Eddie Vedder and Dave Grohl Play Surprise Encore at Mike Watt Show

Gomer Pyle is SurprisedGrunge lives! Eddie Vedder, Dave Grohl, and Pat Smear joined Mike Watt and his band for an encore tonight at the Triple Door. It was the second encore. Confidential to the people who left at the end of Watt’s set of rock opera: You are bad at life.

I recognized Grohl first–wasn’t hard, he’s got that long hair and immediately stationed himself at the drums, where he began whacking away as only Dave Grohl can. Next I noticed Smear, whose name I couldn’t recall, but whose face I remembered from early Foo Fighters, and from his brief time with Nirvana (he was present for Nirvana’s MTV Unplugged in New York show). Then there was this short dude in a baseball cap playing guitar and occasionally chiming in on backing vocals.

“Holy crap!” I said suddenly to my lovely companion, “That’s Eddie Vedder!”

Watt, Vedder, Grohl, and Smear played “Big Train,” the first track from Watt’s 1994 album Ball-Hog or Tugboat?, an album Grohl, Vedder, and Smear (and Flea, and Henry Rollins, and Ad-Rock, and Thurston Moore) all appeared on.

In 1995, the quartet toured together: Grohl and Smear as part of the nascent Foo Fighters, Vedder appearing with then-wife Beth Liebling as art-rockers Hovercraft, and Watt playing songs from the aforementioned album.

I was lucky enough to see one of these shows at now-defunct Tramps in New York City, a Crocodile Cafe-sized room where my Seattle transplant friends and I stood at the front of the stage and yelled “Lake City Way” and “Dick’s” and other Seattle-specific things until Nate Mendel acknowledged us. Also, my friend Stephanie somehow snuck backstage and hugged Vedder.

Enough reminiscing, let’s move ahead to today, sixteen years later. Vedder did a little soloing on guitar (after Watt’s guitarist Tom Watson plugged him in). Grohl whacked away aggressively. Smear stood off to the side like he does, occasionally firing off an awesome riff. When the song was finished, Vedder, Smear, Grohl, and Watt joined in a group hug at the back of the stage. It was a cute moment, like one you’d see from groomsmen at a wedding reception. So here’s a toast: To grunge! To life!

World’s Top Saxman Joe Lovano at Jazz Alley This Weekend

Joe Lovano

In 2010, Joe Lovano swept the prestigious DownBeat Magazine critics’ poll, winning jazz artist, jazz group, and jazz saxophonist of the year. This was an improvement over the major event of Lovano’s 2009, when he broke each of his arms in separate falls.

Who knows what’ll happen to this dude in 2011? I can say that Lovano and his award-winning quintet Us Five play Jazz Alley Thursday April 28 through Sunday May 1 in support of their new album Bird Songs.

You jazz fans will have guessed right away that Bird Songs is an exploration of the music of Charlie “Bird” Parker (another former DownBeat poll winner). Lovano says he learned to play from listening to Parker’s music.

Some of the songs on the album that even I recognize: “Moose the Mooche,” “Ko Ko,” and the heart-breaking ballad “Lover Man.” (Samples of Lovano’s renditions here).

Lovano doesn’t play the type of jazz you sip wine to. His quintet is an odd arrangement, featuring two drummers. The Kansas City Star called Lovano’s performance there earlier this month “bruising,” “alienating [to] less adventurous listeners,” and reported that half the audience fled at intermission. So, maybe don’t bring the grandparents?

Lovano and Us Five play one set Thursday, two sets Friday and Saturday, and another single set Sunday night. As always at Jazz Alley, you’ll get the best seats if you make dinner reservations (though you’ll also end up paying around $100 per person). The music fee for the show is $24.50. Make reservations here.

And here’s Lovano talking about Bird Songs:

I Think I’m Turning Japanese: Sakura-Con 2011

While the sun was shining this past weekend, thousands of costumed Otaku avoided the sunlight at the Washington State Convention Center for the annual Sakura-Con anime and manga convention. So let’s start with the obvious…it’s a convention for guys who live in their parents’ basements who dress like ninjas and who have an unhealthy fondness for Sailor Moon, right? Well, no. At least not entirely. Or even mostly.

What was shocking about this Con was how many women and girls were there–easily half of the attendees if not more were female, even when you account for the ones where it was hard to tell.

Karin from Portland drove up with daughter Emma (15) and her friends Amy (14) and Kira (16).  This is Emma’s second anime convention. At last year’s smaller Kumoricon convention in Portland, she came costumed (known as “cosplay”) as Lan Fan from the Full Metal Alchemist series. She went to Sakura-Con as a civilian this time, and explaining the difference she said, “When you’re in the costume, you can socialize more because you immediately have something in common with other attendees. Especially if you’re a ‘peripheral’ character like Lan Fan. They run up and hug you even though they don’t know you.” She and her mother even traveled to Tokyo to soak up the Otaku culture from the source. “There,” she says, “cosplay is a rebellious thing. Here in the States, it’s more a form of self-expression.”

16-year-old Katie Gandy and her parents traveled from Grant’s Pass Oregon to attend her second Sakura-Con. She’s identifies as a “Furry,” one of the a sub-genres of Otaku-dom. As she talks, the mouth in her fox costume cleverly moves along with her words. The head alone on her costume took 25 hours to make. Like many of the attendees, she connects with other furry cosplayers online and meets them once a year at Sakura-Con. Her parents had that patient “Well, she loves it” look on their faces.

Being an Otaku can also be a family thing. Jim and Leslie, both 23, came costumed as Ikkaku and Nanao from the Bleach series. They came to the Con with the ultimate accessory: their 9-month old daughter Ria. Jim is active duty Coast Guard, stationed at Port Orchard, and says he often finds Otaku in the military.

As you walk through the Convention center, you constantly see attendees complimenting each other on costumes. And the detail that goes into the costumes can sometimes be astonishing. 21-year-old Suresh, a restaurant cook from Vancouver, BC, is shirtless and painted red, which stains the inside of his sneakers as he takes them off for the official, iconic pose of his character (all cosplayers have them). He gets together with other cosplayers in BC and carpools down for Sakura-Con. “Costume maintenance is pretty important,” he says. He and his friends will even bring a sewing machine with to them to fix wardrobe malfunctions on the spot. “We procrastinate quite a bit–there is always something to finish up, so we’ll finish up on the day we arrive.”

It’s too easy to look at the stream of ninjas, gothic lolitas, sword-wielding school girls, and nine-tailed foxes, and dismiss them as misfit geeks. In reality, this group is essentially no different than a Convention Center full of gardeners, scrapbookers, classic car enthusiasts–or any group of people who share the love of something niche. These folks enjoy being in the company of others who know that Grimmjow Jaegerjaques is a prominent member in the Aizen-affiliated army of Arrancar, and the sexta (6th) Espada in the same way that another group craves to connect with others who know that Engine Code T for a 1966 Mustang meant a 200-cubic-inch I-6 engine at 120hp with 9.2:1 compression and a one-barrel carburetor. We’re all freaks about something. These folks just wear their freak flags on the outside.

Five Questions With Gerald Alejandro Ford

Onwards and upwards with SPF #5! Today–five questions with Gerald Alejandro Ford, whose Chicha plays tonight and April 30 (tickets $12 adv./$15 door). For all our coverage of this year’s SPF, see here.

1. Where did you grow up, and how did you end up where you are now?

I grew up in Tucson, Arizona. I left because I was tired of being asked to show my papers every time I ran into a cop. I’m kidding, I miss my hometown but I don’t have plans to move back any time soon. I moved up here so I could study at Cornish College of the Arts. I received my BFA in Theater with an emphasis in Original Works. I love Seattle, but I have itchy feet. My ideal situation is to not have any one place to live. I would like to go on tour performing. If I keep getting work in Seattle I’ll stay, if a better offer comes from another place that’s where I’ll go.

2.  Which performance, song, play, movie, painting, or other work of art had the biggest influence on you and why?

All of John Waters’s films, I was exposed to them as a kid by my uncle. I remember laughing and being disgusted at the same time during these films. That feeling has shaped my sense of humor and I crave all things funny/raunchy. I have developed my own style when it comes to the shows I write, but you can see how Mr. Waters has had an influence on me. One of my dreams is to be in one of his films someday.

3.  What skill, talent, or attribute do you most wish you had and why?

I wish that I could drive. I mean, I know how to drive (basically) I just never got my license. This is something I could have easily fixed but I just never find the time to. I also wish my Spanish was better so that I wouldn’t look stupid when I’m on Telemundo.

4.  What do you do to make a living? Describe a normal day.

Well, all I can say is that I work at a Seattle Tourist Attraction. I deal with tourists all day and it’s pretty much just a day job. I would hate to still see me working in this industry in a few years. During the evenings or my days off I go on auditions or rehearsals for a show or I am writing new material.  I’m always busy and yet I still find time to procrastinate and be lazy.

5.  Why solo performance? What made you decide to pursue this show in this form?

I’m kind of selfish because I honestly don’t trust anyone else to perform the show the way I want it. Most of my shows have dialogue between several characters and it could be cast with many people, but then the rhythm and comedy would be lost. Plus less actors means cheaper production and more pay for me. My first solo show was my Cornish senior project and it was called EL ULTIMO COCONUT. It was about a Mexican American teen who was socially awkward and addicted to World of Warcraft. That show received the city of Seattle’s Smartventure grant and was used as the inaugural production of the newly formed Latino Theater Collective, eSe Teatro.  I even made some money off of it, which is unheard of for Cornish Senior Projects. I expect to have even more success for Chicha. There is something about this character that people will love. The show is outrageous, when you have a mix or prison life, the fashion world, cholas (Mexican American gangstas) and lesbians in one story it has to be good right? This isn’t another Drag act. This is essentially a love story, I hope to have everyone dancing and crying at the end.  SPF #5 here I come!

5 questionschichagerald alejandro fordsolo performance fest

An Apple Turnover From Mike Daisey’s Oven

Mike Daisey

One of the more compelling responses to Mike Daisey‘s hilarious, blistering monologue, The Agony and the Ecstasy of Steve Jobs (at Seattle Rep through May 22; tickets), comes from a surprising source: the “forgotten” Apple genius, Steve Wozniak.

The Woz told the New York Times: “I will never be the same after seeing that show.” Saying he was brought to tears, Wozniak offered this thumbnail review: “Mike was living the pain of what he was describing as he told it.”

There are (at least) two seamy underbellies that Daisey exposes in Agony, though one, questionable tech labor practices is easier for media to encapsulate, and thus shine their little light on.

Daisey’s latest work grew out of his fanboy curiosity to see how how his Apple products are made–nothing simpler, right? Apple encourages obsessive attention to its details, and Daisey provides his bona fides by timing how long it takes him to field-strip his Mac laptop.

But no, a visit to the Foxconn plant, which has had a problem with employee suicides credited to stress and overwork (the initial problem being a refusal to recognize the problem), is anything but simple as Daisey learned. If you’re Wired, you get a chaperoned walk-through by Burson-Marsteller, who specialize in the immaculate conceptions of synthetic grassroots movements.

Rookie citizen journalist that he is, Daisey went to China anyway and parked himself outside the gates of multiple factories for weeks to see what he could see. He told City Art’s Mark Baumgarten (in the authoritative interview on Agony): “The first two hours of my first day, I met 14-, 13- and 12-year-old children who work at the fucking plant, so it doesn’t fucking take much.”

Daisey, who speaks extemporaneously, working only from an outline, can deliver jokes like a stand-up comic, inform like your favorite teacher, and weigh perspectives as if he’s got the Nicomachean Ethics in his hip pocket. What makes him inimitable is the facility with which he weaves all three modes together. A large part of that tapestry-work is courtesy of his long-time director, collaborator, and wife, Jean-Michele Gregory.

He explains to the Rep that “generally where a monologue emerges is where two obsessions are colliding,” and in Agony, the other obsession is…obsession. There’s Daisey’s, with Apple (and gadgetry in general), there’s Steve Jobs’ with Apple (and design domination), and there’s our work culture’s, with its celebration of “laser-like focus.”

As an ethicist, Daisey first paints a glowing picture of obsession’s gifts, before speaking up for the niggling doubt, and here he enjoys himself contrasting Apple’s advances and sophistication with its laggard, Borg-like competitors. This also is where the Woz enters the narrative, and where Daisey starts to count the cost of a singular, overriding priority (it’s a point he’s made earlier with an investigation of WalMart’s “always low prices”). Given Wozniak’s treatment as Jobs becomes Apple’s avatar of amazement, the working conditions at Foxconn look like ramification of a founder’s principles, not an accident.

Daisey and Gregory’s gamble is that live theatre can be an adequate container for the emotional and cognitive dissonance he’s stoking–he doesn’t offer catharsis, as such. He’s circumspect about keeping the outrage his outrage, it’s never assumed. Maybe you share in his upset, maybe you don’t. But in an ironic way, the show recapitulates Apple’s “1984” ad: a lone figure disrupts the carefully produced image, and–though you don’t think of this at first–the audience is left with the sharp slivers of what used to be belief in the way things are.

The More The Killing Goes, The Slower the Plot Gets

Another week, another episode of AMC’s The Killing, and we are now well within snoozefest territory. Oh yes, please give me further insight into Rosie Larsen’s younger brothers, as they are clearly the most interesting characters on the show. I cannot get enough of this gripping bedwetting drama!

Sunday’s episode was entitled “Super 8″ (not to be confused with the upcoming JJ Abrams-Steven Spielberg summer blockbuster), and not much happened. Rosie’s teacher Bennet is a sketchball who married a former student, but even though he was writing “follow your dream” notes to Rosie and refinishing his floors with a chemical found on her body, that doesn’t mean he’s a killer. Although he wasn’t eliminated as a suspect outright, I’d guess he didn’t do it, considering we’ve got another eight hours of show to go.

Meanwhile, Rosie’s parents are still grieving hardcore, while also being snubbed by friends and clients. The mole in Richmond’s campaign was Nathan, a character I did not remember having ever seen before. TWIST. Richmond shoots an ad with Bennet in it, but not directed by the guy that Gwen was shtupping on the side. Holden is celibate (spoiler alert) and got an envelope of money from a random guy in a car, which he later delivered to a house with a woman and kids, who are no doubt his estranged family. Linden needs to stop buying non-refundable plane tickets to Sonoma, since she obviously ain’t going nowhere anytime soon. Jamie got drunk with Mayor Adams and tricked him into thinking he’s an honorable and upstanding re-election worker, yet another piece of evidence for why you should never trust a boy with a girl’s name.

Like I said, riveting stuff. At this point, I’m hoping for a grand conspiracy: Rosie ended up shooting some footage of something bad about the mayor’s waterfront project. And Gwen’s dad the Senator is somehow in cahoots with Mayor Adams, so she was dispatched to get rid of Rosie, and used Bennet’s relationship with Rosie to do so, and Kris and Jasper helped too. I don’t know, just spit-balling here.

“What happened to the Port Townsend move?” Rosie’s dad asks. Ummm, clearly those customers hired a moving company a little closer than Ballard, which is two hours and a ferry ride away. I gotcha good, Killing fact-checkers!

For the record, this Sunday’s episode is not available for streaming on AMC’s website, and the show’s first four episodes will be gone soon too. Last call.