The EMP Museum

Posted on September 9, 2015 by admin

By chance today I saw about 10 minutes of Pompeii, a movie that apparently came out last year. The scene pitted gladiators vs. Roman soldiers, and clearly the gladiators were the put-upon salt-of-the-earth hero and his friends, while the soldiers fought for a cartoon Roman upper-class twit bad guy. I watched anyway. Nothing like a little implausible sword play to liven your afternoon. It didn’t take long to come to the conclusion that overall the movie was very stupid indeed.

But maybe I should have watched the end. According to Marc Savlov in the Austin Chronicle: “We all know what happens in the end and, to his credit, Anderson [the director] totally nails the vulcanization of Pompeii. You want it? You got it: flaming chariot melees, massive tsunamis, and a downright hellacious pyroclastic flowgasm that makes the ones in Dante’s Peak look like so many Etch-a-Sketch doodlings (all of it shot in well-above-average 3-D). Pompeii delivers the goods – well, at least during its final 20 minutes.”

It took me a while to remember what EMP stands for in the EMP Museum in Seattle, which I visited on the afternoon of August 28. That evening I said (jokingly) that I’d gone to the Electromagnetic Pulse Museum, because I’d forgotten it stands for Experience Music Project.

The EMP is at Seattle Center, just north of downtown. Seattle Center was the site of the 1962 world’s fair, interestingly known as the Century 21 Exposition. EMP didn’t come along until near the actual beginning of the 21st century, back in 2000, as the creation of Microsoft billionaire Paul Allen and right-angle averse starchitect Frank Gehry.

It’s a colorful 140,000-square foot blob of a building, roundly hated by many. I didn’t hate it, but it didn’t inspire much admiration in me either. I’ve seen plenty uglier buildings, following my own visceral and idiosyncratic standard for ugliness, which is uninformed by theory. Most parking garages are worse. So are many brutalist and otherwise concrete-based structures. EMP just seemed like Gehry being Gehry.

I understand it was a technical marvel to build, with more than 21,000 exterior aluminum and stainless steel shingles all uniquely shaped and designed to fit together like pieces of a puzzle, and an interior defined by strange irregular shapes and held up by 280 steel ribs. I found myself looking up at the interior with more admiration than the exterior. The engineers needed a terrific amount of computing power to design and put the thing together, which somehow seems fitting, considering that a software philanthropist paid for it.

Here’s an odd assertion from the museum: “If [the building’s] 400 tons of structural steel were stretched into the lightest banjo string, it would extend one-fourth of the way to Venus.” That must mean the average distance, since the true distance from the Earth to Venus changes every moment. Or maybe it means the distance between the orbits of Earth and Venus.

Wonder how many ping-pong balls it would take to fill it. Someone at the museum needs to figure that out.

Richard Seven wrote in the Seattle Times in 2010: “A smashed guitar, in honor of Seattle’s Jimi Hendrix and his rebellious style, was the inspiration and template. But the real collision was between one of the world’s most relentlessly anti-box architects, an unfathomable task of trying to freeze the rock ‘n’ roll process, and a wealthy private client who embraced the costs and advances in computing and engineering that allowed a building like that to even stand…

“When he toured the building just before it opened in the summer of 2000, Gehry told reporters, ‘It’s supposed to be unusual. Nobody has seen this before or will see it again. Nobody will build another one.’ ” Probably so.

As a museum, EMP is devoted to pop culture. Though “music” is in the name — and Jimi Hendrix and Nirvana each have their own galleries — that’s only part of the equation. One of the current exhibits, for instance, is “Star Wars and the Power of Costume,” which sounds like a display of costumes from that franchise. It cost extra, so I took a pass.

I didn’t miss “What’s Up Doc? The Animation of Chuck Jones.” That alone was almost worth the inflated price of admission to EMP. Besides original sketches and drawings, storyboards, production backgrounds, animation cels, photographs, and a fair amount to read, there was the opportunity to see cartoons on big screens, such as “What’s Opera, Doc?”, one of the Roadrunner cartoons — I forget which, not that it matters — and “One Froggy Evening,” which I probably hadn’t seen in more than 30 years, and which I didn’t fully appreciate when young. Especially the notion of a frog singing tunes from the 1890s.

The museum features some impressively large installations. One is made of guitars. A lot of guitars, arrayed upward in a kind of mass cone of guitars (and banjos and keyboards and other musical instruments) two stories high. The work is called “IF VI WAS IX,” and it was put together by a Seattle artist who goes by the single name Trimpin.

It’s more than just a cone of instruments. EMP notes that “short stretches of music were played into a computer then organized by Trimpin into a continuous electronic composition, with notes assigned to specific instruments. Customized robotic guitars play one string at a time. Six guitars work together to create the sound of one chord—a mechanical metaphor for how musical styles and traditions continue to influence one another.”

Nearby is the “Sky Church” room, whose main feature is a 33’ x 60’ HD LED screen that projects images on (from?) an enormous wall. The 65-foot ceiling is illuminated with parasols that seem to float overhead, and the space is well equipped with special-effects lighting. Technically impressive.

The perfect venue for, say, the restored color version of A Trip to the Moon. Or “Steamboat Willie.” Or “Duck Amuck.” Or the “Thriller” music video. Or any of many possibilities. All short, all worth seeing on a vast screen. Maybe shorts like these play at the Sky Church, but the day I was there, the venue seemed mostly to pump out music videos for people under 30.

I’ve read that the full name of the museum used to be the Experience Music Project and Science Fiction Museum and Hall of Fame (with the clunky initials EMP|SFM), but some years ago, the science fiction aspect was demoted. The museum still covers science fiction, as well as the horror genre, but in two galleries in the basement.

Not bad displays. I enjoyed seeing an assortment of SF movie and TV show props, such as the original Terminator’s leather jacket and I forget what else (no Lost In Space Robot, though), and playing with at least one of the interactive features: a large globe that would take on the likeness of each of the Solar System’s planets, along with the Moon (and Titan?), at the touch of a button.

Oddly enough, I got more out of the horror exhibit than the SF one. Besides static displays and props and the like, the horror gallery included a number of alcoves in which you can watch well-made short films on various renowned horror movies. These proved interesting, even though I don’t much care one way or the other about the genre.

Because of these shorts, I’m now inspired to watch two horror movies I’ve never gotten around to: The Cabinet of Dr. Caligari and The Exorcist. The former was on TCM late Sunday night, but I didn’t want to stay up late to watch it; such is middle age. I did see the haunting green credits, however, and I’ll get around to the whole thing before long.

There’s also a first-floor gallery devoted to the fantasy genre, but by the time I got there, I was a little tired of the museum. At least I happened to see the costume that Mandy Patinkin wore as Inigo Montoya.

As mentioned, two Seattle musical acts, Jimi Hindrix and Nirvana, had their own galleries. Of the two, I spent more time in the Hindrix room, despite being too young when he was alive to fully appreciate his talents, since he was common enough on the radio well into the 1970s. As for Nirvana, I was too old to appreciate them when they were around, and in fact out of the country during their heyday. I remember hearing about Kurt Cobain’s suicide right after I arrived in Hong Kong in April 1994, and my first thought was, Who?

Both galleries apparently change from time to time, rather than being generic tributes to the artists. The Hendrix exhibit I saw was “Wild Blue Angel: Hendrix Abroad, 1966-1970.” It detailed his travels as a successful musician. As the museum explains: “At the height of his fame, Jimi Hendrix performed more than 500 times in 15 countries and recorded 130 songs in 16 studios. He was a musical nomad, his life an endless series of venues, recording sessions, flights, and hotels.”

His passport was on display. I got a kick out of that. Even better, while the original was behind glass, you could leaf through a replica, which I did. The dude got around.

Fremont, Seattle

Posted on September 8, 2015 by admin

A popular thing to do during a visit to the Fremont neighborhood of Seattle is to pay your respects to the Fremont Troll. I’m not one to ignore a little local color, so naturally I went to see the troll on the morning of August 28, making my way there on foot from the room I’d rented in the “Upper Fremont,” about a 20-minute walk away.

I wasn’t the only one enjoying the troll that morning.
Fittingly, the troll is directly underneath a bridge, one that carries traffic across Lake Union on Aurora Ave. (Washington 99) to and from downtown Seattle (it’s also known as the Aurora Bridge, more about which later). The troll is right where the bridge starts to rise away from the ground, so it has a cozy home.

Roadside America, which of course lauds the troll as “major fun,” reports that, “the Fremont troll — a big, fearsome, car-crushing bruiser — took up residence under the north end of the Aurora bridge on Halloween 1990. He was sculpted by four Seattle area artists — Steve Badanes, Will Martin, Donna Walter and Ross Whitehead — for the Fremont Arts Council. The head-and-shoulders sculpture is 18 feet tall.”

The nose is sizable, too.
As are the hands. Paws? What do you call troll extremities?

Roadside America again: “The shaggy-haired troll glares southward with his shiny metal eye — a hubcap? In his left hand, he crushes an old-style Volkswagen Beetle, which originally contained a time capsule of Elvis memorabilia; it was removed after the car was vandalized and the California license plate was stolen (the crushed car and out-of-state plate were meant as protests against ‘outsider’ development). There are plenty of places to pose, and interaction with the troll is encouraged as long as you’re respectful.” The entire entry is here.

Every year on October 31, the Fremont Arts Council holds an event called a Troll-a-ween. Not sure what that involves besides dressing up the troll.

Just to the east of the troll, I noticed a path running parallel to the roadway, through a patch of undeveloped land. No one else had shown any interest in it.
I soon discovered that the place was a residential pocket — an informal neighborhood for the homeless tucked in between Aurora Ave. and Winslow Pl. N., a surface street.
Afterward, I made my way to Fremont Center, if in fact it’s called that, though “Lower Fremont” would be better, since the land slopes down from Upper Fremont toward the water at that point. There were other things to look for there, and I found most of them. Such as the statue of Lenin.
How did Lenin come to be in Fremont? A long story, apparently. The statue wasn’t on display in Slovakia very long, since it was erected in 1988 by an unpopular government that didn’t know it was on its last legs. After the Velvet Revolution, an American found the statue lying face down in the mud, and connived to bring it to Washington state. Various complications ensued, not all of which are clear, but I can report that as of the summer of 2015, Lenin stands on Fremont Pl. N. near N 36th St. and Evanston Ave. More detail is (again) at Roadside America.

Like the troll, Lenin is the focus of an event, too. Fremont seems fond of events, the best known of which is the Solstice bicycle parade in June, which involves painted bicyclists in various states of undress. In Lenin’s case, at least according to the Fremont C-of-C pamphlet that I picked up, there will be a “Festivus Celebration and Lenin Lighting” in early December.

Not far away is the Fremont rocket.
Across the street from the rocket is the Saturn Building, which I had a special fondness for even before I came to Seattle this time, having written about it (see No 4). I was happy to see it in person. That’s one thing this country needs: more planet models on more buildings.
I also managed to see the Fremont artworks called “Waiting for the Interurban,” along with “Late for the Interurban,” which is just down the street. I’d never heard of The J.P. Patches Show, but I didn’t pass my childhood in Seattle, either. That statue immediately suggested to me that Dallas needs a statue of Icky Twerp.

I took a walk along the Ship Canal at the very southern edge of the neighborhood, which connects Salmon Bay with Lake Union, and admired the Aurora Bridge — formally the George Washington Memorial Bridge, the same one under which the troll resides — as it soars more than 160 feet above the water.

People who live in the area might not appreciate it for the fine bridge that it is. Or maybe they do. I didn’t fully appreciate it just driving across it. The view might be nice, but you can’t pay attention as a driver. Crossing on a bus, as I also did, was better, but even so there’s nothing quite like standing underneath an excellent bridge like this.
Crossing the bridge on foot is an option. The bridge is unfortunately notorious for despondent people taking a dive off of it. For non-despondent walkers, the pedestrian walkway looked so narrow and so close to the road, which is very busy, that a walk across would probably be made unpleasant by car noise and exhaust most times of the day.

The Pike Place Market

Posted on September 7, 2015 by admin

Labor Day weekend proved to be very warm this year in northern Illinois, with temps in the low 90s F some days, though I understand that a front will blow through soon and cool things off. The beginning of the slide into ice and snow, in other words.

Almost the entire time I was in the Pacific Northwest, the weather was clear and the temps pleasant — 70s and 80s F every day, except for the day I left, August 29, when it rained. Early on that morning, I lay nearly awake and heard the pleasant sound of rainfall. That was the first time I’d experienced rain in Seattle.

I read somewhere or other that the main sign of the Pike Place Market in Seattle — which actually says Public Market Center — is the most photographed spot in the city. I don’t know how you’d determine such a thing, but I’m sure the sign must be the subject of a lot of pictures. I did my little part to make it a famed Seattle image as I arrived at the market just after noon on August 27.
Then there’s Rachel the Pig.
The market’s web site says: “Rachel arrived at the corner of Pike Place under the iconic ‘Public Market Center’ sign and clock in 1986. She is a bronze cast piggy bank created by Georgia Gerber, a sculptor from Whidbey Island, Washington. Weighing in at 550 pounds (250 kg), Rachel was named after a real 750-pound pig who won the 1985 Island County Fair. Her cousin, Billie the Piggy Bank, arrived in the Market in 2011 and sits on Western Avenue at the bottom of the Hillclimb.

“Rachel was the inspiration behind the ‘Pigs on Parade’ fundraiser throughout downtown Seattle in 2001 and again in 2007 for the Market’s centennial celebration.”

Whatever else it is, the Pike Place Market is popular. This is the Pike Place-level crowd on a Thursday, among the purveyors of flowers and clothes and fish and other things.
The market tells us: “In 1906-1907, the price of produce—onions namely—soared, leaving the farmers none the richer and the citizens angry over the price gouging. The uproar led one local official to try to find a solution. In the summer of 1907, Seattle City Councilman Thomas Revelle proposed the city create a public market place where farmers and consumers could meet directly to sell and buy goods and thereby sidelining the wholesalers.

“On the public market’s first day, August 17, 1907, crowds of shoppers seeking fresh produce and bargains descended upon the new marketplace. The first farmer sold out of produce within minutes. Within a week, 70 wagons were gathering daily to sell along the newly named Pike Place, a wooden roadway that connected First St. to Western Ave.

“Developer Frank Goodwin, who had recently returned with a small fortune from the Klondike Gold Rush, saw an opportunity in the flourishing market and began construction of the permanent arcades that make up the heart of today’s Market. The Market prospered during the 1920s and 1930s, and was home to a lively mix of Japanese and Italian American farmers, struggling artists, political radicals, and eccentrics.”

The market was run down by the 1960s, and true to the spirit of the times, the plan was to tear it down. I shudder to think what would be there now had that happened. Ugly parking garages, maybe. Something that could be anywhere, rather than what it is, something unique to Seattle.

“When the maze of aging buildings was slated for demolition in the 1960s, architect Victor Steinbrueck rallied Seattle to ‘Save the Market,’ ” the market web site continues. “Voters approved a 17-acre historic district on November 2, 1971, and the City of Seattle later established the Pike Place Market Preservation and Development Authority to rehabilitate and manage the Market’s core buildings.”

And so it is in the early 21st century. An expansion’s under way now as well. It’s a major tourist draw, and for all I know Seattleites like it too. The crowds couldn’t all be tourists.

Besides, the seafood looks pretty good.
So do the vegetables.
The fishmongers offer expert advice, no doubt.

The market’s built on a slope, so it has a number of levels below Pike Place, accessible by stairs and elevator.
The lower levels are a mix of shops, including sellers of art, books, candy, flowers, gifts, kitchen equipment, imported goods, jewelry, tobacco, and toys, along with some more unusual ones, such the Pike Place Magic Shop.
One place I missed at the market was Metskers, a map store. It has a branch at Seatac Airport, and I chanced across it there just before I left Seattle. I had a few minutes. I could have spent an hour looking at all the fine, fine maps. I bought a Chicago Popout Map — which I can use — and some postcards, just to support the place. The clerk told me the main store was at the Pike Place Market. Argh.

Rich & Lisa 1995

Posted on September 6, 2015 by admin

A happy 20th wedding anniversary to Rich and Lisa, married in early September 1995 at a synagogue in suburban Boston, I forget exactly where. But I was there, as shown by this black-and-white image.

Left to right: me, Nate, bridegroom Rich, Victor, and Steve, old friends even then, and considerably older now.

The University of British Columbia Museum of Anthropology

Posted on September 4, 2015 by admin

Visit the University of British Columbia Museum of Anthropology, as I did on the afternoon of August 25, and you’ll probably end up in awe of this fellow.It’s the head and chest of Cedar Man, who stands about two stories tall in the museum’s Great Hall. He has arms and legs, but they were in shadow.

The museum says: “Carved welcome figures on the Northwest Coast have traditionally been raised on village beaches to greet visitors. Joe David carved this one for a different purpose: to protest logging operations on this birthplace of Meares Island, part of the ancestral territories of the Tla-o-qui-aht and Ahousaht peoples of the Nuu-chah-nulth First Nations.”

Meares Island is off the west coast of Vancouver Island in Clayoquot Sound. This was the first I’d heard of it. The protest was in 1984, and eventually the Indians won the day, and the ancient trees on the island still stand. The museum bought Cedar Man from Joe David in 1987.

All together the UBC Museum of Anthropology houses 38,000 ethnographic objects — which I suppose includes artwork like Cedar Man, made in living memory — plus 535,000 archaeological objects. The ethnological collections include over 15,000 objects from Asia, almost 12,000 from North America (including over 7,100 from B.C. First Nations), about 4,300 from South and Central America, 4,000 from the Pacific islands and over 2,300 from Africa.

An overwhelming amount of stuff, in other words, and not just from the Pacific Northwest, though that’s a heavy emphasis. The mass of carvings in the Great Hall, which includes an array of other Northwest Coast totem poles, house poles (carved structural elements), masks, and more, is only the beginning.

The face is pretty much universal.

The museum goes off in a number of directions, branching into various displays. An entire room is devoted to a sculpture called “The Raven and the First Men” by Bill Reid, which used to be on the Canadian $20 bill.

In other galleries, all stuffed to the gills with items from around the world, I encountered the work of Kwakwaka’wakw carver Willie Seaweed (ca. 1873-1967), which the museum calls “one of the great 20th-century artists of the Northwest Coast.” Among other things, he made ritual items for potlatches while they were illegal in Canada (1884-1951).

I was surprised to find a room devoted to European ceramics, but there it was in the Koerner Ceramics Gallery. I’m not up on European ceramics, so I’d never heard of the likes of Bellarmine or Bartmann jugs, which have bearded faces at the base of the neck, and seemed to have been the last word in jugs in the 16th and 17th centuries, and mostly made in western Germany.
Other galleries sported plenty of other things from around the world. Such as a familiar image of Buddha, though its origin is uncertain (either China or Japan).
A puppet from China, though it reminded me of the ones from the East Indies.
Here’s my own favorite from the UBC, a recent work — the last 30 years or so — from Papua New Guinea, many of whose inhabitants are inordinately fond of The Phantom, who appears on their battle shields like this one.
A great example of cross-cultural WTF. More examples are here.

Peace Arch Park

Posted on September 3, 2015 by admin

One thing to think about at Peace Arch Historical State Park in extreme northwestern Washington state is the last time the United States invaded Canada, namely the bungled campaigns of 1812 and ’13. Bungled from the U.S. point of view, that is, though of course there were some successes, such the battles of the Thames and Lake Eire (“We have met the enemy and they are ours.”).

The War of 1812 was the last bit of fighting along the U.S.-Canada border, not counting spats over fishing, so it’s reasonable that a bi-national park on the border commemorates the long peace. Peace Arch Park is that place, 22 acres south of the border (Peace Arch Historical State Park) and nine hectares north of the border (Peace Arch Provincial Park).

I arrived around noon on August 25, driving up from Bellingham, Wash. You take the last U.S. exit on I-5 (or maybe it’s the first exit) and park nearby, just south of the border, and then walk to the Peace Arch, which is slap on the border, meaning it’s also exactly 49 degrees North, as well as in the grass median between the northbound and southbound lanes of the highway (the meeting of I-5 and BC 99). Since traffic stops on each side of the border, crossing the road on foot there isn’t very risky.

On the U.S. side, the Arch is 67 feet tall; on the Canadian side, 20.5 meters. It’s been standing for there for 94 years, built at the behest of Pacific Northwest business tycoon Sam Hill (1857-1931), who also had a replica of Stonehenge built in another part of Washington state, and who was an avid advocate of road improvement. (“Good roads are more than my hobby; they are my religion.”) Presumably Hill would have been happy that a major road linking the two nations passes around the Arch.

The border’s also marked by a number of concrete posts.
The International Boundary Commission (Commission de la frontiere internationale) put the plaque at the bottom of the post on the occasion of its centennial in 2008. I figure most Americans, and most Canadians, have never heard of the commission. I barely remember reading about it some years ago in the context of the Alaska-Yukon border.

According to the commission’s web site, “Officially, the Commission’s work is described as maintaining the [U.S.-Canada] boundary in an effective state of demarcation. This is done by inspecting it regularly; repairing, relocating or rebuilding damaged monuments or buoys; keeping the vista cleared, and erecting new boundary markers at such locations as new road crossings.”

My italics. This is the body that’s responsible for clear-cutting the border between Alaska and Yukon — a 20-foot (six-meter) swath all the way along the 141st meridian. Since I read about that some years ago, I’ve since pondered the usefulness of doing such a thing. The commission asserts that “the boundary vista must be entirely free of obstruction and plainly marked for the proper enforcement of customs, immigration, fishing and other laws of the two nations.” I’m not quite persuaded, but anyway, more about the line is here.

The border posts have four sides: UNITED STATES on the south face (visible in my picture), CANADA on the north face, and INTERNATIONAL BOUNDARY and TREATY 1925 on the other two. I wondered about that. The commission references it too.

The treaty’s formal name is: “Treaty Between the United States of America and His Britannic Majesty, in Respect of the Dominion of Canada, to Define More Accurately at Certain Points and to Complete the International Boundary Between the United States and Canada and to Maintain the Demarcation of that Boundary, Signed at Washington, February 24, 1925.”

I made a point of crossing and recrossing the border a number of times near the posts. Now I can accurately say I’ve been to Canada more than a dozen times, including the six regular check-your-passport visits, plus the half-dozen (maybe more) crossings at the Peace Arch.

Lan Su Chinese Garden

Posted on September 2, 2015 by admin

At the Lan Su Chinese Garden in Portland, I wondered: How true to the original connotations are the inevitably flowery translations of some Chinese phrases into English? Put into English, various parts of the garden come out as “Tower of Cosmic Reflections,” ‘Flowers Bathing in Spring Rain,” and “Knowing the Fish Pavilion.”

I’ll never have an answer to that. Maybe that’s because the “original connotations” would cover a wide range of meaning, even among native speakers of whatever Chinese dialect is represented. Never mind. Lan Su’s a beautiful place.

According to the garden’s web site, it’s “a result of a collaboration between the cities of Portland and Suzhou, our sister city in China’s Jiangsu province that’s famous for its beautiful Ming Dynasty gardens. Lan Su was built by Chinese artisans from our [sic] Suzhou and is the most authentic Chinese garden outside of China.”

Quite a claim. But I was intrigued that the garden was patterned after ones in Suzhou. I’ve seen some of those gardens. Now I’ve seen this one.

The web site again: “The garden’s name represents this relationship: sounds from both Portland and Suzhou are combined to form Lan Su. Lan (蘭) is also the Chinese word for Orchid and Su (蘇) is the word for Arise or Awaken, so the garden’s name can also be interpreted poetically as ‘Garden of Awakening Orchids.’ (蘭蘇園).” More of that flowery translation again. In this case, literally flowery.

Something about the place brings out the flowery, even in English. From Travel Portland: “Since the garden’s opening in 2000, its covered walkways, bridges, open colonnades, pavilions and richly planted landscape framing the man-made Zither Lake have created an urban oasis of tranquil beauty and harmony. It’s an inspiring, serene setting for meditation, quiet thought and tea served at The Tao of Tea in the Tower of Cosmic Reflections, as well as public tours of the grounds led by expert horticulturalists.”

Zither Lake? After the class of stringed instruments? Anyway, this is it, complete with the reflections of surrounding buildings. Lan Su takes up a city block, but it is still only one block among other city blocks.
What I remember best from Suzhou were the rocks, and Lan Su has those too.
The place also inspires romance. I saw a group of people planning a wedding at the garden, a couple necking among the greenery, and more than one person exercising a bit of self-love by taking selfies.

Portland Ramble

Posted on September 1, 2015 by admin

I didn’t care how good Voodoo Doughnut in Portland was supposed to be, I wasn’t going to wait in this kind of line to buy any.

Downtown Portland on a summer Saturday teems with people, more than most mid-sized U.S. cities I’ve encountered. The obvious tourists were a minority. So were the obviously homeless, though they seemed more numerous than in most cities this size (and statistically, it’s a sad fact). Mostly, I think conventionally housed Portlanders were downtown because it’s an interesting place to be on the weekend. Good for Portland.

One reason is because of the food trucks, which cluster in various places. I had a falafel at one. Not the best falafel I’ve ever had, but good enough for a walkabout in a new city.

One place I was determined not to miss was Powell’s Books. Otherwise known as Powell’s City of Books, an apt nickname.
The place is enormous: a full city block with 68,000 square feet of floor space on four floors, divided thematically into color-coded rooms (the Blue Room, the Green Room, and so on). The store says it has more than a million new and used books, and I believe it. I went in without a plan, and I stuck to it, just wandering from room to room and floor to floor, looking at titles and opening books and enjoying myself. I was there about an hour, and could have spent longer. (This article captures the joy well; the writer might have even been there at the same time as me.)

I couldn’t leave without buying something — that would be wrong, since it’s important to support an independent bookstore against the Amazon tide, besides being good to have another book. So I bought Why Orwell Matters (2002) by Christopher Hitchens, which I read almost all of on the return plane ride. I also bought a clutch of postcards. As you’d expect, Powell’s had more than the usual Portland-themed tourist cards.

I’ve never seen more tattooed people in one place than in Portland, including Brooklyn (admittedly, it was October) or Camden Town in London (admittedly, it was 20+ years ago) or any warm-weather mass event I’ve been to recently, such as the Wisconsin State Fair. Summertime clothing was no doubt a factor, but I also think being in Portland was too. Mostly the ink was visible on arms and legs and backs, as you’d except, but not always.
Before going, I’d read about the Portland Saturday Market, which has been a local event since the early ’70s. By the time I was walking around in the city, I’d forgotten about it. I happened across it anyway. Besides a wealth of vendors, there were some excellent musicians.

Accompanied by a dancer.
At Pioneer Square, the fellow in the yellow was doing a bit of street preaching. Screaming, that is.
His theology sounded like pure Jack Chick, though he might not agree with him in all the particulars. The fellow in black facing him (not the one with the Turn or Burn in Hell shirt) was not amused by the man’s preaching, and was screaming back. Before long, the cops showed up.
I didn’t hear the discussion, but I suspect all parties concerned were being told not to take things to the next level, i.e., a fistfight. I passed by the same intersection about 30 minutes later, and the preacher was still there (with a different set of detractors), so I guess no physical violence broke out. Seemed like a near thing, though.

A Few Fine Portland Buildings

Posted on August 31, 2015 by admin

Drive into a large city for the first time, without the benefit of some GPS box advising you, and with few exceptions, it’ll be confusing for a while. The way the streets are connected seems to make little sense. They don’t match your maps, or rather, what you think you remember from looking at your maps. Signage isn’t what it should be (often just an impression, but objectively true in Boston). The route you want to go is under construction. There’s always someone right behind you when you need to make a critical decision about turning, but you’re never in the lane you need to be anyway.

It sounds like I’m complaining, but not really. Once the worst of the drive is over — because you do get where you’re going, usually — you’ve had the satisfaction of navigating through a strange place. You’ve also seen, even fleetingly, some things you wouldn’t have otherwise. GPS is fine if you have a meeting to attend or a plane to catch, but otherwise it obviates the need to guide yourself through new territory with maps, landmarks you know ahead of time, and your own sense of direction.

I plowed through parts all three cities — Portland, Vancouver, and Seattle — on different occasions last week, each causing me temporary location frustration. Each time when it was over, it was worth it. When I found a parking garage in downtown Portland early on the afternoon of August 22 and set out on foot, it was wonderful not to be in that car anymore, and taking in what the streets of Portland had to offer.

The first thing I took in was the air. A light haze and the smell of a not-too-distant fire hung everywhere. It wasn’t a choking haze, or even one that made me cough, but it carried a distinct odor. Smelled like one’s clothes after grilling, especially the burned wood. The source was the vast complex of forest fires then raging in eastern Washington — still raging — and which only a few days before had killed three U.S. Forest Service firefighters near Twisp, Wash., all young men.

Portland is known for a number of things, such as trying to rival Austin for urban weird. More on that later. I want to point out that downtown Portland, and the nearby Pearl District, have some exceptionally fine buildings a century or more old that aren’t remotely weird. Such as the New Market Block (1872).

The Blagen Block (1888).

The Postal Building (1900).
And the Pittock Block (1914). Among a good many others, including more modern structures.
I have a fondness for buildings with visible fire escapes.

Also worth noting: Portland’s a sizable industrial town. Not something you hear about much either. I spent the night at some distance from the city center at a motel on U.S. 30 near the Willametta River, a major tributary to the Columbia, both of which are working rivers. The motel was in an industrial zone, both for manufacturing and distribution, and I know there are other areas similarly industrial in greater Portland. It isn’t the largest industrial market even in the Northwest, but it’s large enough to have current and projected development of nearly 2 million square feet.

Pacific Northwest ’15

Posted on August 30, 2015 by admin

I left for the Pacific Northwest on August 21 and returned home late yesterday. Imagine an axis that connects Portland, Seattle, Bellingham and Vancouver, which are all linked by I-5 (British Columbia 99 north of the border). That axis was the focus of the trip. I went to all of those cities and some points in between, some for a matter of hours, others for a few days. I spent time away from those cities as well, in hilly territory lorded over by towering pines and enchantingly quiet at night.

I drove a lot but also managed to spend a solid chunk of time walking and riding buses and light rail. The visit involved attending a conference, touring an exceptional building and seeing other fine ones, experiencing two large public markets, wandering through one of the largest book stores anywhere and a few other excellent ones, and seeing two museums and a Chinese garden very much like some of the wonderful ones in Suzhou. I ate food both awful and extraordinary, including things I’d never heard of before.

Going to another part of the country means doing new things, too. Or it should. Not necessarily life-changing experiences, but the sort of petite novelties that add up over time to make the fabric of one’s life better. Even before I got there, this was the first time I’d ever booked a rental car through Costco or a room through Airbnb. I attribute a less expensive trip, and a better one, to both. I visited a new city (Portland) in a new state (Oregon) and visited new parts of places I’d been (Vancouver in British Columbia, the Fremont neighborhood in Seattle). I witnessed a major forest fire from the air and smelled the result on the ground as the wind wafted west. Unexpectedly, according to the residents. I stood inside a building designed by Frank Gehry, rather than looking at its curious outside.

I saw a number of odd and interesting things, such as the street musician who’d modified a bagpipe and played it on stilts (Vancouver, just outside the Pacific Central Station). What to call it? Steampunk bagpiping?
Or the Gum Wall (Seattle, next to the Pike Place Market). Each of the those bits of color is ABC gum, often used to attach cards and small posters to an alley wall. Why? As near as I can tell, just because.

Or the echo of a celebrity event I’d missed when it happened, the Bill Murray Party Crashing Tour of 2012 (this sign was in Portland).

I can think of a lot worse people to show up at one’s party uninvited; maybe he’s still doing it occasionally.

Most importantly, I reconnected with two dear old friends, one of whom I hadn’t seen in 18 years, another I hadn’t seen in 30 years, since my last visit to Seattle. Our friendships have been maintained over the years mostly through paper correspondence, with a more recent electronic component. But there’s no substitute for being there.

Been There, Seen That

By Dees Stribling