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Published in The Seattle Times online on Oct. 5, 2023
and in PacificNW Magazine of the printed Times on Oct. 8, 2023

The charming, barnstorming Babe Ruth captivates Seattle in 1924

By Clay Eals

With major-league baseball’s post-season swinging into high gear, “Now & Then” eagerly commemorates the first sighting of the Babe in our woods — George Herman “Babe” Ruth, that is.

Given today’s seemingly endless playoffs, this year’s champion team may not emerge before Nov. 4. But in the simpler schedule of 1924, the sole post-season play was the World Series, which that year ended Oct. 10. Immediately afterward, star ballplayers barnstormed, playing coast-to-coast exhibition contests, mostly west of the Mississippi — land of no big-league ballclubs.

Thus, 99 years ago, Seattle caught its first in-person glimpse of the megawatt New York Yankees outfielder known as the Bambino.

At age 29, Babe Ruth already had patented the persona of a slugger, having hit 284 of what became 714 career regular-season home runs. His 1924 batting average (.378) topped the American League. Sportswriters’ synonyms for him soared. (Sample: the “Supreme Socker.”) And his on-field performance reinforced a joyful, larger-than-life charisma. People of all ages, especially kids, revered the man.

Sponsored by the Seattle Post-Intelligencer, Ruth visited Seattle with teammate Bob Meusel.

In front of 9,000 fans in an Oct. 19 game enlisting local amateurs at Rainier Valley’s Dugdale Park, Ruth played errorless first base and, befitting his roots, pitched one inning.

In nine at-bats, he belted three homers and a double. His first four-bagger, the P-I’s Royal Brougham reported tongue-in-cheek, “hit Mount Rainier on the first bounce!”

During a late inning, Brougham wrote, a “curly-headed tot” ran out to Ruth, who bent over, shook the boy’s hand, patted his head and “sent him away happy.” Seventy-one years later, Dr. Bill Hutchinson told the P-I the boy was his 5-year-old brother Fred, who later gained fame as a big-league pitcher and manager and cancer-center namesake.

Ruth, here for two days, also hit balls pre-game to 1,000-plus kids in centerfield, visited hospitalized children, spoke at a banquet, “directed” conjoined twins who played “The Strike-Out Blues” on saxophone, and tossed autographed balls to fans from the P-I building at Sixth and Pine.

He even spoke against a statewide initiative to abolish private schools, saying that if not for a Baltimore industrial reform school, he “probably never would have been heard of.” The measure was defeated.

Before leaving Seattle, Ruth penned for a Western Union messenger a homily both touching and timeless:

“You can knock a home run always doing your work properly and travel the bases until you reach home plate. Success. Don’t alibi if you miss one. Play the game fair. Be there in the pinches, and in your business life you can be the ‘King of Swat’.”

WEB EXTRAS

Thanks to Dave Eskenazi, Mike Burns, and, at the Museum of History & Industry, Devorah Romanek, Julianne Kidder and Allie Delyanis for their invaluable help with this installment!

To see Clay Eals‘ 360-degree video of the “Now” prospect and compare it with the “Then” photos, and to hear this column read aloud by Clay, check out our Seattle Now & Then 360 version of the column.

Below, besides a video of Mike Burns reflecting on his grandfather Bobby Burns, are 17 additional photos, and, in chronological order, 47 historical clips from The Seattle Times and Seattle Post-Intelligencer online archive (available via Seattle Public Library) and Washington Digital Newspapers, that were helpful in the preparation of this column.

Also check out these links:

• The Babe and others at MOHAI.
• The Babe in Dunsmuir, California.
• The Babe in Altoona, Pennsylvania.
• The 1924 championship Seattle Indians.
• Ballpark namesake Dan Dugdale.
• Seattle legend Roscoe “Torchy” Torrance.

In addition, here is a special letter from 1944 from Babe Ruth to P-I sports editor Royal Brougham, courtesy of Cathi Soriano:

NEWS CLIPS

The following clips are related to Babe Ruth’s two-day visited to Seattle in 1924.

NEWS CLIPS

The following clips are related to Bobby Burns and to the Seattle town teams he played for (Stacy Shown Jewelers and City Sash & Door). Burns was selected to bat fifth behind Babe Ruth in the Oct. 19, 1924, exhibition game.

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Published in The Seattle Times online on Sept. 28, 2023
and in PacificNW Magazine of the printed Times on Oct. 1, 2023

Amphitheater has hosted stirring sounds and stories since 1915

By Jean Sherrard

If the Volunteer Park amphitheater could talk, oh, the tales it might tell. Its successive bandshells have born witness to countless civic, religious, musical and theatrical events spanning more than a century.

The site’s first bandshell, designed in 1915 by eminent architect Carl F. Gould, proved an instant draw. The generous lawns north of the park’s reservoir handily accommodated large crowds.

An inaugural sunset concert on June 20, 1915, featured hugely popular T.H. “Dad” Wagner’s 40-piece marching band. Thousands clapped to waltzes, operatic excerpts and selections from the farce “High Jinks,” as well as a medley of Sousa-esque marches.

Besides summer concerts, the amphitheater has hosted a wide array of civic and religious events.

The local Moose Lodge #211 promoted White House-inspired egg-rolling contests in the early 1920s. Local children were exhorted to “bring their own spoons” until soggy April grass dampened enthusiasm.

Easter sunrise services, undaunted by inclement weather, ran from 1926 through the late 1960s, often commencing with a lone bugler before dawn. Faithful crowds once reached 50,000, reported The Seattle Times.

In September 1927, more than 30,000 grade-schoolers gathered on the greenswards to welcome “their greatest modern day hero” Charles Lindbergh after his trans-Atlantic flight to Paris. The Times also boasted about his monoplane’s locally grown spruce struts.

Our main “Then” photo, from June 12, 1932, features a Flag Day commemoration of George Washington’s bicentennial. Prize-winning essays about the first president’s “Youth and Manhood” (with cherry tree, we presume) were read by Queen Anne and Garfield high-school students.

From 1945 to 1961, the amphitheater annually observed “I Am an American Day,” honoring new citizens. (In 1962, the ceremony moved to the Seattle World Fair’s Flag Pavilion.)

By the late 1960s, countercultural summer “Be-Ins” entered the park’s mix. Column founder Paul Dorpat might occasionally be found cavorting with favorite local band Formerly Lamarr Harrington.

In 1974, the site celebrated the first Seattle Pride Week festivities, which continue at the amphitheater today.

Carl Gould’s by-then-crumbling bandshell was torn down in 1947 and replaced by a makeshift wooden stage until the early 1970s, when landscape architect Richard Haag erected a roofless brick structure in its place.

In our “Now” photo, its stunning $2.7 million replacement, designed by architect Owen Richards — noted for Seattle Center’s Chihuly Garden and Glass and the SIFF Film Center — opened in July 2022.

“We tried to find an appropriate scale which was of a piece in the landscape,” Richards says, “while providing a welcoming performance space.”

The new structure’s graceful, sweeping roof, reverberant acoustics and spacious stage surely will tell stories for generations to come.

WEB EXTRAS

To view our “live” 360-degree video of this column, click right here.

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Published in The Seattle Times online on Sept. 21, 2023
and in PacificNW Magazine of the printed Times on Sept. 24, 2023

Dedication drives longtime Filipino champion Dorothy Cordova

By Clay Eals

With salmon leaping eagerly into a giant can (“From the sea to you!”), this week’s “Then” portrait depicts a festive float. Surrounding it are local Filipinos, 59 men and 8 women, heartily gathering downtown to take part in Seattle’s Labor Day procession of Sept. 5, 1938.

No less hearty, the present-day repeat of our “Now” photo speaks to a national organization documenting a community’s legacy and guided by a local Filipina dynamo, Dorothy Laigo Cordova.

In the 1938 shot, many don formal dress, and some hoist cans of salmon, celebratory symbols of the 1933 formation of the Cannery Workers and Farm Laborers Union, Local 7.

The first Filipino-led union in the United States, it spoke for thousands of often unrecognized immigrants who traveled summertimes to the then-Alaska Territory for arduous fish-cannery work. They called themselves “Alaskeros” (ala-SKERR-ohs).

The float also reflected political tensions. Although many CWFLU members were categorized as “nationals,” not U.S. citizens, and could not vote, they joined other unions in urging defeat of “strike control” Initiative 130, on the statewide ballot that fall.

The initiative was led by business interests who sought to “stamp out racketeering and violence in Washington” and promised “peace, pay checks [and] prosperity.” But union sympathizers held sway. The measure failed, 295,431 to 268,848.

Revealing just one swath of local Filipino history, the float image holds prominence among countless photos, posters, oral histories and documents stored and displayed at the headquarters of the Filipino American National Historical Society (FANHS, pronounced “fonz”). The combination library and organizing center spans several rooms on the first floor of Immaculate Conception Church in the Central District.

Dorothy Cordova launched it in 1982 with her husband, the journalist, college spokesman and renowned civil-rights leader Fred Cordova, as an outgrowth of their late-1950s Filipino Youth Activities organization and early-1970s Demonstration Project for Asian Americans. Today, FANHS boasts chapters in 41 cities.

Fred died in 2014. Remarkably, Dorothy, 90, a Seattle native and longtime sociologist, teacher, researcher and activist (not to mention mother of eight), still runs FANHS. Unpaid, she commutes from Montlake to the office five days a week.

Dorothy’s decades of accomplishments and awards are formidable. This year alone, she received a legacy award in May from the Association of King County Historical Organizations, and at a banquet Thursday, Sept. 28, Historic Seattle will honor her as a “preservation champion.”

Why keep at it? “Curiosity!” she spouts. “Actually, it’s a mission: ‘Did you know anything about us? We were nobody.’ We try to set the record straight.”

And there’s always more: “You just have to keep plugging away.”

WEB EXTRAS

Thanks to Ben Laigo and especially Dorothy Cordova for their invaluable help with this installment!

To see Clay Eals‘ 360-degree video of the “Now” prospect and compare it with the “Then” photos, and to hear this column read aloud by Clay, check out our Seattle Now & Then 360 version of the column.

Below, besides an additional video of Dorothy receiving a legacy award from the Association of King County Historical Organizations, are 4 additional photos, and, in chronological order, 70 historical clips from The Seattle Times and Seattle Post-Intelligencer online archive (available via Seattle Public Library) and Washington Digital Newspapers, that were helpful in the preparation of this column.

October is Filipino American History Month. Activities and events can be found here. Info on the FANHS online auction Oct. 14-15, 2023, can be found here.

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Published in The Seattle Times online on Sept. 14, 2023
and in PacificNW Magazine of the printed Times on Sept. 17, 2023

Where to find ‘golf utopia’ in 1931? No lie: at Mount Rainier!

By Clay Eals

It was outlandish 92 years ago. It’s outlandish today. But out on the land immediately south of Mount Rainier, there once arose, in golfing vernacular, an alluring ace.

For two Depression-era months in the summer and fall of 1931 at aptly named Paradise, the gem was a nine-hole golf course.

Don’t believe it? Photos, news stories, a logbook and even a blueprint prove that Paradise Golf Course was no high lie.

On opening day, Aug. 8, the Seattle Post-Intelligencer called it “golf utopia,” and not just for the up-close views of the 14,411-foot peak. Paul Sceva, then Rainier National Park manager, claimed that every drive had 30 yards more carry than on any other course in America. The reason? The 5,000-foot altitude sliced air resistance to a minimum.

“There is no question about it,” said its architect, Roy Herbert Dobell, of Aberdeen. “The ball travels 25% farther up here in the skies. I’ve proved it many times.”

The course also provided “a most interesting feature to the tired business man,” the P-I reported. “Every fairway is downhill.” A car regularly waited at hole No. 9 to carry golfers back to the first tee, which teetered over a bluff, a breathtaking 300 feet above hole No. 1’s fairway.

The Northwest Hickory Players, a 10-year-old, no-dues club of 125 golfers who play with vintage clubs and duds, recently drove to Paradise to revel in the place of their period predecessors. The club’s Martin Pool, of Kenmore, labels the setting a “spectacular novelty.”

By the 1920s, golf’s national popularity had soared. Pool’s research indicates that the park’s concessionaire proposed the course to boost sagging business at the mountain’s lodge, especially overnight stays.

“Golf is a country game, not a city one,” responded Horace Albright, then National Park Service director. “It can be justified in parks easier than tennis. Anyway, I want to try out the thing, and as the Rainier Company needs revenue more than any other company, I am disposed to let them try the experiment.”

Some 200 men and women, mostly from Puget Sound but also from Los Angeles, Philadelphia, New York, Boston, St. Louis, Niagara Falls and Tokyo, Japan, gave the course a try. Fees at the time were $1.50 for 9-hole play and $3 for all day.

Of course, the remote locale invited unique challenges, including a pair of bears who ambled the greens at dusk, snapping off bamboo flag sticks and pulling out cups. Then there was the weather. When snow blanketed the area in early October, the course closed, never to reopen.

Today, it’s one of history’s sweet spots.

WEB EXTRAS

Thanks to Martin Pool, Gary Smyres, John Quickstad, Rob Ahlschwede of the Northwest Hickory Players, along with Ben Nechanicky and Mount Rainier National Park curator Brooke Childrey for their invaluable help with this installment!

To see Clay Eals‘ 360-degree video of the “Now” prospect and compare it with the “Then” photos, and to hear this column read aloud by Clay, check out our Seattle Now & Then 360 version of the column.

Below are 2 documents , an additional video, an additional photo, a 6-page log book and blueprint and, in chronological order,  4 historical clips from The Seattle Times and Seattle Post-Intelligencer online archive (available via Seattle Public Library) and Washington Digital Newspapers, that were helpful in the preparation of this column.

 

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Published in The Seattle Times online on Sept. 7, 2023
and in PacificNW Magazine of the printed Times on Sept. 10, 2023

Sudsy stories flow from a rowdy Georgetown saloon

By Jean Sherrard

Belgian-born Jules Maes (1867-1939), whose namesake saloon we feature this week, arrived in rambunctious Georgetown in the early 1900s and felt right at home.

Then unincorporated, Georgetown could claim a slightly longer history than Seattle, its northern neighbor. Homesteaders Henry Van Asselt, Jacob Maple and Luther Collins and their families had settled along the next-door banks of the winding Duwamish River on Sept. 16, 1851, almost two months before the Denny Party arrived at Alki Point.

Within 50 years, the settlers’ farmland transformed into a one-company town, housing the Seattle Brewing & Malting Company, largest brewery west of the Mississippi, whose famed Rainier Beer was wildly popular throughout the country.

Hundreds of brewery workers, including many recent immigrants, lived in nearby company-owned houses. In contrast to strait-laced Seattle, where suds stopped flowing at 2 a.m. and never on Sundays, Georgetown’s unregulated taverns, eateries and roadhouses were open round-the-clock, serving laborers the hoppy product of their labors. Visiting rowdies looking for trouble often found it here.

Confident, shrewd and tenacious, Maes (pronounced MAZE) thrived in the lawless town, first as a scrappy bartender. Soon he took over the notorious Maple Leaf Saloon (one of several he managed) described in the Seattle Times as “one of the toughest dives in King County.” Gunplay and knife fights were common.

While reputedly generous to a fault, Maes was no saint, repeatedly facing arrest and fines for running illegal gambling operations and slot machines. Following Washington state’s early adoption of Prohibition in 1916, he often was charged with selling spiked “soft drinks” and ciders from his former taverns.

After repeal of Prohibition in 1933, Maes promptly resumed selling beer to loyal customers who christened him Georgetown’s unofficial mayor. Noted for his largess, he helped relieve Depression hard times with rarely repaid loans. In 1936, he opened the Jules Maes Saloon at 5919 Airport Way S., slyly backdating its founding to 1888.

The enigmatic chameleon begs a question: Was he a community pillar or lovable rogue? Modern-day Robin Hood or scheming Soapy Smith?

Enter West Seattle impresario Kevin Finney, who will probe this mystery in a program of drama and song. His Drunken Owl Theatre operates on a shoestring while mounting exuberant variety shows in the Jules Maes Saloon’s tiny performance space, where earlier patrons once played backroom poker.

The troupe’s Sept. 16-17, 2023, performances will feature original plays, poetry and musical interludes playfully examining the life and times of Jules Maes, who reportedly never let truth get in the way of a good story. For more info and reservations, visit DrunkenOwlTheatre.org.

WEB EXTRAS

For our on-site video 360, recorded in July, click here.

To see Clay Eals’ video of T.J. O’Brien, grand-nephew of Jules Maes, recalling family stories about his great uncle before the June 24, 2023, Drunken Owl audience, along with other videotaped segments from that show, visit the YouTube links below.

And scroll down further for more photos by Jean of the Drunken Owl Theatre in performance in July.

 

Here are more photos by Jean of the Drunken Owl Theater in performance in July:

 

Published in The Seattle Times online on August 31, 2023
and in PacificNW Magazine of the printed Times on Sept. 3, 2023

A rehabilitated ‘brute’ finds respect via a celebrated windjammer

By Jean Sherrard

The city of Troy. King Tut’s tomb. Sunken Spanish Armada gold.

The efforts of historians and explorers compelled to discover lost treasures are the stuff of legend — as well as popular film and fiction.

For Bremerton-born Michael Jay Mjelde, a passionate maritime quest began at age 17. That’s when he stumbled upon a yellowing periodical recounting the intentional burning of Glory of the Seas, a legendary windjammer just off the shore of West Seattle at Fauntleroy one century ago. The story of that immolation fueled his lifetime of research and writing.

The majestic 1869 clipper ship, constructed by renowned Boston shipbuilder Donald McKay, spanned an impressive 300 feet. Celebrated for its size, speed and beauty, it served faithfully for 40 years, hauling cargo across the world’s oceans under multiple masters.

One figure stood out in its eventful history: Henry Gillespie, the last captain to helm the ship during its final voyage as an American flag vessel.

In 1874, Gillespie (also at age 17) ran away to sea, bluffing his way aboard a New Bedford, Mass., whaler with false claims of experience. When the truth emerged, he faced relentless bullying and beatings from the crew, leading him to desert the ship the first time it reached port.

The big, burly youth had learned a rough-and-tumble lesson aboard the whaler. “A product of brutal times,” Mjelde says, “he became a brute.” But what most intrigued the longtime writer, editorial board member and former editor of The Sea Chest, journal of the Puget Sound Maritime Historical Society, was the story of Gillespie’s gradual evolution to civility.

Mjelde’s meticulously researched, 456-page biography, “From Whaler to Clipper Ship” (Texas A&M University Press) details the seafarer’s career straddling decades of technological change, from wooden sailing ships to propeller-driven, steel-hulled schooners.

With wide-ranging primary sources, Mjelde charts Gillespie’s transformation “from a profane, brutal and sadistic chief mate [who used] belaying pins to enforce discipline … to a highly respected shipmaster fully suited to command.”

Mjelde credits much of Gillespie’s rehabilitation to his wife, Catherine, a Liverpool-born milliner “who helped him change his violent ways.” Within three years of their marriage, the reformed sailor was appointed to his first captaincy in 1895.

His three-year tenure (1906-09) with Glory of the Seas, then consigned to “the boneyard” of Bainbridge Island’s Eagle Harbor, proved bittersweet. Despite the ship’s continued seaworthiness, it was converted to a barge then burned for scrap metal.

Undaunted, Gillespie became captain of a U.S. Navy tanker during World War I. The helmsman made repeated trips across the Atlantic through submarine-infested waters. Eat your heart out, Indiana Jones.

WEB EXTRAS

To see our 360 degree video of the Eagle Harbor boneyard site, please click here.

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A BONUS!

This column installment begins below, But first a delightful bonus above. Here we present a one-minute radio commercial for First Bank, which is how Seattle-First National Bank branded itself from 1975 to 1977. Click the red promotional record below to hear the commercial, titled “Another Nice Thing.” Next to the record are images from its sleeve. Enjoy!

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Published in The Seattle Times online on Aug. 24, 2023
and in PacificNW Magazine of the printed Times on Aug. 27, 2023

A former bank on Denny Way, but not its site,
retains its status as a Seattle landmark

By Clay Eals

Can a Seattle landmark lose its protection? If can if the Seattle City Council overrules its Landmarks Preservation Board.

In the 50-year history of the city’s landmark program, the council rarely has approved such a reversal. But it almost did so last January, before a compromise saved a building but not most of its surrounding site.

The site, at 566 Denny Way, is known mostly for its notable neighbors: the Space Needle, the Monorail, the KOMO-TV complex, the Chief Seattle statue, Denny Park (the city’s first), the Bill & Melinda Gates Foundation and the gaggle of South Lake Union mid- and high-rises informally known as Amazonia.

Since 2009, the site has operated as a Walgreens, but it took shape in 1950 as a Seattle-First National Bank branch, among the firm’s “customer-friendly” banks built after World War II.

The building — with its gently concave roof, stone logo plaques and brick-faced and limestone entries, augmented by a curved drive-through lane, parking lot and prominent identifying brick pillar — embodied design known today as Mid-Century Modern. It also brought stature north of downtown to a district of wood-frame houses leveled in 1928-30 during the final phase of the hill-sluicing Denny Regrade project.

Today, it bears unfortunate earmarks of decline: persistent graffiti and a closed front entrance to deter theft. But in 2006, the Landmarks Preservation Board designated the building exterior and site a landmark for its design, architects (Lister Holmes, John Maloney) and contribution to neighborhood identity.

Last year, the building and site faced the final step in the landmark process. Specific controls agreed to by Walgreens and the landmarks board and staff headed to the City Council, which routinely OKs such negotiated agreements. Not this time, however.

Backed by urbanist housing advocates, a council committee voted 4-0 on Dec. 9 against landmark controls for the building and site. Led by chair Tammy Morales, committee members said preserving a one-floor, auto-centric building and parking lot in a dense neighborhood “doesn’t make sense” amid a citywide housing crisis.

Heritage advocates disagreed. They also said the committee vote threatened the landmark board’s autonomy and expertise.

Their lobbying produced a compromise: On Jan. 10, the full council voted 9-0 to protect the ex-bank building but open most of the rest of the site to development. No plan to develop the site has surfaced.

The debate spotlighted the council’s desire to foster affordable housing despite its inability to compel property owners to build it. In addition, it addressed transfers of development rights, and it refocused attention on which landmarks are worth saving, especially those that express the city’s more recent history of change.

Discussion surely will continue.

WEB EXTRAS

Thanks to Michael Houser, Michael Herschensohn, Leanne Olson, Tom Rasmussen, Nick Licata, Deb Barker, Kathy Blackwell, Karen Gordon, Erin Doherty, Midori Okazaki and especially Eugenia Woo for their invaluable help with this installment!

To see Clay Eals‘ 360-degree video of the “Now” prospect and compare it with the “Then” photos, and to hear this column read aloud by Clay, check out our Seattle Now & Then 360 version of the column.

Below are 4 landmark-related documents  and, in chronological order, 33 historical clips (including 11 clips that detail how Seattle’s landmark ordinance came to be in 1972-1974) from The Seattle Times and Seattle Post-Intelligencer online archive (available via Seattle Public Library) and Washington Digital Newspapers, that were helpful in the preparation of this column.

 

Published in The Seattle Times online on August 20, 2023
and in PacificNW Magazine of the printed Times on August 17, 2023

Civil war and a king’s execution come alive in early London photo

By Jean Sherrard

Intrigued by an extraordinary portrait of 19th century London, I joined this summer’s post-pandemic hordes and ventured to the historic spot to attempt a repeat.

Within a year of Louis Daguerre’s groundbreaking first photo of a cityscape (in Paris, 1838), the French government acquired the rights to his daguerreotype process and magnanimously offered it “free to the world” on Aug. 17, 1839. Just days later, this week’s “Then” photo was captured. It’s the earliest extant image of London, within the first two years of Queen Victoria’s reign.

A French photographer identified only as M. De St-Croix offered Londoners a public demonstration of the new technology. Positioning his bulky box camera at Charing Cross, a conjunction of six thoroughfares just south of today’s Trafalgar Square, he exposed a silver-coated copper plate for several minutes.

The resulting daguerreotype captured an equestrian statue of Charles I (1600-1649) framed by buildings lining Whitehall, several of which fell victim to the London Blitz of 1940-41.

Nearly 184 years later, Derry-Anne Hammond, a London Blue Badge Tourist Guide, met me beneath the king’s statue — the oldest bronze in London — to provide historical context.

Cast in 1633 by French sculptor Hubert Le Sueur, the bronze was designed to massage Charles’ ego, elevating his short stature atop an imposing war horse. But his reign soon was overshadowed by civil war between supportive royalists and Oliver Cromwell’s “roundheads,” also known as puritans.

“Charles I very much believed in the divine right of kings, and when Parliament disagreed, he shut them down,” Hammond said. “Then things went a bit awry.”

After years of confrontation, a frustrated Parliament accused the obstinate king of treason and sentenced him to death. He is the only English king ever so charged. On Jan. 30, 1649, at Whitehall’s Banqueting House, the king mounted a scaffold below a second-floor balcony.

“Thousands of spectators waited on the street below,” Hammond said, “hoping his blood would spatter onto their handkerchiefs to keep as a macabre memento.” However, the anonymous executioner removed Charles’ head with a single, spatter-free blow.

For the next nine years, Oliver Cromwell ruled Britain as “lord protector,” replacing the monarchy with the Commonwealth of England until his death in 1658. By 1660, the royal line was restored with the accession of Charles II, who installed his father’s equestrian statue at its Charing Cross location. The statue faces in the direction of the still-standing Banqueting House, site of Charles I’s execution.

In the shadow of De St-Croix, attempting to repeat his time-ravaged daguerreotype, I could just make out these echoes of history, muddled by light and shadow, lingering right beneath the surface.

 

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Published in The Seattle Times online on Aug. 10, 2023
and in PacificNW Magazine of the printed Times on Aug. 13, 2023

Photographer grateful his images can ‘hit the moment in time’

By Clay Eals

You grow up an ordinary guy on the outskirts of Los Angeles. You’re not great at academics, but in the late 1960s you pick up a camera and shoot for the high-school newspaper and yearbook. Later, you work at McDonalds and a Ford plant. You deliver sailboats around the country. In 1979, you move north, bouncing from Granite Falls to Green Lake to the Alaska town of Valdez and, finally, to Shoreline.

All the while, you immerse yourself in enormous concerts by the biggest names in rock, blues, country and folk, your camera a constant companion. Over more than 50 years, you amass a rare archive.

You’re Steve Schneider, whose musically panoramic imagery fills “The First Three Songs: Rock & Roll at 125th of a Second,” a 220-page coffee-table compendium whose title alludes to the brief time at the opening of shows when promoters typically let photojournalists work up close. The tome bolsters Schneider’s uncomplicated mantra: “It’s always been about excitement, about fun. I just want to get the shot.”

The 71-year-old has earned day-job pay from documenting conventions of professional associations and occasional journalistic assignments (UPI had him shoot a 1984 Seattle campaign visit by Democratic VP candidate Geraldine Ferraro, see below). But nights and weekends are a different story.

His “Who’s Who” concert subjects range from CSNY to Pearl Jam, Dylan to Cobain, Bonnie Raitt to Carlos Santana, Willie Nelson to Paul Simon, to McCartney, Clapton, Jagger, Springsteen, Bowie and, yes, the Who. Whew!

Schneider’s most enduring focus, however, has been the trippy Grateful Dead, known for its freeform shows and faithful “Deadheads.” He has seen at least 100 Dead concerts. More than 20 appear in the book.

His Dead shots began with a May 25, 1974, gig at UC Santa Barbara featuring then-beardless leader Jerry Garcia. Exactly 21 years later, Schneider captured a greying Garcia at his last Seattle concert, at Memorial Stadium. Garcia died 76 days later at age 53, and Schneider’s portrait filled a page in Time magazine’s tribute.

The band persisted in various forms, most recently as The Dead & Company, which disbanded in July. Its fourth- and fifth-to-last shows were at The Gorge Amphitheatre. Schneider was there, part of “the family.”

For the Dead, and all of Schneider’s star subjects, the most compelling factor has been the music itself. “It once was all new,” he says. “The songs hit the moment in time. Today you enjoy the song, and it brings back good memories. I just preserve a bit of history, that moment in time that I saw.”

You might say it’s what keeps his Dead soul alive.

WEB EXTRAS

Thanks to Steve Schneider for his invaluable help with this installment!

Below are 26 additional photos (not enlargeable here)  and, in chronological order, 10 historical clips from The Seattle Times and Seattle Post-Intelligencer online archive (available via Seattle Public Library) and Washington Digital Newspapers, that were helpful in the preparation of this column.

 

 

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Published in The Seattle Times online on Aug. 3, 2023
and in PacificNW Magazine of the printed Times on Aug. 6, 2023

Water cannons evoke big blazes fought by fireboat Duwamish

By Clay Eals

Wildfires often command today’s attention. But how’s this for a different kind of wild?

Early on May 20, 1910, at the foot of Vine Street along Elliott Bay, a kettle of melted asphalt sprang a leak, mushrooming into a “blazing pile of more than 100 tons of inflammable asphalt” and producing “the thickest smoke that ever rolled up from a city,” reported The Seattle Times.

The fire destroyed Independent Asphalt Co. and damaged Occidental Fish Company nearby but could have been catastrophic for the waterfront if not for gushers from “the highest powered fireboat in existence,” the Duwamish. Thousands of tons of water — shot from the vessel’s cannons for more than an hour, aided by two land-based engines along Railroad Avenue (now Alaskan Way) — doused the flames.

Eyewitnesses said the sight of “streams from the fireboat playing across her bow was the prettiest firefighting spectacle ever witnessed in this city.”

The inferno came 10 months after the launch of the steam-driven Duwamish, named for the city’s Native American tribe and only river. The fireboat fought decades of water-proximate fires, many with dramatic smoke plumes from both the conflagrations and the fireboat’s aging steam engine. Dieselized in 1949 and retired in 1984, the Duwamish endures as a city and national landmark at South Lake Union.

Seattle’s first fireboat — and the first one on North America’s west coast — was the Snoqualmie, launched in 1891. Sold in 1932, it became a freighter in Alaska, where it burned in 1974. The city’s third fireboat, the Alki, launched in 1927, lingered for decades at Lake Union and recently was scrapped. Thus, the in-between Duwamish is the sole old-time survivor.

West Seattle’s Bob Carney, a retired electrical-parts salesman who first toured the Duwamish at age 8 in 1968, could be its biggest historian and fan. He is rivaled only by Beacon Hill’s Steve Walker, who traces his maritime affection to “The Sand Pebbles” (1966) starring namesake Steve McQueen, “the king of cool,” as a military steamship engineer.

Walker, a state ferry retiree, helms the Duwamish, moored permanently at the Historic Ships Wharf next to the Museum of History & Industry. He and Carney lead Sunday tours, spouting gentle cannons of marine lore for visitors.

Today’s four operating Seattle fireboats are the Chief Seattle (launched in 1984), the Leschi (2007), Fire One (2006) and Fire Two (2014). During summer festivals, their pumps propel a sizeable spray. But the most inspired show emerges from the deck of the Duwamish where, for a few gripping moments at its disabled water cannons, anyone can imagine being a waterborne hero.

WEB EXTRAS

Thanks to Molly Michel, Seattle Design Festival; David Cueropo, Seattle Fire Department; Xin Tong, Kristin Wong, Tom Liu, Devon Lawrence, Tom Smith and especially Bob Carney and Steve Walker for their invaluable help with this installment!

To see Clay Eals‘ 360-degree video of the “Now” prospect and compare it with the “Then” photos, and to hear this column read aloud by Clay, check out our Seattle Now & Then 360 version of the column.

Below are a video interview of Steve Walker, a historical timeline and fact sheet by Bob Carney, 38 additional photos  and, in chronological order, 6 historical clips from The Seattle Times and Seattle Post-Intelligencer online archive (available via Seattle Public Library) and Washington Digital Newspapers, that were helpful in the preparation of this column.