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via fastcompany.com
We continue now to reminisce about the last Puyallup Fair (or the first “Washington State Fair,” since the new name was phased in during this year’s advertising). Of course, if you’re reading this in standard blog order, you’re seeing this second part first. Ah, the Web’s particular slant on the time-space continuum…
Some performers, such as these young fiddlers, were there for the purpose of preserving cultural traditions.
Some tried to turn old traditions into new audience-pleasers.
And some were just for fun.
Of course, all the familiar food stuffs could be had. Some of the same concessionaires have been at the fair for decades; some have no other business activities but this.
Kitchen-gadget demonstrations were everywhere and nonstop; as were booths selling stuff (below).
As were people selling ideas, including the idea of a better future.
As mentioned in our prior installment, fair officials are trying to strengthen its roots as a celebration of agriculture. Part of the plan includes year-round community and demonstration gardens, that would display produce in its “living” form.
The new plan would also replace many of the venerable livestock barns.
Veterinary regulations meant sheep and cattle could not be on the premises the same day. Instead, there was a milking demonstration with a plastic cow. (This, I believe, is where non-dairy creamer comes from.)
No such restriction was needed for the horses, or the young horsemen and horsewomen competing in the equestrian finals. The sign on the fence: NO PARENTS OR COACHING ALLOWED.
No months of training and grooming are required to ride the plastic Wally Gator vehicles in the fair’s massive amusement-park area. Damn, I still want this kind of fun within the Seattle city limits again.
These clean-cut young gents had won a huge-ass plush bear at the carny games. But they didn’t have room (or just didn’t want) to drive it home. So they tried to sell it off to passersby outside the grounds. They even proclaimed the bear was really a magic genie that would grant the purchaser’s every wish.
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.
from the book 'mail order mysteries' via laughingsquid.com
via yowpyowp.blogspot.com
Having finally gotten the Boomerang cable channel, I’ve become re-acquainted with the early Hanna-Barbera cartoon shows (Huck, Yogi, Quick Draw, ‘Stones, Top Cat, Jetsons, Jonny Quest). They didn’t have fluid movement but they had great visual composition. They had pleasing character designs and cool semi-abstract backgrounds. They had funny dialogue. Then the company got too big and everything went downhill. This B.C.-based blogger explains it all thoroughly, including the links between the Jetsons look and the Space Needle (hint: ours came first).
xkcd.com
Randall Munroe’s hilarious online comic strip xkcd (“a webcomic of romance, sarcasm, math, and language”) is usually a minimalistic enterprise, populated by faceless stick figures individualized only by their hairstyles.
But Munroe, suddenly and perhaps for one time only, has gone maximalist with the entry “Click and Drag.”
He’s created an immense silhouette landscape that starts in the middle. You then drag the image inside a relatively small window.
There are ocean waters (with boats large and small), islands, hills, cliffs, trees, aircraft, a skyscraper, radio/TV towers, and a labyrinth of underground tunnels.
Munroe’s stick-people show up all along the way, offering gag lines and little playlets. There are references to Star Wars, Super Mario Bros., Pokémon, 2001: A Space Odyssey, the Icarus legend, previous xkcd strips, our ol’ pal Sean Nelson, and even Elizabeth Warren’s Senate campaign.
Glenn Hauman at Comicmix.com claims Munroe’s tableau is probably “the biggest comics panel ever.”
How big, you ask?
Some online reviews estimate it at 165,888 pixels by 79,872 pixels. The whole thing, if printed out at an average screen-resolution rate, would be about 150 feet wide.
Folks have made screen shots of the different segments and stitched them together into a single zoomable image. Yes, viewing it this way reveals even more “Easter egg” gags you might have otherwise missed.
I can imagine only two practical ways to turn “Click and Drag” into a real-world thing. It could be published as a folding-scroll “accordion book” (like old Chinese “scroll paintings“). Or it could be installed as a mural in a contemporary art museum somewhere.
Either way, I can imagine someone in charge trying to persuade Munroe to condense some of the long stretches of grassy plains and ocean waves between gags.
chris lehman, npr via kplu
watch el chacal de la trompeta, via youtube
nfl via cbs news
The highly creative leader of NFL Films did as much as any single person to turn pro football into America’s most popular team sport.
His father Ed had founded the film production company, then sold it to the league’s team owners, in the early 1960s. But it was Steve who ran it, almost from the start.
He built a mythology on top of the league’s original hard, working-class image with grainy 16mm photography, Sam Spence’s bold-as-brass music cues, and John Facenda’s booming narration.
He put cameras down below players’ eye level and zoomed them in tight. He miked players, coaches, and refs. He constructed storylines that were often more thrilling than the games his crews documented.
As I wrote in 1997, Sabol turned what was essentially a game of coaching, of the execution and interruption of pre-planned plays, into a morality play, a spectacle of noble action heroes valiantly vanquishing their foes.
Along the way, he turned the lowly highlight reel, that early staple of TV-station filler moments, into a true art form.
seattle chapter, american institute of architects via kplu.org
from an estee lauder skin cream ad
… is at the bottom of this image.
seanmichaelhurley.blogspot.com
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.)
andraste.com via the smoking gun
the impossible project via engadget.com