While we’re celebrating the 50th anniversary of the Seattle World’s Fair, which was hitting its peak-season stride in September 1962, another anniversary is running through my mind. It was the amazing summer of 1972, when so much of the promise of the New Frontier came crashing to the ground because of a burglary known as Watergate.
People living in Bellingham have a pretty forgiving attitude toward the trains that rumble through town. The shrill whistles, the squeal of wheels, the waits at crossings—that’s just part of life in this laid-back college town. But now something else is roaring down the tracks, and it has the town’s full attention.
A master’s degree in civil engineering isn’t a prerequisite for becoming Washington state poet laureate, but it does tend to make for a unique perspective. Kathleen Flenniken, who began her two-year term as poet laureate in February, lives in View Ridge, but grew up in Richland, the daughter of a chemist who spent his career at Hanford Nuclear Reservation. “When I graduated from college in 1983, women were entering the civil engineering field in unprecedented numbers,” Flenniken says.
When Cuong Vu plays trumpet, it can sound like he’s underwater, or facing gale force winds or maybe contacting us from another dimension. The unique sounds he gets out of the horn range from spooky to sputtering—long, haunting notes that waver like seagrass, and staccato runs that leap off the standard scale, becoming syncopated gusts of breath and spit. His entrancing compositions pull listeners along partly because they want to find out what on earth is going to happen next.
A set designer’s job is about overcoming a series of paradoxes: First, transform a familiar room into a completely new universe, without blowing the budget. Second, reconcile thematic relevance with physical limitations (and hurry up already). Finally, create something that both surprises the audience and feels totally appropriate within the context of the play. No wonder local theaters hire set designer Matthew Smucker so often; he makes all of that look easy.
If you’ve seen any recent indie films set in Seattle, you’ve likely watched them through Ben Kasulke’s eyes. The cinematographer has been behind the camera on an astonishing number of local movies of note, including major success stories such as Lynn Shelton’s Your Sister’s Sister, Colin Trevorrow’s Safety Not Guaranteed and Megan Griffiths’ The Off Hours.
At the Capitol Hill Block Party in July, musicians on the main stage had special accompaniment: a tiger, a dragon and several lime green, bat-like imps. The creatures, drawn in a vivid folk style and emblazoned on 23-foot-tall scrims flanking the stage, added a bit of reverence and danger to the proceedings—an aura of myth that hinted at age-old knowledge. That’s what work by Stacey Rozich does: exerts an atavistic pull toward the subconscious stories that still thrum deep in our lizard brains.
MUST TASTE Kickin’ Boot Whiskey Kitchen The folks who brought you the The Matador present a new addition to Ballard’s bevy of barbecue restaurants. Kickin’ Boot will serve house-smoked meats, Southern barbecue and lots and lots of whiskey. Read Cody Bay’s full preview to learn more about the menu offerings, including something she describes as “a terrifying meat extravaganza.”
Seattle loves puppets. But are we ready for Tacoma's?
Tacoma artist Jeremy Gregory keeps strange company. Lately he spends days and nights surrounded by a menagerie of skateboarders, drug addicts, supernatural beings and garden variety ne’er-do-well's.
What’s even stranger: these are puppets that he willingly created.
News broke today that longtime KOMO-TV anchor Kathi Goertzen died after a long struggle with brain tumors.
We at Seattle mag have long been big fans of her work at KOMO and, in particular, of the bravery she showed in the face of this illness. In fact, we named her "Most Inspirational Media Role Model" in our Best Of 2011 issue. Here's what we wrote then:
Filmmaker Megan Griffiths calls herself a “people person.” She’s referring to the energy she gets from interacting with others, but the shorthand label is also an apt description of her moviemaking style. “For me,” Griffiths says, “it’s about the people in the movie.”