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The rubric atop this entry is not merely the title of the Ventures’ breakout hit, over 50 years old and still an instro-rock classic.
It’s also a potential slogan of the second annual NEPO House 5K Don’t Run, held last Saturday from Beacon Hill to the International District.
This year, the event began at NEPO House, the sometime installation/performance space on Beacon Hill. Last year, that’s where it ended. That meant this year’s event was (mostly) downhill (except at the end).
That still wasn’t easy for the woman pushing the wheelchair seen above (whose occupant also carried a load of bricks in her arms).
Also giving themselves an added degree of difficulty were Graham Downing and Max Kraushaar, wearing helmets that only gave them tiny tiny peephole views. They had to rely on one another’s limited perspectives all along the way.
Along the way, Nathaniel Russell’s ad posters promoted fictional events, services, and events.
Earthman! (Seanjohn Walsh) read selections from famous poets, selected by a random process that involved a spin toy and a game board.
A little further down 18th Ave. S., poet Sarah Galvin arises from a hidden hole in the ground, from which a wildman (played by Willie Fitzgerald) had arisen, grabbed her, and thrown her down.
With the path having moved onto I-90 Trail, Julia Haack’s arches here aren’t just striped, they’re quilted.
The Ye-Ye Collective’s “Telethon” looked back to the old days of printed phone books, landline phones, and all-knowing “directory assistance.”
Paul Komada shows “How to Fold an American Flag.”
Keeara Rhoades’ dance troupe, stationed under the Jose Rizal Bridge, performs “When They Move They Take Their Fence With Them.” They’re a white picket fence, you see.
“Meadow Starts With P” and her Covert Lemonade Stand were quite popular with the by-now tiring non-runners.
A K Mimi Alin, the “Not So Easy Chair,” is no relation to Chairy from Pee-wee’s Playhouse (I asked).
Eric Eugene Aguilar and friends danced under a freeway overpass. Just out of camera range, official city notices pasted onto the piers ordered people to not sleep here.
The Don’t Run ended at its own version of the Boston Marathon’s “Heartbreak Hill,” the steep climb along S. Maynard St. toward Sixth Ave. S. Those non-runners who survived this last obstacle were treated to a beer garden, food trucks, and the Bavarian Village Band (who’d also performed at the end of last year’s Don’t Run).
The Diapan Butoh took at least half an hour to dance up the one block to Sixth. Even when they got there, things did not go swiftly or smoothly.
What you saw here was fewer than half the Don’t Run’s attractions. When next year’s event arrives, you’d better walk, stride, strut, or shimmy to it.
Just don’t, you know….
It’s a short distance from either the 1958 or 1968 KIRO-TV buildings, where Chris Wedes performed as J.P. Patches, to Seattle Center’s McCaw Hall, where Wedes was publicly remembered last Saturday.
The distance from the Patches show’s fictional City Dump to McCaw’s clean, modern splendor is far greater.
J.P.’s “little old shack by the railroad track” was a tiny, cluttered little studio set that felt like home.
It was a fun palace for a working-class town.
Within these flimsy walls, pretention was unknown, and funky, honest good times were the rule.
This “room,” barely wide enough to allow full-height camera shots of its inhabitants, was our portal to the infinite realms of imagination.
McCaw’s seats were filled with Patches Pals who’d grown up with the 1958-81 TV show, and others who’d known J.P. only from later personal appearances and home-video retrospectives.
The always affable Pat Cashman hosted, on a stage bedecked with J.P. set pieces and props (mostly re-creations). In between many video montages, Cashman shared his (and our) memories of the man, the clown, the Northwest icon.
One of the video montages was set to a recent song by Aaiiee!, a local ’80s-vintage band now gigging again.
This segment was included when KIRO telecast the memorial later that evening (commercial-free, but cut to an hour).
The telecast cut out a couple of other montage segments, on-stage tributes by John Keister (above) and Dori Monson, and a pre-recorded tribute by Joel McHale.
But home viewers did get the part with Duane Smart, the show’s longest serving “Mr. Music Man,” playing some of the music and sound-effects cuts that burned themselves into kids’ memories.
And they got to see the particularly poignant bit with Stan Boreson, who was both Wedes’ friend and nearest rival (he hosted KING’s afternoon kids’ show for 11 years).
Wedes’ partner in crimes against “good taste” was Bob Newman, who played Gertrude, Boris S. Wort, Ketchikan the Animal Man, and most of the show’s other characters. Newman sat at the front of the audience during the memorial, addressing the audience only in a pre-taped segment. That did not stop the audience from giving him at least two standing ovations.
Chris Ballew, in his “Casper Babypants” persona, closed with the snappy original piece “Meet Me at the City Dump.”
Which is exactly where, in our imaginations, so many of us still regularly go.
Yes, the J.P. Patches show existed to sell peanut butter, cookies, and tennis shoes to impressionable youth, and to fill little bits of time between those commercials and syndicated cartoons.
But it did so much more.
It didn’t invent, but it sure helped spread, a particularly Northwest brand of goofball humor.
It was at once totally childish and totally hip.
It was at once subversive and pro-social.
It mocked social mores (as the best clowning always does) while instilling confidence and reassurance.
It made every viewer feel just a little bit special, a little bit loved.
Thanks, J.P.
Their last and only hope is that they can buy a last election or two, and encode into law, and legislate from the bench into the Constitution, an end to democracy itself.
via upworthy.com
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.
degenerateartstream.blogspot.com
johncage.tonspur.at
Lying has become so ingrained into the conservatives’ national dialogue that they are now dangerously demagogic or, worse, severely unhinged. Blind rage at the election of Barack Obama has wrecked a once great political party. Its leaders have made so many deals with the devil in their almost pathological obsession with unseating Obama that they have pushed the GOP into its own version of political hell – unable to speak truths to their now-rabid and conspiracy-addled base and unable to right the party back onto a path of responsibility. Only through the disinfectant of defeat can the Republicans, and the two party system, be preserved.
realismblog.com
I’ll have more to say about Bumbershoot 2012 later.
But I have to talk about the posthumous tribute exhibit to local urban-landscape painter Christopher Martin Hoff.
The show itself was fabulous, a loving homage to a man who loved the world around him and who deftly expressed all the color, detail, and even love he saw.
At least that’s what I saw in Hoff’s works.
Gary Faigin sees something else.
He’s a cofounder of the Gage Academy of Art and a contributing art critic on KUOW.
He wrote an introductory statement displayed at the Hoff exhibit.
Faigin’s statement begins:
Seattle is not a beautiful city. Its architecture is banal, its layout arbitrary and confusing. It is redeemed by its setting—dream-like mountains and islands tantalizingly close—but one would never know that by looking at the paintings of Christopher Hoff. It was Hoff’s lifework—tragically short, as lives go—to patiently go out into the gritty streets of the Seattle urban core, day after day, week after week, in good weather and bad, and attempt to extract the timeless and poetic from what most of us see as an everyday blur.
I most emphatically disagree with the first three sentences.
And I believe, without having known him, that Hoff would have done likewise.
thestranger.com
Hoff saw beauty in the everyday. In the weather. In the streets. In intersections both straight and angular. In handsome 1920s apartment buildings and in graffiti- and poster-encrusted commercial walls. In warehouses and gas stations and billboards.
He saw the beauty in all this because it was all there to be seen.
Because Seattle IS beautiful.
And not just the picture-postcard parts, the water and the mountains,the Pike Place fish throwers and the glass artists.
All of Seattle is beautiful.
Just as all of you are beautiful.
bumbershoot.org
(PS: This entry’s title, “I Acknowledge Beauty Exists,” comes from a Facebook page devoted to “body image,” inner beauty, and championing the diversity of all peoples. That page’s founders, in turn, based its name on another online activist space, “I Acknowledge Class Warfare Exists.”)
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 first human on the moon turned out to be just two weeks younger than my mother.
The “Space Race,” begun with the Soviet Sputnik satellite’s launch, was only four months younger than me.
I was 12 when Apollo 11 landed. The perfect impressionable age for a young male.
The moon landing meant to me what it meant to a lot of guys my age:
The ultimate adventure.
The first steps of “Man” to a strange new world.
The first day of a new era.
I don’t have to tell you things turned out differently.
But we still dream.
Particularly during the 50th anniversary of the Century 21 Exposition.
As part of that, Pacific Northwest Ballet’s staging a “Celebrate Seattle” event on Sept. 16, with astronauts real (Cady Coleman) and fictional (Star Trek’s Nichelle Nichols). The Ballet’s orchestra will play parts of Holst’s The Planets and Dvorak’s Song to the Moon.
It’s good to remember yesterday’s future.
But let’s also build ourselves some new dreams for a real future.
A future in which the work of Armstrong and the entire NASA team behind him will not have been in vain.
via theatlanticwire.com
zoo atlanta via king-tv
seattle mariners via mynorthwest.com