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Alaska-Yukon-Pacific Exposition (1909): Music at the Fair

Washington's first World's Fair -- the Alaska-Yukon-Pacific Exposition -- was held in Seattle on the grounds of the University of Washington campus between June 1 and October 16, 1909, and drew more than three million people. Visitors came from far and wide to be entertained while Seattle promoted itself as a gateway to the rich resources of Alaska, the Yukon, and Asia. Among the many attractions were musical performances -- parades, dances, and concerts in the Auditorium, Amphitheatre, Music Pavilion, and central bandstand -- by a wide variety of entertainers representing various towns in the region, states in the union, and nations of the world. Included in the offerings were the exotic sounds of various foreign music traditions, big-time bands from Chicago and New York, a down-home southern vaudeville revue, and numerous local ensembles from Tacoma, Spokane, Yakima, Long Beach, and homegrown headliners from Seattle.
File 8876: Full Text >

Anderson, Ernestine (b. 1928): Jazz Singer

Ernestine Anderson launched her amazing career as a jazz singer while still a teenaged Seattle high school student back in the 1940s. By the 1950s she was an experienced performer who'd toured widely and sung with big-name bands led by Johnny Otis, Lionel Hampton, and Eddie Heywood. Anderson's debut album brought rave reviews from leading music critics which led to her being included in the all-star lineup at the very first Monterey Jazz Festival in 1958, and she was soon heralded as an important new singing star by both Time and down beat magazines. In the decades since, she has cut more than 30 albums of sophisticated and sensual jazz and blues music, received four GRAMMY award nominations, and been honored with a command performance at the White House.
File 8520: Full Text >

Anderson, Otto (1857-1938): Seattle's Award-Winning Furniture Designer and Guitar-Maker

The excellent wood-working skills of Swedish immigrant, Otto Edward Anderson provided him with good job opportunities upon his arrival in the Pacific Northwest in 1888. One highlight of his career must have been winning a gold award at Seattle's first world's fair -- the 1909 Alaska-Yukon-Pacific Exposition -- for the innovative designs of some fine handcrafted furniture. But in hindsight, it seems that it was his years of making musical string instruments -- guitars, violins, and perhaps a mandolin -- and an association with the region's legendary instrument manufacturer, Chris J. Knutsen, which may bring him longer-lasting fame.
File 8916: Full Text >

Barons, The: The Northwest's First Hit-making '50s Teen Rock 'n' Roll Group

A half-decade prior to the Pacific Northwest's great rock 'n' roll eruption of 1959-1960 -- a period that saw a series of teenage groups (including the Fleetwoods, Frantics, Shades, Gallahads, Wailers, Ron Holden and the Thunderbirds, and Little Bill and the Bluenotes) all suddenly burst onto the national scene with hit records -- yet another local group blazed that same trail. Tacoma's talented doo-wop singers, the Barons, were signed to one of America's most esteemed independent labels, the Los Angeles-based Imperial Records, and scored a series of promising hits. Unfortunately, the group was a bit ahead of its time -- the Northwest didn't even have an organized teen-dance scene yet -- and the Barons disbanded before they were able to make the most of their remarkable success. As a result, the group's legacy nearly slipped through the cracks of history. They are absent from all rock encyclopedias, they remain unheralded even in their home region, and the Barons' story has never been told until now.
File 9207: Full Text >

Barton, Kearney (b. 1931): The Man Who Engineered the Northwest Sound

Seattle's Kearney Barton is the man whose audio engineering work can be credited with forging the powerful aural esthetic that became widely known as the "original Northwest Sound." Numerous musicians also contributed to the process, but it was Barton who established what that "Sound" sounded like on classic records by pioneering area rock 'n' roll bands, including the Frantics ("Werewolf"), Playboys ("Party Ice"), Little Bill ("Louie Louie"), the Kingsmen ("Jolly Green Giant"), the Counts ("Turn On Song"), the Sonics ("Psycho"), and Don and the Goodtimes ("Little Sally Tease"). But Barton's half-century of work has also seen him produce recordings for a wide range of clients, including the Seattle and Portland opera companies, jazz/pop icon Quincy Jones, Scandinavian humorist Stan Boreson, country/pop diva Bonnie Guitar, the Supersonics and Sounders sports teams -- and even the performance soundtracks for Washington's 1984 Summer Olympics Gold Medalist swimmers, Traci Ruiz and Candy Costie. Perhaps most significantly though, through instructional classes held at his Audio Recording studios over the decades, Barton has trained and mentored an entire generation of students in the arts and sciences of audio engineering.
File 8719: Full Text >

Bicycle Tree at Snohomish (1890-1927) -- a Slide Show

This slide show presents the vintage postcard collection of Peter Blecha on the enormous and curious "bike tree," located in Snohomish County within what is now Snohomish city limits. The slide show was written and curated by Peter Blecha and funded by the Henry M. Jackson foundation.
File 8526: Full Text >

Birdland: Seattle's Fabled 1950s R&B Hotspot

Seattle's long-time musicians and music fans alike hold fond memories of numerous long-gone 1950s nightclubs and dancehalls. But of all the fabled rooms, there is one that is probably missed more so than all the others: the Birdland. Because its unique location (at 22nd Avenue and E Madison Street) placed it on the border between a largely African American portion of the Central Area and the more homogenously white north-end neighborhoods, it eventually attracted an ethnically mixed clientele, evolved into a catalytic nexus of social tolerance in a then still-segregated town, and ultimately became a fertile musical laboratory that helped forge the original "Northwest Sound."
File 8415: Full Text >

Boles, Joe (1904-1962): Seattle's First Hit-Making Sound Engineer

Jay F. "Joe" Boles -- well-known founder of the Seattle Harbor Water Tours -- is far more famous as the proprietor of Seattle's first truly successful recording studio. A one-time hi-fi audiophile who initially snuck into various local concert halls in order to surreptiously record his favorite touring acts, Boles progressed from being a dedicated hobbyist to a recognized master of the recording arts. Although he conducted countless sessions in his home studios, his skill behind the mixing console will always be associated with seminal Northwest rock 'n' roll classics including the Fleetwoods' No. 1 hit ("Come Softly to Me"), the Ventures' smash ("Walk -- Don't Run"), and Rockin' Robin Roberts and the Wailers' timeless No. 1 regional fave, "Louie Louie."
File 8924: Full Text >

Boreson, Stan (b. 1925): Everett's King of Scandinavian Humor

Musician, recording artist, humorist, and pioneering '50s kiddie-TV show star -- Stan Boreson has brought joy to generations in his native Northwest, across America, and around the globe. In his six decades of recording and performing, Boreson became a regional icon, an American treasure via sales of his 15 albums and a half-dozen appearances on Garrison Keillor's radio show A Prairie Home Companion, and an in-demand act who once accepted a direct concert request by King Olav of Norway, and later in 2005, was further honored by Norway's King Harald V with the St. Olav Medal of Honor -- one step shy of full knighthood.
File 8553: Full Text >

Century 21 World's Fair: Northwest Coast Indian Art Exhibit

The Fine Arts Pavilion on the grounds of Century 21, the 1962 Seattle World's Fair, was the site of a half-dozen distinct art exhibits during the fair's six-month run between April 21 and October 21. Those exhibits were Masterpieces of Art; The Paintings of Mark Tobey; Art Since 1950: American; Art Since 1950: International; Art of the Ancient East; and Northwest Coast Indian Art. The latter exhibit -- curated by University of Washington anthropologist (and director of the Washington State Museum) Dr. Erna Gunther (1896-1982) -- offered attendees unprecedented exposure to the wondrous beauty of various Northwest Coast native people's unique artwork. Its very inclusion, and its adjacency to the other exhibits, was quite purposeful: A guidebook produced to accompany the exhibit explained that "The artwork of the Indians of the Northwest Coast is presented here with examples of the great arts of the world, both historic and contemporary" -- a remarkable premise insisting that this provincial art was worth knowing about and that it had artistic merit and cultural value akin to far-better-known pieces produced in other places and times (Gunther, exhibit guide).
File 9238: Full Text >

Coppock, John Lee (1899-1959) and his Deluxe Electric Guitars

As the Electric Guitar Era progressed from its infancy back in the 1930s and 1940s into the "Space Age" 1950s, many new ultra-modern models were being introduced into the marketplace. But of the numerous well-known companies that produced such instruments, very few can compete with the visual splendor of one particular, if wholly obscure, brand that was created by the hitherto unheralded Peshastin-based guitar-maker, John Lee Coppock. Although a member of one of the pioneering families of Peshastin, Coppock was not the first local to make electric guitars -- Seattle's Paul Tutmarc (1896-1972) and Harvey Hansen (1898-1990) were both active with their respective Audiovox and Hanburt lines by the 1930s, as was Bud Tutmarc (1924-2006) with Bud-Electro by the 1940s. Coppock was, however, an early West Coast recording artist, an innovative luthier, and a popular music teacher who over the decades helped bring a lot of music-making to the small Washington communities of Peshastin, Dryden, Cashmere, Leavenworth, and Wenatchee.
File 9160: Full Text >

Country Music in the Pacific Northwest

Country music has a remarkably long history in the state of Washington -- but just as with the genres of jazz and rock 'n' roll, some of the earliest players actually brought their music to the Pacific Northwest from elsewhere. America's geographic frontier of the "Wild West" attracted newcomers who brought their cultural traditions along with them, and the opportunities for homesteaders, miners, cattlemen, loggers -- and musicians -- abounded. Although other locales in America -- like Tennessee and Texas -- are more closely associated with the hillbilly yodeling and "twangin" tunes of country music, history reveals that there has also been a thriving-if-underappreciated scene based here for many decades.
File 7441: Full Text >

Crocodile Cafe: Seattle's Icon of the Grunge Rock Era.

A beloved local live music venue, the Crocodile Cafe & Live Bait Lounge (located in Belltown in Seattle at 2200 2nd Avenue), was founded by Seattle attorney and local music fan Stephanie Dorgan, along with a couple of other business partners. The "Croc" opened in April 1991 and for 16 years was hopping with live performances. As the Grunge scene exploded, it became a leading venue for local bands and for numerous famous touring stars. On the night of Saturday December 15, 2007, the Croc closed abruptly after a final show. And although reports and rumors of the Belltown neighborhood fixture's financial woes had been circulating for some time, it was still an event that shocked the area's music scene for its sheer finality.
File 8448: Full Text >

Crosby, Bing (1903-1977) and Mildred Bailey (1907-1951): Spokane's Jazz Royalty

The music careers of a couple of the twentieth century’s most significant singing stars -- Bing “The King of the Crooners� Crosby and Mildred “That Princess of Rhythm� Bailey -- are so intertwined that their stories are perhaps best told as one. Those two innovative Jazz Age vocalists both went on to conquer the music world in big ways, but their shared beginnings on the fringes of the Spokane, Washington, Prohibition Era speakeasy jazz scene were quite humble.
File 7445: Full Text >

Dellaccio, Jini (b. 1917): Iconic Photographer of Northwest Musical Icons

Jini (pronounced: "Jeanie") Dellaccio's remarkable life -- plus her sweet demeanor, stylish ways, energetic manner, and multi-faceted artistic career -- has embodied certain delightful ironies: She was a Midwestern country girl who made her initial splash as a California-based fashion photographer; and as a former jazz musician and longtime fan of classical music, she will likely be remembered by history for her stunning (mainly black-and-white) 1960s images of many of the Pacific Northwest's toughest "Louie Louie" era rock 'n' roll bands.
File 8953: Full Text >

Dolton: The Northwest's First Rock 'n' Roll Record Company

The Pacific Northwest has produced its fair share of pioneering record companies over the years including early ones like Seattle's Evergreen, Rainier, Linden, and Morrison Records; Portland's Rose City Records; and Spokane's SRC Records. Although such labels enjoyed a fair number of local sales by issuing discs of provincial pop singers, country roadhouse bands, or Scandinavian dance music in the 1940s and 1950s, each lacked either the savvy management, adequate capital, or effective distribution channels required to break out and score "hits" outside the region. It took the formation of Dolton Records in 1959 -- the region's first rock 'n' roll-oriented label -- to achieve that goal.
File 7636: Full Text >

Dover, Harriette Shelton Williams (1904-1991)

Daughter of Chief William Shelton -- the famed Tulalip storyteller, wood-carver, and cultural leader -- Harriette Shelton Williams Dover, followed her father's fine example and invested her entire adult life into efforts to reintroduce various traditional aspects and practices of their native heritage. Among Harriette's many accomplishments was that of helping revive traditional dances, the Lushootseed language, and tribal appreciation for a proud past. In addition, Harriette served as the second female elected to the Tulalip Tribes' Board of Directors (and first Tribal Council Chairwoman), and she took a lead role in reestablishing the ancient First Salmon Ceremony at Tulalip -- the now-thriving reservation located just west of Marysville and north of Everett.
File 9079: Full Text >

Durkin, James (1859-1934)

James "Jimmie" Durkin gained notoriety in the Inland Empire of Eastern Washington as Spokane's legendary liquor tycoon. Wild tales abound regarding his outlandish exploits and stunts, but beyond becoming one of the town's most successful businessmen and an early millionaire, Durkin earned a well-deserved reputation as a thinking man. Indeed, locals and area newspapers routinely referred to the one-time gubernatorial candidate as no less than "Spokane's Main Avenue philosopher."
File 9018: Full Text >

Engholm, Ben (1899-1945): Seattle's pioneering radio loudspeaker designer of the 1920s

At the dawn of the commercial radio industry in the early 1920s, Seattle became an unexpected early hotbed of technological innovation. No less than three different companies began producing radio speaker-horns in those years before more advanced "field coil" cone-speakers were invented around 1928. That trio of innovative firms were the Star Radio Co., Kilbourne & Clark -- and most importantly, Bernard "Ben" A. Engholm's incredibly successful Rola Company.
File 8923: Full Text >

Etiquette Rules! The Northwest's Reigning '60s Garage-Rock Record Company

Etiquette Records -- a trail-blazing firm formed by three young Tacoma musicians in 1961 -- was an enterprise that broke all the old rules. Despite its polite and classy sounding name -- not to mention that of its sister company, Valet Publishing -- Etiquette quickly came to rule the Pacific Northwest's rock 'n' roll roost by producing and promoting raucous and gritty music that came to be favored by teenaged bands and their fans in the region.
File 8947: Full Text >

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