the Gulf War and all of our atrocities there—and then when he got back, he was just penniless and treated in
the bad way that so many GIs are treated. I’m not trying to justify him. I hope you get the feeling from the play that he committed unforgivable
atrocities. But I do think he had a point of view, and he had thought about it a lot. But, you know, this is the play that Gore Vidal sued me for.
Yeah, why did Gore Vidal sue you?
Well, I mean, I talked to him about it originally, and he was very helpful and nice. And then I showed him the play, and I told him he had to approve of it
in writing because the BBC wanted to put it on the radio but wouldn’t put it on if he disapproved of it. So he sent a fax that said it was fine with
him. And then the next day, he went into hip surgery, and was on all these drugs, plus the fact that he was drunk every day by noon, and he’d
forgotten he’d said all this. Then suddenly, I get a call from a journalist in Canada who said, “I’m sitting here with Gore Vidal, who
says he’s gonna sue you.” So my first remark was “That’s silly—he’s already given me permission.” But it dragged
on and on. I wrote a long letter in which I reminded him we’d met in 1974, and he’d blurbed Nocturnes for the King of Naples in 1978,
and I made it almost sound like he was a mentor, which he never was. But I wanted to appeal to his humanity. So after that, he never bothered me again. Do
you think his reputation will last?
Gore Vidal’s? Well, he said some saucy things, and we all love an insult.
That’s true. And some of his essays are very clever, but I think the novels are like taxidermy—those big, fat historical novels. I think he was
bitter because he could sense his novels wouldn’t be ranked very high. And I remember going to the Sadler’s Wells Theatre in London and paying
$10 to hear him talk, and he only talked politics. He never talked about art or literature.
Whereas you’re not really a politics guy.
That’s true. But I sort of boned up. The way this whole thing started was I had a boyfriend who looked like Timothy McVeigh, who was an actor, and he
asked me to write him a play. So I thought, “I can write that, I guess.” But I couldn’t really think myself into it. But when I
discovered Timothy McVeigh had a correspondence with Gore Vidal, I thought: Gore Vidal I can understand a little better, he was a Europeanized American and
gay, and I’d met him many times, and I knew people in his world, so I thought, “Well, I can write it that way, I guess.” So then the
play—like everything in my life—it had to do with flirting.
Does a lot of your literary imagination come out of lust?
Yeah, I think so, I definitely think so. It’s what irritates people about me. I think I’m a fairly good writer, but I’m not that
well-known, because of what I call the cock-and-balls problem. People don’t want to read about it. People have gotten really puritanical. Or not
that, but hypocritical. All the gays are getting married and adopting children and pretending to be respectable members of the PTA—and they’re
all on Grindr constantly. Don’t you think? I think boys will be boys, and all these gays who are trying to be so domestic and respectable—well,
the animalistic comes out of them every once in a while.
You’re far more likely to share some bit of sexual gossip than you are to share your views on the Bill of Rights.
I guess so. I think gay men of my generation felt so alienated from the culture that they didn’t feel like participating in the political process. I
remember all my straight friends were so worked up over Watergate, and I was just completely indifferent to it, because I thought, you know, it’s not my government, because gay people those days felt so isolated and alienated from the country.
Do you think Timothy McVeigh was gay?
No, no, I don’t. I just kind of wrote the ending the way I did because I thought he could be accommodating to the Gore Vidal character without having
to put out.
You let Gore Vidal have what Gore Vidal probably wanted.
Yeah. That’s what I thought! But he didn’t take it that way. But Vidal had very extreme politics toward the end of his life. I softened all
that and made the character seem more reasonable, but he really had more radical views than I do, or than more reasonable people do. He really thought
armed revolution was a good idea in America, and I don’t know, the outrage of Waco and Ruby Ridge and all those things that got those gun nuts worked
up in America—he sympathized with them. And [I imagined for Terre Haute] that the McVeigh character wants to get his side of the story out.
McVeigh spoke very little during the actual trial. He very seldom defended himself. He’d probably been instructed by his lawyers not to talk very
much. So he didn’t present his point of view very well or very copiously. But I thought it’d be interesting to have him want to get his story
out through this writer who’s infatuated with him.
This production of Terre Haute seems especially timely now with that botched execution of the prisoner in Oklahoma a few weeks ago.
I was so shocked by that. And Texas is going to forge ahead. They kill more people than anybody and they’re proud of it. They stayed the execution
not because the death method was deemed cruel and unusual, but because the guy was deemed retarded. But they had files dating back years and years showing
that he was retarded, but they had never bothered to produce those. But just at the last minute a psychologist tested him and found he had a 70 IQ. And the
Supreme Court is the body that decided you can’t execute retarded people. So the means of execution is already a nightmare—European
manufacturers, who are the source of the lethal drugs, decided they didn’t want to sell them anymore to America because they disapproved of the death
penalty. So all these efforts are states trying to approximate those drugs and not getting the formula right.
Did the guy you wrote this play for like it?
Oh, well, he broke up with me. But he did like it. And he performed it on the BBC. He was American, but he performed it on BBC with Ian McKellen—they
aired it on the radio—and then he and Ian McKellen led the gay parade that year, in front of about 100,000 people. This guy had that kind of Timothy
McVeigh look—skinny and blond and tall and kind of butch.
I love that you wrote it for a man you were seeing.
You’d probably do it, too.
Both of these characters are sort of using each other. A writer is always selling someone out.
Yeah, I think so. I think there’s something very treacherous about writing. Even in my latest book, Inside a Pearl, about Paris, people
I’ve written about—that I thought were fairly positive portraits—have felt very betrayed and denounced me.
And you had a feud with Susan Sontag, who was the basis for a character in a novel of yours years and years ago and stopped being friends with you
after that.
We had a huge feud that went on for like 20 years, but that got kind of resolved shortly before she died. I was in a restaurant with some friends, and I
saw this guy on the other side of the room who was a friend from Paris, and I went over to say hi to him, and then I realized, Whoops! That woman with a
gray crew cut is Susan Sontag, who’s just gone through chemo, and that woman is Annie Liebovitz, and there was some other dyke there, so I went back
to my table with my tail between my legs. And all of a sudden, Susan was standing there, saying, “I hope you don’t think I was ignoring you
because of our silly little feud.” And I stood up, and she embraced me. I think she knew her days were numbered, and she didn’t want to waste
her energy on having a feud.
How is it possible you are so prolific? It’s amazing.
[Laughs] Well, I’m always broke. I do it for the money. But Terre Haute I never made any money off of. It’s been done all
over, but I think I’ve made a grand total of $300 from it. I’m aware of time’s winged chariot. I am 74 years old. You start speeding up
when you get older.
Sunday, May 25, 2014
What to Expect from the Best Grill Restaurant in Seattle
Tuesday, May 20, 2014
Improvising a Bad Marriage
by Charles Mudede
Trapped in a Black Box: An Improvised Hiphop Opera (the title, of course, recalls R. Kelly's "rap opera" Trapped in the Closet) attempts to do something that seems interesting: marrying the theatrical tradition of improv with the hiphop tradition of freestyling. Unexpected Productions, which performs this experiment in a theater below Pike Place Market, is not only rooted in the former tradition, but also has an improv school—the largest in the Northwest, its website claims. The school promises that students will improve public presentation, teaming skills, and improvisational skills, and overcome shyness. As for the latter tradition, the freestyle side, Unexpected Productions doesn't have this depth and confidence.
Hiphop freestyle has been with rap from the beginning, and involves rappers freeing themselves from the pen and pad and letting rhymes come fresh off the top of the dome. In the old days, you could tell if rappers were lazy freestylers if they used tropes like battling Superman ("Superman came into town to see he who he could rock") or frequently retreated to the call to "Throw your hands in the air." By the '90s, freestyling became baroque with battle-rap events that captured national attention. "Doseone battled Eminem at Cincinnati's annual Scribble Jam in 1997," music critic Dave Segal wrote in The Stranger in 2003. "While we all know Em's story (and the mythologized Hollywood version portrayed in 8 Mile), Doseone has lit up the underground with a unique aesthetic flame." Battle-rappers are another breed of freestylers. They deliberately throw themselves into the deepest hole possible, where it seems no rope of a rhyme can reach, and somehow, some way, they must find and say the impossible word without missing a beat. (Seattle rappers meet every week to freestyle—communally, not battling—at a Tuesday event at Lo-Fi called Stop Biting.)
Regrettably, this attempt to bridge these two improvisational arts is not a success. (I have to admit, I did not stay for the whole show, for mostly personal reasons.) The problem is almost entirely found on the rap side of the union. An improv actor is always a good comic and can play off what others have said, but with freestyle, it's more about the rapper and the beat. On several occasions, the improvisers would throw out a line and completely fail to catch the rhyme: "I'm looking for milk in the fridge/But all I see is a lot of grass..." This is painful. You should never do that. You must rhyme no matter what, no matter how bad or gross: "I'm looking for milk in the fridge/But all I see is a lot of jizz..." And that kind of no-matter-what attitude is needed if this kind of experiment is going to work. Also, the DJ, who stood on the side of the stage, needed to get his sounds down (though I did like his space-alien look—very old-school). Often, the volume on a track was too high, or too low, or the beat did not fit the development of the improvised plot, which on Sunday night had a Mother's Day theme.
Without a solid DJ and a mastery of top-of-the-dome rap, a show like Trapped in a Black Box will suffer. One can imagine a kind of cultural-exchange program, where actors who are skilled at improv and rappers who are skilled at freestyling meet and teach each other their art forms—but on top of finding and working with talented battle-rappers, you have to narrow the search to the few who are genuinely funny. All of this is a tall order, so it's not surprising that Trapped in a Black Box misses much more than it hits.
Friday, May 16, 2014
Tuesday, May 13, 2014
2014 Seattle Beer Week
Thursday, May 8 - Sunday, May 18, various locations
The Sixth Annual Seattle Beer Week is upon us and is bigger and better than ever! There are over 300 craft beer related events between May 8th and 18th throughout the greater Seattle area. Meet Brewers from down the street and around the world during this 10 day celebration of all things craft beer. Cheers!
More info HERE.
Tuesday, May 6, 2014
My Philosophy
by Larry Mizell Jr.
It was in 2004 that I received 7 Deadly Sins, the debut project from Ballard High School senior John Overlie—accompanied by a very polite handwritten note. A couple mixtapes, three albums, four EPs, and 10 years later, the man we all know as Grynch is still on the scene, a super-senior perhaps, but no senior citizen. He's been relatively quiet since 2012's Perspective, playing shows, ironing his Dickies, et cetera—but he's returned to the fold with his fourth album, Street Lights.
If you pay attention—and you will never go wrong doing just that, trust me there—you know Grynch's trademark thoughtful everyman steez, and either you rock with it or you don't. If you do, you'll be glad to hear the 2014 edition. He's still taunting doubters and bragging on his young-vet status in the Six ("Shine"), keeping it West Coast (the Kokane-featuring "On a Good One"), and being as disarmingly self-deprecating as ever (the amorous failure-to-launch hookup ode "My Folks' Spot"). The smooth '80s grooves and R&B assists that served him so well last time out are even slicker (check his chemistry with Malice and Mario Sweet on a couple cuts), and he sounds even more at home in the mix—if town-rap ever had an earthy Bobby Caldwell, it's him. And just like Mr. Do for Love, Grynch is just as fucking nostalgic as ever ("Time Flies")—he's virtually Seattle rap's Kevin Arnold. It suits him, though. The Wizdom and Fearce Vill–featuring "My City's Filthy," full of boilerplate civic pride, rides a pretty played-out sentiment (and overcooked hook) but is ultimately as innocuous as the latest Seahawks-inspired Space Needle tee. Most telling, though, is the stakes-is-higher attitude felt here, the narrator less satisfied with things than he was just a couple years ago, admitting that he almost called it quits—and on some joints, in particular "I Can Try," the G-child recaptures some of the hunger that typified his 2008 My Second Wind. He's having his release party on Friday, May 2, at the Crocodile with the Bar (y'know, Prometheus Brown and Bambu), Dave B, and Jake One.
My dude UGLYFRANK from Tacoma crew ILLFIGHTYOU (sorry for yelling) is playing a show at the li'l ol' Rendezvous the night of Saturday, May 3, with young firecrackers Kung Foo Grip. This is straight-up conflict-of-interest territory—I manage Frank and booked this show. Maybe you caught his Bobby Hill EP that dropped last month. Needless to say, it will be some fuckin' hellafied rapping up in that piece that night, and you're welcome to it.
You're also "Welcome to Dillaville" on Sunday, May 4, at the Croc—a tribute to the god James Yancey featuring Bizarre Ride Live (featuring Slimkid3 and Fatlip of the Pharcyde) and the latest lineup of Slum Village (T3, Illa J, and Young RJ). Does this scan as the latest well-intentioned Dilla cash-in by affiliates and former bandmates? Yes. Does the "Remember Dilla" industrial complex and the dorky "Dilla Changed My Life" cult bum me out in general? Yes. Does it dull Dilla Dog's shine or dog him and his peoples' catalog? Never. Do you.