George Freeman has music in his soul. He credits his love of song, dance, and the human connection they make possible to his mother, Selma. A hotel maid and single mother, Selma encouraged her children to seek joy in music.
Growing up in Spokane, Washington, George Freeman and his sister were regular entertainers at a young age. They would dance for the crowd at the famous Harlem Club. Unique in its time, the Harlem Club was a gathering place for people of all races, religions, and economic backgrounds. Known for its flashing “Dine-Dance” electric sign, the club gave the Freeman kids a chance to practice their steps and make some money to help support their family.
As a teenager, George was the drummer for the Six Saints Orchestra. After several gigs and few television appearances, George was hired to drum at the storied Spokane restaurant, Virgil’s Chicken Shack.
Starting at 10:00 pm, Virgil’s turned into an after-hours destination for live music and dancing. It was here that George got the chance to meet some of his musical heroes, like the Benny Goodman Band.
Throughout his life, George has carried that same pure love of song and dance, whether it was as a kid at the Harlem Club, a drummer with the Six Saints Orchestra as a high school student, a nightclub owner, or a minister for the Universal Life Church.
For George Freeman and many young men like him growing up in the shadow of World War II, military service was one of the must honorable paths to success. George joined the Washington State National Guard at the age of 16. He continued with the U.S. Army for several years through a military career that took him around the world.
George was a top student at the USA Military Police Academy at Oberammergau in southern Germany. When he returned to America, he served at Fort Dix in New Jersey, Fort Benning in Georgia, and Fort Bragg in North Carolina.
Having grown up in Washington State, where Jim Crow segregation laws weren’t in effect, George’s military service in Georgia and North Carolina was his first direct experience with these highly racist policies. It was the first time he had to use separate facilities from white people, to sit in different parts of public spaces, and lose rights to fair treatment. In contrast to the diverse crowds he had known at the Harlem Club and Virgil’s in Spokane, George and the other black troops weren’t even allowed to attend Army dance socials.
George ended his time in the military in the early 1960s, when the world was in a period of great changes. It was during one of the most iconic events of the era, Rv. Dr. Martin Luther King, Jr.’s March on Washington, that George decided to leave the Army. Expecting an unprecedented crowd, the U.S. military sent soldiers to oversee the march and the famous “I Have a Dream” speech that followed, but no black soldiers were permitted to serve at the event. Their loyalty was in doubt just because of the color of their skin. George finished his term of service and left military life, seeking work and a new start in New York City.
In 1977 George Freeman relocated to Seattle, Washington, bringing his extensive experience as a nightclub owner and party promoter home to the Pacific Northwest. When he arrived, he found a very different nightlife scene from the one he had become familiar with in New York City. Seattle didn’t have nearly the same fervor for late-night clubs, especially those that opened after 10:00 pm. Seattle’s history as a city in love with strong drinks made bars, not dance clubs, the popular nightlife locales. While New Yorkers preferred private clubs, often without liquor service, Seattleites wanted more democratic spaces with drinks and dancing.
Dating back to the end of Prohibition, Washington State’s legal drinking age has always been 21. In contrast, the drinking age was 18 in many East Coast states in the 1970s. In Seattle, the over-16 but under-21 crowd had no social venues except cafes, which closed at night. With no interest in opening a bar, George shifted his aspirations to establishing a New York style private club in Seattle.
Traveling around the city, George found himself in front of a run-down church on Boren Avenue in downtown Seattle. It had a “For Rent” sign in front of it, so George jumped at the opportunity. He quickly worked to transform the space into The Monastery, an after-hours private club which harkened back to his nights as a drummer at Spokane’s Harlem Club and Virgil’s Chicken Dinner Inn. George asked DJs and other associates from Galaxy 21 to relocate and together, they brought New York-style clubbing to Seattle.
On Friday the 13th of May 1977, a helicopter landed across the street from the Monastery. DJ John Celick emerged dressed in monk’s clothing. He and George then ceremoniously crossed the street and entered the building. A line stretched around the block and four searchlights illuminated the steeple. So begins the history of The Monastery.
From its earliest days, The Monastery welcomed people from all walks of life. Though it developed a reputation as a gay after-hours club by the late 1970s, the club’s crowd was always a balanced mix of Seattle culture. Its late-night festivities were famous for going straight through to the early morning hours, when George would often provide a free breakfast for all the remaining partygoers.
The Monastery became a trusted refuge for people who had no place to live and few options for assistance in the socially conservative Seattle of that decade. Today, Seattle leads the American LGBT rights movement, but the fight for equality was only in its infancy when the Monastery first became a major nightlife destination. According to reports from that era, as many as 40% of all homeless youth in Seattle identified as LGBT, while more than a quarter of the city’s homeless youth claimed to be forced onto the streets by their families because of their sexual orientation. Many of them had been thrown out of their churches and ex-communicated, beaten ruthlessly by family members before being asked to leave home.
George also encountered a large number of straight El Salvadoran refugees who knocked on his door seeking assistance, many of whom thought the church building housed a traditional church.
Thus, in addition to being a dance-club, The Monastery also acted as a shelter. By opening its doors to all kinds of people and providing them with a place to sleep, as well as hot food and clothing, the church played a vital role in the community. To facilitate this aid program, the private club became affiliated with the Universal Life Church in order to document the legal use of funds for assisting the homeless. While there was plenty of late-night partying going on, George also required the people staying at the club to leave during the day and look for jobs.
Despite good intentions, The Monastery was embroiled in constant controversy. It garnered a reputation as a place where outcast teenagers were exposed to sex and drugs; the age of consent at the time was 16 years of age. While many of these claims proved unfounded, such reports brought substantial negative attention to The Monastery. Formal complaints were filed asserting that Freeman was poisoning the minds of young people, who upon one visit to the club were subject to moral-brainwash. George once stated that emancipation was, according to the Hebrew text, at the age of Bar/Bat Mitzvah, and according to the Christian text, between the age of 12 and 16. The sensitivity of such statements fried the ears of a sleepy Seattle.
Eventually, city officials decided to act. Attorney David Crosby of Renton, Washington started the activist group Parents-In-Arms to push for new laws limiting all-ages gatherings and events. Crosby’s son, Ian, was one of the teens who fled their homes, taking refuge at The Monastery, Skoochies, and other locations. It was his son’s increasing disobedience that sparked Crosby to team up with Seattle prosecutor Norm Maleng and Bill Dwyer, then-president of the King County Bar Association, to take down The Monastery. Incidentally, Ian Crosby today is a highly regarded attorney working in Seattle.
Together, they crafted a plan to use civil procedure to close The Monastery, now a chartered affiliate of the Universal Life Church, on the grounds of it being a moral nuisance. They instructed five undercover police officers to visit The Monastery numerous times over a span of a few months. Their job was to search out drug-dealing patrons and purchase drugs such as cocaine, pot, and MDMA, which they succeeded in doing. After all the allegations, however, the attorneys could not find any evidence to charge the church or any of its employees with drug distribution, sexual misconduct, or even providing alcohol to minors. Turning to plan B, Parents-In-Arms instructed Norm Maleng to use the recently enacted moral conduct civil statues to attack the Monastery. Parents-In-Arms was mainly a Christian fundamentalist group.
Prosecutors filed civil misdemeanor charges against George for failure to have a $5 banquet permit at Monastery events. George had applied for the permit numerous times but was repeatedly denied by the Washington State Liquor Control Board. He was found guilty and was sentenced to four consecutive months in the King County jail. George appealed the ruling and went to California to build a nightclub in the interim. King County republican Norm Maleng and republican Governor John Spellman countered by successfully invoking a Governor’s Warrant originally intended to help recapture runaway black slaves.
At an initial appeal hearing, Freeman was represented by council, and Freeman himself was absent, which is allowed. However, Maleng convinced the court to order a fugitive warrant for Freeman’s return. George then spent a month and a half in California jail. Maleng and Spellman quietly enlisted the aid of fellow republican George Deukmejian, Governor of California, to sign a Governor’s warrant. Thus, they were able to sidestep the federal requirement for an extradition hearing, which Freeman had applied for, and obtain a federal extradition order to bring Freeman back to Washington.
Freeman subsequently lost his case in appeals and served three consecutive prison terms of three months each, for a total of ten months including his California incarceration. This was all for a misdemeanor charge.
Prosecutors filed civil misdemeanor charges against George for failure to have a $5 banquet permit. George had applied for the permit numerous times but was repeatly denied by the State. He was found guilty and was sentenced to 4 consecutive months in the King County jail. George appealed the ruling and went to California to build a nightclub in the interim. Norm Maleng and republican Governor John Spellman countered by successfully invoking a Governor’s Warrant originally intended to help recapture runaway black slaves. Maleng and Spellman quietly enlisted the aid of Governor George Deukmejian of California, a fellow Republican, to sign a governor’s warrant. Thus, they were able to override the California courts and obtain a federal extradition order to bring Freeman back to Washington.
Freeman subsequently lost his case in appeals and served 3 consecutive months in the King County Jail, for a total of 10 months including his California incarceration, for his misdemeanor sentence. The Monastery itself suffered a similar fate – after a long, drawn-out effort to close the iconic landmark, city officials eventually succeeded in 1985 with an indefinite civil injunction. Freeman has tried numerous times to challenge the injunction, alleging it was illegal, capricious, arbitrary, and fraudulent, though the courts have refused to hear his plea.
One far-reaching consequence of this Republican-backed campaign was the institution of Seattle’s Teen Dance Ordinance (TDO). The TDO placed strenuous financial obligations on all-ages dance events, including a stipulation which required supervision by two off-duty police officers and at least $1 million in liability insurance. This made teen dance events in Seattle functionally impossible for almost twenty years. As an unintended side effect of the reactionary policy, the TDO also shut down all-ages concerts and other non-dance events. The TDO was finally repealed in 2002, and was subsequently replaced with the All-Ages Dance Ordinance, which contained more reasonable requirements and paved the way for all-ages events to return to Seattle.
After The Monastery’s eight-year run came to a prejudicial and troubling end, George turned his attentions to the organization that helped him bring aid to so many people in his community, as the founding President of The Universal Life Church Monastery.
George’s expertise as a nightclub developer and designer has made him a resource for other entrepreneurs around the country. In the 1970s, he established and refurbished several clubs throughout the United States. During his days running Galaxy 21, George assisted in the redevelopment of the old Penthouse magazine club space on New York’s Upper East side, transforming it into a restaurant that he named Experiment 4. Later, when he relocated to Seattle, George was an initial investor, developer, and designer at several mainstays of the Seattle nightlife scene. These projects include the long-successful gay nightclub Neighbours, as well as popular locales from the 1980s such as Skoochie’s, Vortex, and Club Broadway. As a development and design consultant, George partnered with the Pacific Occidental Partnership, a major Hong Kong real estate firm, to create Phantom Seattle and Phantom San Jose.
After moving to New York City, George took a job as a salesman with a plastics company. This eventually led him to a job the radio station WOR, for what began as a sales call to sell the station plastic bags for promotional totes, quickly turned into an interview in the station’s sales department.
With the rise of disco music and its appeal to New York’s increasingly diverse population, George took the initiative to create a new format for WOR which incorporated this new, popular music. WOR decided to shelve the format, but George wasn’t done with disco. It was during this era that George entered the world of party promotion. He first hosted gatherings at his own apartment funded with entertainment allowances from WOR. However, the crowds at these parties – made up of a mix of George’s sales clients, his personal friends, and the elite after-hours circles of New York – quickly grew too large for the limited space.
George’s parties soon moved to the Fifth Avenue Hotel in Greenwich Village. These popular gatherings mixed the elegance of the hotel’s grand ballroom with disco-inflected designs and modern art. The DJ spun Motown hits and even early disco tracks. With word spreading fast and over 1,000 people flocking to the hotel each weekend, it wasn’t long before these parties again outgrew their venue. George knew he needed to expand, and so in 1974 he organized a group of investors to purchase a larger space. The prominent parties were moved to the former Cavanaugh’s restaurant on 23rd Street, four doors down from the famous Chelsea hotel. George converted this old space into a new nightclub which he named Galaxy 21.
Galaxy 21 quickly became one of the true hot spots in the New York club scene. With multiple themed rooms, an art gallery, and famous DJs backing up a uniquely powerful sound system, the club attracted large crowds right from the start. Prominent guests included Jack Nicholson, Cher, the original Broadway cast of Rocky Horror Show, Motown songwriters Nick and Valerie Simpson, Aretha Franklin, the Rolling Stones, and more. However, the demographic makeup of the crowd shifted over time. After its opening Galaxy lost some of its diversity and evolved into a primarily Puerto Rican club.
In 1976, George was presented with an opportunity to bring the diversity and back to the club. Someone from the Tomorrow Show with Tom Snyder on NBC called Freeman about doing a nationally-televised show from a gay nightclub. Television at the time was not openly gay-friendly, so this was an unbelievable opportunity. Tom Snyder wanted to discuss gay entrepreneurship and the rising gay market, and he thought it would be ideal to do the show live from Galaxy. George met with the Galaxy staff and came up with a plan to make this happen. NBC wanted live dancers, and with his party-planning experience in the disco dance era, George had plenty of connections. He also asked his friends from the Harkness Dance Center, Alvin Ailey Dance Theater, and Joffrey Ballet to come dance live at the Galaxy.
Freeman immediately recognized this publicity opportunity as a way to restore the initial popularity of the nightclub among all New Yorkers. With this in mind, he printed 1,000 embossed fliers to promote the live show, and gave out 30-day VIP “fresh face” passes to select guests, with the goal of bringing in new patrons and injecting new energy into the club. The show was a tremendous success; not only did the NBC live national broadcast promote Galaxy 21 as a popular nightclub, but within six weeks the exposure caused the club’s demographics to shift back to its original identity.
Experiment 4 was a midtown Manhattan discotheque that opened in 1976 at 327 E. 48th Street, New York City, New York. George had heard of the struggling club near Manhattan’s U.N. Headquarters, and cash flow at Galaxy 21 was sufficient that George went out looking for other investments. George learned that the owners didn’t have the money to resurrect the failing club. George and several friends worked out a deal with the owners and hired the former manager of Le Jardin to take control of his new club. Since it was George’s fourth venue which followed the party-concept club, he decided to name it “Experiment 4”. They renovated the space, put a new sound system in using George’s overstock of lighting and sound supplies at Galaxy 21, and used their previous promotion experience to put Experiment 4 on the map.
The location of the club was structured to drawn in the East side gay crowd, which was much more professional than the Village and the rest of the New York clubbing scene. George has always taken a background role in his club’s daily operations, which worked fine at Galaxy 21. However, Experiment 4 was the first time that George had ever entered into a contract on a handshake. Upon reflection, George realized he should have made it his last. Over the months, Experiment 4 and Steven communicated less and less with George. He received no money from the principal investment, and the partners’ relationship burned out. George was able to retrieve some of the sound equipment, but he lost most of his initial investment. He learned a valuable lesson: don’t lend money to friends without first getting an agreement in writing.
In 1982 or 1983, the old Cert dinner theater at 131 Taylor Ave N. announced they were closing. They asked to rent the Monastery for their farewell celebration. George agreed to $800 rental fee, and another $800 for catering. Having never been to the Cert to see a show, George’s only connection to the theater was through conversations with Cert actors and performers who visited the Monastery. Still, he found out that the theater, an old bowling alley, was looking for a new tenant, and Cher and Xanadu were the hottest things in disco roller rinks. There was a song at the time, Cherchez La Femme, by Doctor Buzzards Savannah Band, which George thought what an interesting name. Drawing inspiration from restaurant entrepreneur Gerry Kingen of Red Robins, his goal became to brand the new roller skating rink as Dr. Buzzards Roller Skating Emporium, imagining a “skating buzzard truck’n on down” as the logo. George discussed the idea with a couple of friends and after a number of meetings decided to move forward on building.
Halfway into the project’s construction, one of the partners (who was rather young and a hot head), had one of the workers pour a gallon of paint on another partner’s beetle after an argument. George objected, fired the worker, told the partner that if it happened again he would take severe action. After another disagreement, George commenced a lawsuit and pulled all the sound and lighting equipment out of Dr. Buzzards, eventually losing his holdings in the business after a 2 year long lawsuit. Dr. Buzzards evolved to Skoochies, and went on for a number of years with a checkered history of drive-bys, shootings, drugs, and calls from the community to shut it down, after George’s departure.
The Waterworks, a ULC Retreat
Having been born and raised in Spokane, George always suspected that the city needed a beacon of enlightenment and entertainment. He went to Spokane in 1982, and rented a building on 3rd AVE, which George called The Waterworks, a Universal Life Church retreat. Bruce Taylor had an advertising agency in Spokane at the time and had been throwing after-bar parties at his home. George told Bruce that he was considering expanding to Spokane with a retreat, specifically a gay health club with a jacuzzi bathhouse and dancing. It was to be a mini version of what he discovered back in New York at the continental baths, with Barry Manilow on piano backing up Bette Middler. The Waterworks was a small building which George split into 3 component parts: the recreation, the dancing / celebration area, and the bunkhouse with attached waterworks.
George found a 14′ long, 5’ deep swim trainer with huge jets, and he brought that into the building in preparation to open The Waterworks. However, after opening the dancing side of The Waterworks, the local gay bars began to object, since Spokane had restrictions stating that nobody could dance after midnight. Nevertheless, since The Waterworks was a church, guests were allowed to perform the holy dance any day at any hour. While the local gay community enjoyed it, the two owners of the Empress 425 objected, and plotted with the police department and State Liquor Control Board to close it down. Soon after, The Waterworks closed their doors.
To open Neighbours, Mustafa Elassiouti (Moe) was introduced to George Freeman by Gary Penny of Neighbours-Vancouver around 1982. George had the idea of going after the Brass Connection, which was a gay nightclub and restaurant one block away. This Bogey’s Pool Hall and Tavern had become a Pacman pool hall dominated by minorities in a changing neighborhood. George immediately saw an opportunity to convert the 7000 sq. ft. operating tavern into a gay bar.
In addition, he saw an opportunity to bring in previous employees from The Monastery; George would be able to teach them the business, set them up running satellite locations, and increase the church’s outreach to Seattle’s gay business owners’ community.
Scott Terrill, a DJ from another of George’s previous ventures, The Waterworks, volunteered to have the liquor license put in his name. Mustafa Elassiouti, an Egyptian citizen living in Canada, could not get an American license because he was not an American citizen. Further, George could not obtain a license because he was in the act of suing the liquor control board. A line of credit was set up, and Scott was able to obtain the license in his name, with the money stemming from Moe and George. The staff from The Monastery went to work converting Neighbors at rush speed in order to get the club opened by labor day. George laid out a design, and had his sound engineer John Kmetz, lay out a sound system.
Additional work was performed by George’s carpenter, Ross Michelle, Ross’s assistant, an electrician named Ray Moy, and some of the homeless people who had worked at The Monastery. While the space was under construction, Ray Moy overheard Moe and his attorney discussing how to cut out George freeman in what they thought was a private conversation. Moe made a statement to the effect of, “if we do, Freeman will sue us, you know he loves to sue,” to which the attorney replied, “yeah but he’s George Freeman of The Monastery, what court in Seattle would listen to him?”
Moe and his attorney were successful in getting the paperwork for the club. However, they lied and said the liquor board would not accept George Freeman’s sister as a franchisee owner. They alleged that the liquor board demanded George have no association whatsoever. He could not even appear on the premises or they would not issue the license to Scott.
Moe suggested Freeman take control of Neighbours-Vancouver on Robeson Street, and his other club Mustafa’s, just north of Whistler, BC. Moe would stay and run Neighbours with Gary Penny, his former manager at Neighbours-Vancouver. George agreed to the set up, in which all money would go to a common pool with George running the Canadian facilities. Given that the Washington State liquor board was after Freeman, everything in their agreement had to remain verbal to prevent the board from seeing a buyout of $40k to be paid to Freeman over a 12 month period.
At the time, George believed that Moe was an honest person. He didn’t know about the conversation to get rid of him using the proffered document for the liquor board showing a $40k buyout after signing the document and receiving the first payment. Subsequently, George learned about the previous conversations overheard by Ray Moy and sued Neighbors and Moe in King County Court. The court case took 24 months and $30k in legal fees. Eventually, George had to bow out due to an inability to pay for continued legal fees, and Moe successfully took control Neighbours.
Neighbours went on to become the largest liquor pouring bar in the city of Seattle, according to the liquor distributors, and Moe made no less than $90k a month from the Seattle gay community. Little did the patrons know that their money was being sent to Egypt to build a large resort for Islamic Egyptians. Once completed, this resort would not allow gay men accommodations, and if found holding hands or kissing, they could be put to death. To this day George regrets creating Neighbours. Neighbours claims itself to be Canadian-owned in an effort mask that the ownership of Neighbours was, and always has been, Egyptian.
Soundstage (Las Vegas)
One of George’s most successful endeavors in the 1980s was Soundstage in Las Vegas. Soundstage was one of the city’s most important venues in its era. It introduced Las Vegas to up-and-coming alternative rock acts like R.E.M., Jane’s Addiction, and The Dead Kennedys. Multiple award-winning entertainer Ben Vereen hosted his famous Vegas Dance Workout classes at Soundstage. The venue also participated in the landmark Great Peace March in 1986, serving as a staging area for the Las Vegas leg of actor Robert Blake’s cross-country demonstration against nuclear weapons.
While in Las Vegas, George contributed elsewhere in the city’s evolving culture. He was on the board of directors for Las Vegas Magazine as it became one of the most successful city magazines in the country. The magazine was famous for introducing America to its food editor, Chef Wolfgang Puck, as well as producing a variety of programs for championship boxing and other major events at Las Vegas venues. Despite his busy schedule, George also found time to spearhead the restoration of the storied Whitehead Mansion, one of the oldest landmark homes in Las Vegas.
From his earliest parties to his time managing The Monastery and beyond, George Freeman’s interior and sound designs have long been known as unparalleled. Aiming to make every inch and eye-full a dazzling experience, he believes in perfecting the details of any space.
By the the mid-1980s, after the demolition of The Monastery, George went on to his new venture: development of Club Broadway. This building opened in 1911 and remained in use by the Scottish Rite Temple until the late 1950s. The building was developed on the old Spring Street right-of-way vacated by the city in March of 1891.
Featured below are a few historical photographs of the site location, including a music wiring chart for the base of the old building. Club Broadway thrived through the mid 1980s until around 1988.
Vortex was closed because of its Bloods and Crips audience. The city of Seattle was contacted by Seattle University and the owner of a building directly across the street from Vortex. They claimed that while George was working on the building, they had noticed an increase of littered syringes and condoms in the neighborhood.
Most of this was, however, prior to Vortex ever opening. Seattle University alumni contacted Seattle PI alumni to write editorials about why George Freeman shouldn’t be allowed to have a gay establishment so close to a catholic university.
The freshman class of Seattle U was told to avoid George Freeman because of his strong personality and alleged influence over young people. Fliers were even put up in the elevators of the university reminding people to beware of the Vortex. Soon thereafter, The Seattle Times followed suit with a negative editorial, in turn prompting Ken Schram of KOMO TV to run 10 commercials asking “Is there no way to get rid of the George Freemans of this world?” Vortex was soon closed, allegedly due to failing to comply with a Fire Marshall’s Order to replace the door handles.
Phantom (San Jose)
Phantom San Jose was built in Olden Plaza Mall. It was a 25,000 square foot facility, which included a 10,000 square foot dance floor and a $200,000 lighting truss system comparable to those used at major rock concerts. George was hired as a consultant to design and supervise the construction. George got a 1947 General Motors city bus, and created a restaurant inside the bus called Diner 88, similar to a dining car on a train. Between the restaurant and the nightclub was a two-story sports bar. Phantom’s total capacity was 1800. Phantom San Jose lasted for about a year.
While the corporation that owned Phantom San Jose wanted to go after a well-dressed market in the heart of Silicon Valley, Freeman argued that techies don’t wear suits after dark. Consequently, hip-hoppers became the majority of the club’s clientele, with drive-by shootings and altercations between the Bloods and the Crips ensuing. The club closed after a 12-month existence. The cost of the Phantom San Jose was approximately five million dollars.
Phantom, Seattle offered the city an “entertainment complex”. The restaurant facility offered the finest of Pacific Pasta Kitchen and provided live entertainment.
Whether for a romantic evening, a social gathering, or a business luncheon, the event space was ready. Phantom boasted state-of-the-art sound technology complimented by acoustically designed rooms for the ultimate in sound reproduction. Freeman created a phenomenal showplace. The complex could accommodate full room bookings, private functions, corporate parties, weddings, banquets, conventions and any other special event need. George arranged a management and support staff for first class service, food and entertainment.
Phantom was world class adventure. Like Phantom San Jose, the Seattle location died because of the dueling demographic audiences; the suit-and-tie crowd versus tennis shoes, t-shirts and jeans.
2218 1st Ave Restaurant and Club
King Performance Center
George was in partnership with Alan Tillinghast, and Tillinghast wanted to program the King Performance Center as a rock and roll band venue on August 6th. Allen had mentioned to George that Kurt Cobain and Nirvana wanted to do a preview event at the King. George, being a jazz fan, had no knowledge of Kurt Cobain and could not understand, upon his arrival that evening, why there was a line around the block at 6th and Blanchard. Nirvana was the biggest act ever to appear at the King Theater.
Nirvana’s performance was for a benefit show for The Gits’ Mia Zapata. It would be Nirvana’s last show as a three-piece before adding Pat Smear into the mix. Spike and Mike’s animated cartoon festival, the Jewish film festival, and the Seattle lesbian & gay film festival were other acts that appeared at the King Theater.
Casablanca Lounge (Proposed)