Aug 18th, 2015 by Clark Humphrey

rolon bert garner

photo by arthur s. aubry (who himself passed on earlier this year), via earl brooks

We all knew he was going.

He’d had chronic COPD for many years. At his last Seattle public appearance, in early 2013, he’d looked frail, and had trouble talking for long periods of time.

But it was still a total bitch to learn that he’d died this last Monday morning.

Like many people commonly grouped as “’60s generation kids,”Rolon Bert Garner was already past his teens before the Beatles came to our shores. He’d grown up in Eugene to parents from Oklahoma. In Portland he’d cofounded Artech (a long-running regional art-supply and framing chain) before he came here to work for the Seattle Art Museum, circa 1969.

He was one of the original instigators of Bumbershoot in 1971, and one of the creators of its visual-art component (then a much bigger part of the festival than it is now).

He was involved with the multi-disciplinary arts center and/or (1974-84).

He curated and designed exhibits, installations, and temporary “pop-up spaces.”

He installed exhibits (choosing which pieces went where) at the Frye Museum and many local galleries.

He helped produce private events, including fashion shows for Nordstrom.

With Virginia Inn owner Patrice Demombynes, Garner pioneered the idea of art exhibits in local bars. (He and Demombynes had their own gallery space on Dexter Avenue for a couple of years.)

He continued to curate art on barroom walls as a co-owner of the Two Bells Tavern (with wife Patricia Ryan, who passed in 2001). He’d been a bartender there before Ryan bought the place circa 1982, then married her in 1984. Under Ryan and Garner, the the rundown little bar on a low-foot-traffic stretch of Fourth Avenue became the virtual living room for the then-burgeoning Denny Regrade arts community. When Ryan’s cancer got too bad for her to continue running it, they sold it and retired to the country.

Garner was also an artist in his own right.

His last show of paintings, a career retrospective at the Virginia Inn two and a half years ago, was full of bright colors, underground-comix-esque lines and curves, and an old hippie’s lifelong interest in semi-abstracted nudes.

And he was a conceptual artist. With Ken Leback, he created the public-art piece Equality (a grid of Monopoly-style houses) on north Beacon Hill.

I’d been going to the VI since 1981, and to the Bells since at least 1985.

I knew Garner as a smart, soft spoken, often funny presence.

After I started MISC as a column in the old ArtsFocus paper, he supported and encouraged my work. (It took me years, though, to convince him I wasn’t just making up the things I wrote about in it.)

 He did so many things, in so many places, that it was hard to imagine a local arts scene without him.

And it still is.

Jun 29th, 2015 by Clark Humphrey

'for my birthday the supreme court gave me rights'

Another late June, another Pride Parade.

This time, it had the special, one-time-only, added attraction of a U.S. Supreme Court ruling to celebrate. Same-sex marriage is now the law of the land from approximately coast to coast.

murray at gay marriage rally

Mayor Murray spoke at a hastily-arranged rally Friday afternoon outside the Federal Courthouse, thanking the high court’s majority for coming down on the side of respect, dignity, and legal rights for all couples and families.

facebook 2

Thus, the weekend’s pride parades in Seattle and elsewhere took on an extra air of triumph.

But of what?

Will gay men and lesbians settle into mainstream corporate-American culture, no longer threatening to the established order?

justice mary yu

Certainly some of the political figures and public officials who appeared in the parade are out for mainstream acceptance, for the gay/lesbian community and for their own careers.

sawant 2

One specific politician, of course, will have nothing to do with assimilation or “mainstreaming.”

crowd 4

And many at the parade, both in the crowds and marching/dancing/biking along the route, also displayed little interest in settling down into domestic boredom (or anything like it).

blonde rainbow flag marcher

shirtless man and tutu 2

bicyclist 1

peacock dancer

nude dudes 1

topless cage dancer 2

gothic pride 1

No matter how many images get issued of nice, wholesome, show-tunes-loving guy/guy couples in meticulously decorated homes, homosexuality and transsexuality are still about sexuality.

And even whole aspects of “typical” hetero sexuality are topics many Americans don’t like to discuss, or to be confronted with.

“Queerness,” therefore, will always have an element of “outlaw” status to it.

Even now that it’s protected (to an extent) by the law.

Jan 2nd, 2015 by Clark Humphrey

this year's space needle fireworks were sponsored by t-mobile and heavily emphasized the color 't-mobile magenta.'

As promised previously, MISCmedia is back for two-ought-one-five with a new commitment to try and make sense (or at least document the nonsense) of Life in the Demitasse Size City.

To start things off, and for the 29th consecutive year (really!), we proudly present the MISCmedia In/Out List, the most trusted (and only accurate) list of its kind in this and all other known media relay systems.

As always, this list operates under the premise that the future is not necessarily linear. It compiles what will become torrid and tepid in the coming year, not necessarily what’s torrid and tepid now. If you believe everything hot now will just keep getting hotter, I’ve got some RadioShack stock to sell you.

Bratwurst Ice cream
Saving affordable housing Saving sandwich shops
Amazon as profitless, fragile giant Amazon as omnipotent leviathan
“Phablets” Apple Watch
Fully independent publishing Kindle Unlimited
Fully independent cinema Marvel Cinematic Universe
Ronan Farrow Michael Smerconish
Journalism Clickbait
Furniture Girls Taylor Swift
“Selfie sticks” Facebook food pictures
Euro-socialist revival GOP revival
Cardless payments Kardashians (still)
Dyed armpit hair Lululemon
“Black lives matter” “I’m not racist, but…”
Streaming TV Streaming music
Shoreline White Center
Cheap oil as climate threat Cheap oil as economic blessing
Forest green Taupe
Art Basel Burning Man
Compassion “Non-apologies”
Fiat Google drone car
Women Who Code “Brogrammers”
Cards Against Humanity Candy Crush
Human rights for Cuba New cars for Cuba
Tessa Thompson (Dear White People) Jessica Alba
Tiny houses Charter schools
Legalizing/protecting sex workers Banning protests
Vox Daily Currant
Tucson Austin
Four Roses Fireball
Chris Pratt Seth Rogan
Funky weirdness Soulless “luxury”
Mariners comeback UW football comeback
Insulting Russia Insulting North Korea
Treasure hunts Private “event spaces”
Fried chicken Bacon
Bakugan Minecraft
Ending the waterfront tunnel Closing movie theaters
“Sweetums” “Bae”
Jan 1st, 2014 by Clark Humphrey

I can reasonably state that I wasn’t the only person in Seattle who wanted to personally witness 2013 go bye bye. Certainly, the bottom of the Space Needle had even more than its regular yearly throng of fireworks watchers.

Before the blast, the Needle was bathed in a very pleasant plum-esque lighting scheme.

Then, right on time, the big kaboom began.

By the end of the seven minute spectacular, the smoke had failed to disperse, leaving the whole tower looking like, as one KING-TV commentator called it, “internally illuminated cotton candy.”

Dec 28th, 2013 by Clark Humphrey

Back in 2003, after the first round of local dot-com crashes, former Seattle Weekly writer Fred Moody wrote a book called Seattle and the Demons of Ambition.

Moody wrote about instances when the city as a whole, or individual Seattleites, obsessively pursued grandiose schemes for power, money, or civic greatness, only to figuratively crash back down to Earth.

Moody didn’t include the Seattle Monorail Project (1996-2005) in his vignettes. But that failed dream of a better, cheaper, more futuristic urban transit system certainly qualifies as a sky-high dream that collapsed amid broken hearts and balance sheets.

And Dick Falkenbury, the sometime cab driver who helped to launch the project, is a major aspect of this tale. While he’d worked in minor roles on local political campaigns in the past, many saw him as the ultimate outsider.

To the local media, and to many of his supporters, Falkenbury was the civilian tinkerer with a great idea—an idea that would cure gridlock, make car-free living more feasible, and never get stuck in traffic, all without major government subsidies.

He was like Campbell Scott’s character in the Seattle-filmed movie Singles, whose drive for a city-crossing “supertrain” was promptly dismissed by the mayor. Except that Falkenbury’s idea, while snickered at by almost everyone in power, was loved by the people.

With the aid of local rich kid Grant Cogswell and a few plucky volunteers, plus some clever ideas for low-cost signature gathering and campaigning, the Monorail Initiative got onto the ballot—and passed.

Cogswell went on to a failed City Council run, as documented in Phil Campbell’s book Zioncheck for President and Stephen Gyllenhaal’s movie Grassroots. (Later, Cogswell declared Seattle to be unworthy of him and moved to Mexico City.)

Now, Falkenbury’s written, and self-published, his account of the Monorail dream’s life and death.

The book’s title, Rise Above It All, was one of the initiative’s slogans.

Just as the elevated trains were meant to run above snarled streets, the Monorail Project was meant to run above, and apart from, the city bureaucracy and the “infrastructure lobby” of contractors and construction unions.

That things didn’t turn out that way wasn’t just the fault of Falkenbury’s outsider status. But that was a factor. He made enemies. He nurtured grudges, even with allies. Without the skills or clout to manage the ongoing operation of planning and building a transit system, he was forced to watch it taken over by the “experts.”

What came out the other end of that process was, in many ways, just another bloated civic construction proposal, complete with an unworkable financing plan. After four consecutive “yes” votes, city voters finally killed the monorail on a fifth ballot.

But would the system Falkenbury originally envisioned, or something like it. have worked?

Would it have carried 20 million riders or more per year, in auto-piloted trains, on tracks supported just 20 feet above the ground on narrow pillars, with fewer than 100 employees, financed almost completely by fare-box proceeds and station concessions?

In his book, Falkenbury insists it could have, and still could.

But he doesn’t make a convincing case.

For one thing, he could have really used an editor.

He regularly misspells the names of even major players in his story, such as City Councilmember Nick Licata.

He makes the sort of wrong-real-word errors that Microsoft Word’s spell checker can’t find, such as when he mentions “rewarding a contract” instead of “awarding” it.

He rambles on about his personal distaste for several people, including ostensible allies such as Peter Sherwin (whose second monorail initiative kept the dream alive after the city council first tried to kill it).

And he defends the monorail plan as he’d originally envisioned it, without providing a lot of specific evidence that the engineers and planners and politicians were all wrong and he was right.

But he still could be.

If Falkenbury had been a more effective schmoozer and networker; if he’d gotten more politicians on his side; if he’d sold his plan as a supplement, not a competitor, to the tri-county Sound Transit organization; if he’d convinced ST to at least consider switching from light-rail to monorail technologies; if he’d been able to keep a tighter eye on the planning and money people, or had more allies who could; then, just maybe, we might have been riding in the sky from Crown Hill to the West Seattle Junction by now.

(Cross-posted with City Living Seattle.)

Jul 12th, 2013 by Clark Humphrey

I got a pic of the historic Mudhoney set on the Space Needle Roof on Thursday, but it didn’t quite come out as I’d hoped. Here’s a far better shot by my ol’ pal Charles Peterson (and here’s a link to video of the set):

charles peterson

As it happens, both the band and its longtime record label Sub Pop are 25 years old. The latter’s celebrating its milestone all day Saturday in Georgetown.

Thursday’s gig was an all-afternoon live affair on KEXP, including two opening solo-acoustic acts and DJs and interviews with Sub Pop personnel past and present downstairs on the Needle’s observation deck.

KEXP had its own 40th anniversary last fall, but waited until today to hold an all-hands reunion party at the Sunset in Ballard.

For those who tuned in late, KEXP (renamed at the behest of onetime funder Paul Allen) began as KCMU, part of the UW’s School of Communications (“CMU” was the UW’s course-code prefix for Communications classes).

That’s where I DJ’d a little show of party tunes with Robin Dolan, then went on to my own shift, modestly entitled “Broadcast Radio of the Air.”

Ran into a lot of the old gang at the Sunset. Along with much of the station’s current team, including John Richards and Kevin Cole (again, sorry for the bad snapshot quality).

Also there was Faith Henschel-Ventrello, one of the old KCMU gang. She now does big event planning in Calif. but is back to work on the Sub Pop jubilee shindig.

Seeing these old station newsletters, stickers, T-shirts, and a box of LPs from its early vinyl collection (complete with DJ-scrawled “Yes!” endorsements), and meeting all these onetime champions of youth culture now propelled inexorably into adulthood (if not into “maturity”), really made me feel like (1) we’d been on the ground floor of something that became mighty, and (2) damn I’m old.

Jul 3rd, 2013 by Clark Humphrey

Yep, there was another Pride Parade in Belltown, heading toward another PrideFest in Seattle Center.

This year’s installment was even more festive than most, thanks to the U.S. Supreme Court ruling against one specific federal anti-gay-marriage law; following the voter-approved start of gay marriages in this state late last year.

And, as always, the parade provided major companies with a chance to show off just how welcoming they are toward clean-cut, well-dressed, upper-middle-class people with good tastes in music and home decor.

But gay pride, and gaydom/queerdom in general, shouldn’t be about being the “ideal minority” for a segment of corporate America.

It shouldn’t be merely about recreation, food, drink, and other consumer practices.

For that matter, it shouldn’t be about sexuality as a consumer practice.

It shouldn’t be about an all-white “rainbow.”

And it shouldn’t be about imposing an oversimplified straight/gay social construct on top of an oversimplified female/male social construct.

It should be (and, at its best, it is) about universal inclusion. Of all gender-types, gender-roles, and consensual relations. (PrideFest’s ampersand logo this year expresses this with simple elegance.)

It should be about being who you individually are, without imposed identities (even “progressive” imposed identities).

And, of course, it should be about love.

LOU GUZZO, 1917-2013
Jul 3rd, 2013 by Clark Humphrey


Known for decades as a cranky reactionary political commentator, you might find it hard to believe he’d started as a Seattle Times art and theater reviewer.

There, and later as managing editor at the P-I, he regularly advocated for the “fine arts” as a civilizing force, a means toward furthering the region’s progress from frontier outpost to respectable conservative community.

When the Seattle World’s Fair ended, Guzzo famously editorialized that the fair grounds (to become Seattle Center) should be devoted entirely toward arts/cultural pursuits. He specifically did not want any amusement-park rides there. He lived to see them finally removed.

One of Guzzo’s closest allies in this education-and-uplifting ideology was Dixy Lee Ray, who ran the Pacific Science Center. He later worked for Ray at the Atomic Energy Commission and during her one term as Washington Governor.

After Ray was primaried out of a re-election bid in 1980, Guzzo became a regular commentator on KIRO-TV. That’s where, in 1986, he delivered a blistering attack against greasy-haired, anti-social punk rockers. (The motivation was the infamous Teen Dance Ordinance, which Guzzo supported.)

In response, a local hardcore combo called the Dehumanizers released a blistering attack on him, in the form of a 45 entitled “Kill Lou Guzzo” (which began with a sample of Guzzo’s original commentary). Guzzo sued the band and its record-label owner David Portnow. Portnow responded by pressing more copies.

After retiring from KIRO at the end of the 1980s, Guzzo started a “voice of reason” website and self-published several books.

Jun 6th, 2013 by Clark Humphrey

jordan stead, seattlepi.com

  • The J.P. Patches memorial street sign is a thing. A wonderful thing.
  • Was an area teen denied entrance to her high school prom because she had large breasts, or because her gown had revealed too much of them?
  • The guy who took highly unauthorized pictures of himself atop the Space Needle (and not in an approved way) has been found out.
  • The living members of Alice in Chains were in a web chat, where they offered the following (facetious) advice to young bands:  “Just quit now. Save yourself before it’s too late.”
  • A local musician gave an informal poll of his colleagues to determine the best and worst places to play in Seattle.
  • A moment of silence, if you will, for the career of disgraced now-ex Snohomish County executive Aaron Reardon.
  • One of those regional speech variants surveys lists, among other differentiating words, the ways people in different parts of the country pronounce “crayon.” The article didn’t list the way everyone in my school said it: “color-cren.”
  • Ex-Seattleite Lindy West, as some of you know, appeared on a cable talk show to debate the issue of whether rape “jokes” were, by their nature, unfunny. (She essentially said they were.) The usual way-stoopid web trolls showed up on comment boards, claiming that both (1) they’re not tools of “rape culture,” and (2) they wished someone would rape West. What?
  • Big Pharma has been looking for years for a “Viagra for women.” Now a company supposedly has a “female libido booster.” And (male) scientific observers and pundits are expressing worry that it might work too well, unleashing that long-feared chaotic force that would enflame the planet in unabashed… (Better stop before I start talking like a semiotician.)
  • Elsewhere, Swiffer thought it would be cool to depict the WWII icon “Rosie the Riveter” as a cleaning-obsessed housewife. Uh, nope.
  • Michael Lind at Salon asks if Libertarianism is so great, how come no country on Earth has ever tried it? (Of course, the same thing could be said about “real” Socialism, etc.)
  • CollegeHumor.com offers sample home pages answering what would happen “if all news sites worked like BuzzFeed.” (Or Huff Post, or any of a score of click-whoring aggregation sites.)


May 22nd, 2013 by Clark Humphrey

via geekwire

Amazon wants to build a triple-globe shaped, five story thing, variously called a “biodome” and a “greenhouse,” as part of its three-block skyscraper project. It would be on Lenora Street east of Sixth Avenue.

First comment:

Any architectural thang with three segments, in which the two smaller segments are spherical, is bound to lead to a lifetime of snickering jokes.

Arrangements of one or more spherical objects at the bottom of a 50-story tower will engender the same responses.

Amazon’s either being brave, or clueless, or devil-may-care bombastic, or some combo of the above.

Second, slightly more serious, comment:

As gargantuan New Seattle monuments to world-class-osity go (and I wish a couple of them would go), this one looks at least somewhat friendlier than the planned central waterfront makeover, kitschier (in a good way) than the Sculpture Park, and not nearly as brutalistic as Chihuly Garden & Glass.

Depending on how it works out, and how tolerant its staff is toward civilian activity within, it could be a welcome addition to the cityscape. Or at least a place in which to hide out from the rain for a bit.

May 7th, 2013 by Clark Humphrey

neil hubbard via cousearem.wordpress.com

  • It was 37 years ago this month: The TMT Show, the first faint stirrings of Seattle punk rock culture. May Day of the Bicentennial year. Three bands rented a hall in the Odd Fellows building on Capitol Hill. About 100 people showed up. From these DIY roots sprang, directly or indirectly, all the noise that emanated from this burg ever since.
  • The City Council’s revised South Lake Union rezone: even fewer affordable housing units than Mayor McGinn’s plan, but more preserved Space Needle views for condo owners.
  • The old Seattle Rep space, which became the Intiman Playhouse, is now the “Cornish Playhouse at Seattle Center.”
  • Ray Harryhausen, 1925-2013: The king of stop-motion animated fantasy was better known than his films’ official directors, for a good reason. Those dudes were simply in charge of the live-action scenes. The filler, if you will. Harryhausen was the films’ real auteur.
  • Ex-Miramax boss Harvey Weinstein sez search engines are getting rich off of the pirated works of fine people such as himself.
  • I’m not so sure that there really is a “Conservative Quest to Eliminate Facts.” It’s more universal than that.
  • It’s not so much that the tech companies listed in one woman’s Tumbler blog “Only Hire Men,” but that they seem to presume only men will even apply to work there.
  • Dear Crowdfunders: Millionaire celebrities and billionaire media titans don’t need your Kickstarter money. Really.
  • Even the bosses of America’s hyper-bloated “security” bureaucracy don’t seem to know all that’s in it.
  • Recent “good news” about newspapers’ paid readership (in print and online) seems, in some cases, to be exaggerated.
  • Blogger Mark Manson has “10 Things Most Americans Don’t Know About America.” Number 5: “The quality of life for the average American is not that great.” Number 6: “The rest of the world is not a slum-ridden shithole compared to us.”
  • Allen Clifton at Forward Progressives isn’t the first, and won’t be the last, to remind you Jesus probably neither a corporate lobbyist nor a Tea Partier.
  • The downside of traditional publishing: A Brit lady who writes popular children’s books really wants her publisher to stop putting them inside pink covers. She says pink turns boy readers away and distracts from her stories’ often-serious content.
  • The downside of modern publishing: An American gent who’s written three novels “to good reviews” (if not good sales) tries self-publishing and finds it to be “the worst.”
  • I’d be more interested in Out of Print, Vivienne Roumani’s forthcoming documentary about the digital publishing “disruption,” if the director didn’t seem so obsessed with making everyone younger than herself look like an idiot.
  • Let’s close for today with some wonderful old Greek and Greek-American music from the 78 era.

Jan 25th, 2013 by Clark Humphrey

the aurora kmart in 2002

  • Seattle’s last Kmart store, at 130th and Aurora, has lost its lease and is closing. It first opened in 1968 as a branch of White Front, the long-defunct California chain that begat Toys “R” Us.
  • Daniel B. Wood at the Christian Science Monitor asks whether Boeing’s 787 Dreamliner is “too high-tech for its own good.”
  • Do we want the Arboretum’s “ramps to nowhere,” the only surviving legacy of the rightfully-halted R.H. Thompson Expressway project of the early 1970s, to be removed? I say no.
  • Could legal “pirate” (quasi-unlicensed) radio be coming to Seattle?
  • How to guarantee a huge turnout at a city hearing: make it about making the rules for legal pot sales.
  • R.I.P. Mary Shirley, who with her ex- Microsoft exec hubby was a major art collector and Seattle Art Museum donor.
  • Local blue-eyed-rap star Macklemore has one devout anti-fan in Brandon Sodenberg (“safe-as-fuck, liberal meme-rap”).
  • In case you’d forgotten, the Chihuly Museum people promised a kids’ playground and a gallery space for other Northwest artists, in exchange for taking up a huge chunk of Seattle Center land. Neither is anywhere in sight.
  • In “boring” news, the big waterfront tunnel digging machine got some small but significant damage during testing in Japan.
  • Janie Stilgoe at The Guardian says the days of “content” web sites scrambling to game Google’s search results through “search engine optimization” are over. Google’s revamped its algorithms specifically to discourage it. Instead, Stilgoe says web sites (including news sites) should embrace “content marketing,” whatever that is.
  • And let’s end it for today with a scenic tour past some “Faded Motels of the Rust Belt.”

via huffington post

LUCKY ’13!
Jan 1st, 2013 by Clark Humphrey

At least, that’s what I hope and pray it will be, for myself and for all of you.

Sep 10th, 2012 by Clark Humphrey

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.

Sep 6th, 2012 by Clark Humphrey

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.

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