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existing blue tree in vancouver bc; konstantin dimopoulos via kplu.org
washington beer blog via seattlepi.com
First, thanks to the more than 50 people who crowded Roy St. Coffee and Tea for the History Cafe presentation on old Seattle restaurant menus Thursday evening. And thanks to my fellow panelists Hanna Raskin and Taylor Bowie for making it easy for me. Each of them had so many insights about the old restaurants, their menu designs, their food items, and their respective places in cultural history, that I didn’t have to say much.
Today, go out and celebrate Pi Day (3/14). Tomorrow, learn about pies of the past.
I’m participating in a History Cafe session about old Seattle restaurant menus. It’s 7 p.m. Thursday at Roy Street Coffee (the off-brand Starbucks), Broadway and East Roy on cantilevered Capitol Hill. It’s sponsored by KCTS, HistoryLink.org, MOHAI, and the Seattle Public Library.
Try writing the same line of dialogue three different ways: 1) the quippy version, 2) the version that simply conveys the meaning of the line, and 3) the emotional subtext of the line. And then try to find the version that combines 2) and 3) as much as possible. You might find you end up with a line that’s more quotable than the witty version you originally had.
kirkland reporter
stranger cover, 8/30/95, art direction by dale yarger, illo by neilwaukee
I haven’t gotten all the details yet, but it appears Dale Yarger, a mammoth force in Seattle publication design, passed away over the weekend.
He’d been living in California for at least the past four years. But his local work is still a huge influence around here.
Yarger was one of the Rocket’s several rotating art directors in the 1980s. He created many memorable covers there and also made an early iteration of the Sub Pop logo, back when that was the title of Bruce Pavitt’s indie-music review column.
During that time he also co-founded a gay paper called Lights, art-directed The Oregon Horse magazine, and collaborated with artist Carl Smool on a memorable anti-Reagan bus sign.
Yarger became one of Fantagraphics Books’ first Seattle hires after the comix publisher came here from L.A. He redesigned the company’s Comics Journal magazine (where I first knew him), and essentially did every visual thing on its comics and books that wasn’t done by the artists themselves. He instilled the appreciation for top-notch design, typography, and production that now marks the company’s admired graphic novels and comic-strip collections.
By 1995 he transferred over to that other hip bastion, The Stranger. In his three-year stint there, Yarger took the alt-weekly from the look of “a zine on steroids” into the slick product it’s been ever since.
He also had a hand in the visuals of Seattle Weekly, the University Book Store, and Dana Countryman’s Cool and Strange Music magazine.
I will always remember him as a cool head even when surrounded by hot heads, a perfectionist who still understood schedules and budgets, a man with a knack for making even the most mundane assignment sparkle.
UPDATE: Now I’m told Yarger had stomach cancer, for which he’d had surgery some time last year.
I just watched (much of) the beginning-to-end Monkees marathon on Antenna TV (one of those digital broadcast sub-channels).
All 58 series episodes plus the feature-film epilogue Head were aired over 31 consecutive hours, in memory of the recently deceased co-star Davy Jones.
Things I discovered (or rather rediscovered) during this:
The series was both wholesome and subversive. It incoroprated both Three Stooges slapstick (shot on the same studio lot and occasionally using leftover Stooge props) and Bunuel surrealism. It’s no coincidence that the show’s makers went on to make some of the most groundbreaking feature films of the late ’60s-early ’70s.
If only the derogatory “prefab four” meme (the idea that, as primarily a comedy team playing scripted roles, they weren’t a “real” rock band) had not gotten around to denigrate both the show and the group, the show would have been seen at the time as what it was—a leap several steps beyond the standard Screen Gems sitcom, a bright and life-affirming piece of informed nonsense.
The four actor-singers had distinct comic personalities. No one of them was allowed to overshine the others. They played off of one another very well, especially when they weren’t in reactive mode against the guest characters.
They also had distinct singing voices, and they were all skilled musicians, even though the show’s shooting schedule (much more elaborate than that of your basic living-room sitcom) didn’t allow them to play on most of the backing tracks.
The Monkees series is a work of perfection. And thanks to the growing rancor between the stars, the producers, and the network, the show ended at its peak. It didn’t fall into a slow decline, like so many other series.
The group’s lightweight pop sound was already becoming rear guard by the time the show premiered. By the spring of 1968, when the show ended, that music was even more passe among the emerging rock snobs, and would soon fall under the damning label of “bubblegum.”
And the four co-stars were anxious to make more of their own music, which would inevitably lead them in different directions.
But the Monkees, and their producers Bob Rafelson and Bert Schneider, would not leave without a proper goodbye.
•
Some reviewers have called Head a destruction of the Monkees’ image. Actually, it expanded the series’ absurdist premise to its natural extreme.
In the series, the Monkees always saved the day because they were even crazier than the villains, and because they knew that as the heroes they could bend the show’s fictional “reality” to their will.
But in Head, they’re trapped in a world that’s more complicated, even more surreal. No matter how many times our heroes break the proverbial “fourth wall” to escape a scene, they’re herded back into another. The Monkees could no longer save the day, or even themselves; much as the youthful idealism of the Camelot early ’60s was descending into foreign and domestic turmoil.
I was nine when The Monkees series began its original network run.
It made perfect (non)sense to me then.
And it still does.
The show’s music epitomized commercial pop at its best.
As promised, here are the pix of my Sunday Amtrak-trek to the not so naughty border town of Bellingham.
The journey is beautiful. You should take it early and often. WiFi, a snack car, legroom, scenery galore, and all with no driving.
The trestle over Chuckanut Bay just might be one of the great rail experiences of this continent. It really looks like as if train is running straight across the water’s surface.
The Bellingham Amtrak/Greyhound station is just a brief stroll from Fairhaven, the famous town-within-a-town of stately old commercial buildings, and a few new buildings made to sort of look like the old ones.
My destination was in one of the pseudo-vintage buildings. It’s Village Books, a three-story repository of all things bookish.
Why I was there: to give a slide presentation about my book Walking Seattle.
Why people 80 miles away wanted to hear somebody talk about the street views down here? I did not ask. I simply gave ’em what they wanted.
Some two dozen Bellinghamsters braved the sunbreaks punctuated with snow showers to attend.
Afterwards, some kind audience members showed me some of B’ham’s best walking routes. Among these is the Taylor Dock, a historic pedestrian trestle along the waterfront.
Yes, there had been an Occupy Bellingham protest. Some of the protesters made and donated this statue on a rock near Taylor Dock.
Apparently there had been windy weather the previous day.
After that I took a shuttle bus downtown, where I was promptly greeted by a feed and seed store with this lovely signage.
The Horseshoe Cafe comes as close as any place I’ve been to my platonic ideal of a restaurant. Good honest grub at honest prices. Great signage. Great well-kept original interior decor.
(Of course, I had to take advantage of sitting in a cafe in Bellingham to trot out the ol’ iPod and play the Young Fresh Fellows’ “Searchin’ USA.”)
Used the remaining daylight to wander the downtown of the ex-mill town. (Its local economy is now heavily reliant on Western Washington U., another victim of year after year of state higher-ed cuts.)
But I stopped at one place that was so perfect, inside and out. It proudly shouted its all-American American-ness.
Alas, 20th Century Bowling/Cafe/Pub will not last long into the 21st century.
twenty-flight-rock.co.uk
Remember, we’ve got a free Vanishing Seattle presentation at 2 p.m. Saturday in the Klondike Gold Rush National Historic Park, 319 2nd Ave. S. in Pioneer Square.
filmfanatic.org
joe mabel, via wikimedia commons
A scene from the 2008 Japanese film Love Exposure (dir. Sion Sono).
walla walla union-bulletin, via bygone walla walla
candy wrapper archive via aol/lemondrop.com