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amidst-the-everyday.com
“Amidst the Everyday,” a project by photographers-artists Aaron Asis and Dan Hawkins, aims to reveal “elements of the unseen urban environment.” You go to places around town, scan QR codes (etched in wood!) at various buildings, and receive images of their hidden treasures. (Above, one of the unoccupied-for-decades upper floors of the Eitel Building at Second and Pike.)
Sound Transit has a bus from downtown Seattle to downtown Puyallup (via Federal Way, Auburn, and Sumner). It ends at the Puyallup Sounder commuter-rail station, right by a classic small-town downtown garnished with street-corner public art works.
Civic authorities have restored this brick-wall painted sign advertising the company that created both the Puyallup fair scone and KOMO-TV.
A brisk ten-block walk took me to the fairgrounds entrance, guarded over as always by the noble cow heads.
While marketed since 1978 as “The Puyallup Fair,” the event’s official title has always been the Western Washington Fair. A new name, “Washington State Fair,” was phased in starting this year. This will surely lead to confusion with the smaller Evergreen State Fair in Monroe.
But I, along with almost every local old-timer, will always think of the fair as “The Puyallup,” thanks to a TV/radio jingle that has been embedded in our minds for more than three decades.
Along with the revised name, fair officials showed off a plan for a revised fairgrounds. The master plan would rein in the commercial exhibits that have sprawled over more of the grounds, and install outdoor agricultural demonstration areas. The idea is to re-emphasize the fair’s roots as a showcase for people of “the land.”
Other exhibits included a mini “factory tour” honoring the 100th anniversary of a Tacoma legend, the Brown & Haley candy company. Booth ladies outside were selling special commemorative Almond Roca tins. I asked if any of them contained Bjork’s life savings. They didn’t get my reference to the film Dancer in the Dark, alas.
In the fair’s Hobby Building, someone installed a private collection of memorabilia relating to another Tacoma institution, Nalley’s Fine Foods. The diversified processed-foods giant had made everything from pickles to potato chips; it closed last year, after decades of mismanagement by various out-of-state owners.
As a pop-culture compulsive, you know I always adore the collection showcases at the Hobby Building. This year folks showed off their stuff relating to the Girl Scouts (above), Lego, Dr Pepper, Sailor Moon, the Seattle World’s Fair’s 50th anniversary, Starbucks gift cards, and the Happy Face symbol.
I’ll have some more of this lovely stuff in a future post; so stay tuned.
seattle chapter, american institute of architects via kplu.org
In a publication entitled City Living, you might expect words by and for people who love this city.
But there are also Seattle haters out there.
I know. I’ve seen them.
All the time I’ve been in Seattle (don’t ask), I’ve known two predominant kinds of Seattle haters:
1) White baby-boomers who rant that the city is too big, too loud, too tense, and too full of suspected “gang bangers” (i.e., nonwhite males younger than 40). These folk dream of having a McMansion-sized “cabin” on the Bainbridge shoreline, but would settle for a Skagit County farmhouse.
2) Men and women of prominent ego (of many races, though still usually white) who decree that this hick town doesn’t deserve their obvious greatness.
These denouncers almost always also rant that Seattle fails to sufficiently imitate New York, Los Angeles, and (especially) San Francisco, in criteria ranging from architecture to food.
These folk generally refuse the idea that people in cities other than NY/LA/SF can choose to run a city any differently. All which is not NY/LA/SF, by these folks’ definition, is automatically inferior.
Sometimes, these folk will expect me to casually agree with their putdowns. They’ll ask me what part of the East Coast I’m from. Then, before I can answer, they’ll tell me I obviously agree that this is just a cowtown full of hicks and don’t I want to get my butt back to the civilized world?
I tend to respond that the only thing “eastern” I’m from is the eastern shore of Puget Sound; that Seattle is a fascinating place brimming with ideas and personalities; and that we can do things our own way.
If these folk are still listening, they usually tell me that I’m obviously just kidding. (Which I’m not.)
This is the combination of hubris and willful ignorance depicted in Where’d You Go, Bernadette?, the highly publicized new novel by local transplant (and former Hollywood sitcom writer) Maria Semple.
The title character is a tried and true Seattle hater. She’s also a former elite Los Angeles architect, with a Microsoftie hubby and an above-average teenage daughter (and an outsourced “virtual assistant” in India). She lives a life of wealth and privilege; the daughter goes to an elite private school. The family’s even planning a vacation getaway to Antarctica.
But even with everything money can by, Bernadette’s not happy. And, like many unhappy people, she blames her unhappiness on the world around her.
When Bernadette disappears, as the novel’s title implies, the daughter tries to figure out what happened by reading the mom’s old diaries, letters, and emails.
It’s in these documents that Bernadette says what she might have been too polite to say in public. Particularly among Seattle’s well documented cult of niceness.
Among her complaints: Too many Craftsman bulgalows. Too many Canadians. Too many slow drivers. Too many wild blackberry bushes. Too many neurotic moms. Too many self-congratulatory “progressives.” And way too much politeness.
Or for the short version, this is a city unfit for the presence of someone as obviously superior as Bernadette.
But, to Semple, this attitude is merely a symptom of a larger disorder. It’s a stage in the character becoming estranged from the world in general, then dropping out of sight from even her family.
But in a missive revealed at the novel’s end, she announces a change of heart. Bernadette really loves Seattle after all. She loves the gray-wash winter skies, which “felt like God had lowered a silk parachute over us.”
Semple herself, according to interviews, had also been a Seattle hater. But, like Bernadette, she’s since changed her mind.
Semple says she wouldn’t write Bernadette’s vitriolic Seattle putdowns these days. Semple now loves the place.
Or at least that’s what she says in public.
You know, to be polite.
(Cross-posted with City Living.)
As promised, here are my observations of Bumbershoot 2012, Seattle’s annual big culture buffet.
As others have noted, it was a sunny but not unbearably hot three-day weekend, bringing out strong-sized crowd despite the steeper than ever ticket prices. (It was either charge $50 a day, or go back to having no musical stars bigger than Hall & Oates.)
Behold, my first ever deep fried candy bar (a Snickers). Gooey. Messy. Yummy.
How are curly fries made? With good old American industrial knowhow, that’s how.
They may call it the Seattle Center Armory now, but to me it will always be the Center House and/or Food Circus.
In this post-record-industry age, live gigs are more important than ever to a band’s financial model. So are gig posters, as lovingly seen at the latest Flatstock exhibit.
The historic video games exhibit (still up) shows the young’uns what real entertainment was like, 8-bit style.
But amid all the fun there’s some deadly serious stuff. World Vision International would like you to know AIDS is still devastating much of Africa.
This “House of the Immediate Future” was named after a model home full of futuristic devices at the ’62 World’s Fair. The new one exemplifies affordable-housing designs that could be factory-built, then installed on small real-estate footprints.
A few inflatable rides are no substitute for the late, great Fun Forest.
The Toyota-sponsored “Whac-A Hipster” game. Hipster-bashing has become corporate,and therefore beyond passé.
The heart of the “Put the Needle on the Record” exhibit, a mini-recording studio where you can record your own music and/or voices for a time capsule, is this recording lathe that cuts real phonograph-record masters.
Today’s greatest ETA (“Elvis Tribute Artist”), El Vez, does his massive act with a massive in-house video production (like all the big music stages had this year).
An inflatable icon of the original Elvis stood over two exhibits.
To the right, the Record Store, a display of classic vinyl LPs with DJs and live small combos.
To the left, the Elvistravaganza. Marlow Harris and Jo David applied their kitsch curatorial touch to the World’s Fair’s most enduring celebrity visitor. I contributed my (quite modest) ETA talents at the all-day karaoke stage.
As I departed the Center grounds to the soothing strains of Hey Marseilles, I regretted the many acts I hadn’t seen but felt enlivened and revived by the ones I had seen.
Today’s historic-preservation outrage involves the Jefferson Park Golf Course clubhouse. It’s a magnificent structure, “homey” yet elegant, that’s served city residents for more than 75 years. The City wants to raze it to put up a new driving range. It’s rushing through a plan to deny landmark status to the building, in cahoots with the architects that are planning the redevelopment scheme.
the bon marche at northgate circa 1956, via mallsofamerica.blogspot.com
There aren’t many cities that would seriously consider turning their backs on an investment of nearly $300 million in private capital within their boundaries, particularly during trying economic times.
Back when the Stranger was still assigning me stories (just never running them), I researched the long and convoluted history of the Eitel Building at Second and Pike. Mr. Savage believed it might be cool to have a story about what he described as “Seattle’s only downtown slum” or words to that effect.
I’d first come to know the 1904-built midrise medical-office building (it was called “the 2nd & Pike Building” by the 1980s) as the storefront home to Time Travelers, a record and comix shop that was a vital early punk-scene hangout.
At the time I researched that later-killed Stranger piece, its then-owner wanted to demolish it for the usual Exciting New Office/Residential/Retail blah blah blah.
But shortly afterward, in 2006, the city slapped landmark status on it, against the owner’s wishes.
At the height of the real estate bubble a few years back, Master Use Permit boards appeared on it proclaiming an imminent 16- to 22-story structure that would incorporate the Eitel’s outer facades but nothing else. That, obviously, never happened.
But now, just weeks before Target opens in the Newmark megaproject across the street, new developers announced a new scheme.
The Eitel will remain intact on the outside, with a “boutique hotel” opening inside sometime in 2014.
•
But to me it will always be what I’ve always known it to be—one of the last major surviving, un-gentrified remnants of what the Pike Place Market and surrounding blocks to be like. A hard, scruffy place whose “original elegance” had long since settled into comfy sleaze.
The Eitel’s storefronts and basement spaces have held a wide variety of uses over the decades, few of them frou-frou.
There was the original practice space for Ze Whiz Kidz, a pioneering gay cabaret troupe. There was the needle exchange. There were several indie and local-chain fast food outlets, including the current longstanding Osaka Teriyaki.
What there wasn’t was anything on floors 2 through 7. The upper floors have been boarded up since at least 1978. Even the occupied parts have had little in the way of basic upkeep.
The one major change to the exterior cladding was a black faux-deco treatment, done some time in the 1970s and not in keeping with its original appearance.
But that just made it a more lovable little victim of neglect.
Nice to know it will survive, even if it’s not as the funky place I’ve known.
'jseattle' at flickr, via capitohillseattle.com
Yes, it’s been nearly a week since I’ve posted any of these tender tidbits of randomosity. Since then, here’s some of what’s cropped up online and also in the allegedly “real” world:
zgf architects via seattle times
one of rob vasquez's many out-of-print 45s, via aarongilbreath.wordpress. com
(No snickering jokes from this corner about a certain three-digit number.)
An Eastside developer has bought the whole half block that contains Bauhaus Coffee, Spine and Crown Books, Wall of Sound Records, and five other merchants who help define the soul of the Pike/Pine Corridor.
All except the facades will be demolished, for yet another mixed-use behemoth.
The businesses themselves will be gone, either this June or next June (sources are contradictory about this).
And they probably can’t afford the new spaces when they finally open, at least a year and a half later.
artist's rendering; via kiro-tv
t.j. mullinax, yakima herald-republic