DOCSLIB.ORG

Seattle 100: Portrait of a City

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Seattle 100: Portrait of a City Seattle100 PORTRAIT OF A CITY PHOTOGRAPHS & WORDS BY CHASE JARVIS For Kate Seattle100 PORTRAIT OF A CITY New Riders 1249 Eighth Street Berkeley, CA 94710 510/524-2178 510/524-2221 (fax) Find us on the web at www.newriders.com To report errors, please send a note to [email protected] New Riders is an imprint of Peachpit, a division of Pearson Education Copyright 2011 © by Chase Jarvis All book photographs © Chase Jarvis Artist bio photo © Mitch Moquin Editor: Ted Waitt Production Editor: Lisa Brazieal Interior Design: Lou Maxon Indexer: James Minkin Cover Design: Lou Maxon Cover Images: Chase Jarvis Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book. ISBN 13: 978-0-321-74372-5 ISBN 10: 0-321-74372-5 9 8 7 6 5 4 3 2 1 Printed and bound in China Acknowledgements Had it not been for a lot of people coming together over the course of two years, this project would still be just a kernel of an idea bouncing around inside my little brain. Of course, thank you to the 100—actually the 106—who are in this book. Thank you all for making time out of your busy schedules to sit (or stand or roll around on the floor) for me, and to share your ideas on who else in your circles might be a good fit for the project. Ultimately, it was all of you who helped the intimation of a list in my head grow into what’s found in these pages. Thank you. It’s unlikely that anyone who’s not involved with feature film productions or large-scale project management could easily understand what a colossal cluster it is to produce a project like this. Put aside my traveling 150,000 miles per year for a moment, and just consider the schedules of these 106 subjects. And many of these subjects are actually 3, 5, 10, or more people in and of themselves. You get the picture. I want to thank my team that started this project, as well as the team that finished it. As such, the wrangling of all this couldn’t have happened without absolutely superstar production, to which I owe a huge debt of gratitude. Thank you, Kate. You have been amazing. My wife, my rock. Mikal, your wrap-up on this book has been a true gift. Were it not for the producers keeping this project on track, I’d still be floundering over the first round of subjects, and we wouldn’t have eaten a thing or had even one glass of champagne. Thank you. To my photo crew: Scott, Dartanyon, Norton, and Erik. I owe you guys, big time. You must have thought I was nuts when we launched the project, but thanks for sticking with it. Managing the data was an enormous undertaking in its own right. Terabyte after terabyte. Picture after picture. Video clip after video clip. I’m quite certain we shot over 30,000 images for this humble little project, not to mention the hours of behind-the-scenes video. And to edit a project like this? I wouldn’t wish it on my worst enemy. Narrowing hun- dreds of pictures for each subject down to an essential one or two or three was grueling. One. At. A. Time. ’Twas torture, really. But in a sicko sort of way, I loved it and I hope you did, too. Of course, each digital file still needs massaging into the right balance of blacks and whites. On a deadline, no less. I am sad that we had to leave so many gems out of the book... Which brings me to the website—a whole other endeavor. I’m grateful that so many more pictures get to reside there. However, the creation of the digital aspect of this project is/was a monster unto itself, as well. You’re starting to get the picture. The list goes on. And finally, how is it that a project that’s been in the works for two years requires packaging and shipping it off to the printer in a two-week window? I take the blame for that one. But it made us stronger. And it made the photos more cohesive. And, strangely, I believe it made the project better. Thank you, thank you everyone. To the hair and makeup artists who were there for us so many times, at all hours, on all days: thank you. Alvin Stillwell, you did a lot of the heavy lifting. Gracefully. Dawn Tunnell, Erin Skipley, Stacy Canon, and Tara Correll: thank you for your skills and your flexibility. A debt I owe. All of you stylists faced the 10-hour days and the 30-minute days, and you just kept at it, regardless of my requests for powder or a hurried touch-up. You refreshed the 100 when they needed it, and you stayed true to those who just wanted that errant pimple covered up, and others still whom you made up as if it were their finest hour. Thank you. To Lou Maxon, the firepower behind the design of this gorgeous pile of paper: thanks for the long hours on a short timeline. I love where it ended up. To Mitch Moquin, thank you for my bio photo. To my editor, Ted. You are the finest editor there is. Hands down. Thank you for helping me make the book that I wanted to make. The intense final hours of this project won’t soon disappear from my mind. And to the rest of the Pearson crew: thank you for helping me go to press, make this unique dream come true and, especially, to democratize the price point of this book. Yes, I know a 240-page, large-format art book should cost twice as much as this does—or more. I know it’s against all models and all P&Ls, and that it doesn’t pencil out. But thank you for helping me make a book that is more affordable for a wider range of the world. Of course, to my family, core and extended: your unending support has been a driving force in my life. Thank you. I love you. To all: what matters most is that we didn’t just talk about it, we did it. About the Artist Born, raised, and currently residing in Seattle, Chase Jarvis is well known as a visionary photographer, director, pro- vocateur, and social artist with a consistent ambition to break down—even explode—the traditional silos where ideas reside, especially including the traditionally opposed notions of fine art and commercial art. While much of his focus is, on the surface, based in visual and representational art, his most profound interests lie in conceptual and informa- tional art—and where they intersect. His personal work has earned the attention of gallerists and curators in the USA and abroad, he has won numerous awards for his commercial campaigns, and he is widely recognized for his entrepreneurial acumen. Chase has been featured in print, web, and broadcast—including photography, film and video trades, celebrity, news, and popular culture media—worldwide. A gifted leader with boundless energy, Chase finds time amidst his creative ambitions to cultivate communities, unite disparate cultures, and volunteer with numerous organizations around the globe. And he wants you to know that, while he approved this statement, his publisher wrote it with all the right pizzazz and buzz words. Introductory Remarks and Artist’s Statement I’ve told this backstory 100 times already—once to each of the And then I broke through. The project I was seeking wasn’t with individuals or groups featured herein—and now this 101st time to you. someone on the list, the project was the list. And that list needed to grow and be shared. Background The majority of the work I do making photographs and films happens far Photographically, this project was launched for myself. It was a personal away from Seattle. Whether it’s fine art or advertising work, Seattle is not project—not commissioned, not guided, and with no objective goal in the hub that cities like New York, Los Angeles, London, or Tokyo are for sight. However, as the project grew and evolved, it became clear that these sorts of things, so it’s in those cities and others like them where I what I was aiming to create was more than a series of portraits.
Load more

Recommended publications
  • Chief Seattle's Speech Historylink.Org Essay 1427
    Chief Seattle's Speech HistoryLink.org Essay 1427 By Walt Crowley, June 28, 1999 In addition to his namesake city, Chief Seattle (178?-1866) is best remembered for a speech given, according to pioneer Dr. Henry Smith, on the occasion of an 1854 visit to Seattle of Isaac Stevens (1818-1862). Stevens was governor and Commissioner of Indian Affairs of Washington Territory. He visited in January and again in March 1854. Chief Seattle's speech went unnoted in the written record until October 29, 1887, when the Seattle Sunday Starpublished a text reconstructed from admittedly incomplete notes by Dr. Smith. Smith rendered his memory of Chief Seattle's speech in the rather ornate (to modern ears) English of Victorian oratory. Chief Seattle would have given the speech in the Lushootseed language, which then would have been translated into Chinook Indian trade language, and then into English. Smith's text is a necessarily filtered version of the speech and was certainly embellished by him. Smith's reconstruction lacks corroboration in the written record, but it is far from implausible. Seattle was well respected among his own people and settlers as a powerful and eloquent orator in his native tongue. It is likely that he was present to meet Governor Stevens in January 1854. Stevens' assistant George Gibbs noted his presence during the March 11, 1854 meeting. Also, there are several accounts in pioneer records of Chief Seattle giving speeches to large crowds. Frederick James Grant included Smith's text in his 1891 History of Seattle, Washington and Clarence B. Bagley reprinted a slightly altered version in his 1929 History of King County, Washington(Vol.
    [Show full text]
  • The Artists' View of Seattle
    WHERE DOES SEATTLE’S CREATIVE COMMUNITY GO FOR INSPIRATION? Allow us to introduce some of our city’s resident artists, who share with you, in their own words, some of their favorite places and why they choose to make Seattle their home. Known as one of the nation’s cultural centers, Seattle has more arts-related businesses and organizations per capita than any other metropolitan area in the United States, according to a recent study by Americans for the Arts. Our city pulses with the creative energies of thousands of artists who call this their home. In this guide, twenty-four painters, sculptors, writers, poets, dancers, photographers, glass artists, musicians, filmmakers, actors and more tell you about their favorite places and experiences. James Turrell’s Light Reign, Henry Art Gallery ©Lara Swimmer 2 3 BYRON AU YONG Composer WOULD YOU SHARE SOME SPECIAL CHILDHOOD MEMORIES ABOUT WHAT BROUGHT YOU TO SEATTLE? GROWING UP IN SEATTLE? I moved into my particular building because it’s across the street from Uptown I performed in musical theater as a kid at a venue in the Seattle Center. I was Espresso. One of the real draws of Seattle for me was the quality of the coffee, I nine years old, and I got paid! I did all kinds of shows, and I also performed with must say. the Civic Light Opera. I was also in the Northwest Boy Choir and we sang this Northwest Medley, and there was a song to Ivar’s restaurant in it. When I was HOW DOES BEING A NON-DRIVER IMPACT YOUR VIEW OF THE CITY? growing up, Ivar’s had spokespeople who were dressed up in clam costumes with My favorite part about walking is that you come across things that you would pass black leggings.
    [Show full text]
  • Filipino Americans and Polyculturalism in Seattle, Wa
    FILIPINO AMERICANS AND POLYCULTURALISM IN SEATTLE, WA THROUGH HIP HOP AND SPOKEN WORD By STEPHEN ALAN BISCHOFF A thesis submitted in partial fulfillment of the requirement for the degree of MASTER OF ARTS IN AMERICAN STUDIES WASHINGTON STATE UNIVERSITY Department of American Studies DECEMBER 2008 To the Faculty of Washington State University: The members of the Committee appointed to examine the thesis of STEPHEN ALAN BISCHOFF find it satisfactory and recommend that it be accepted. _____________________________________ Chair, Dr. John Streamas _____________________________________ Dr. Rory Ong _____________________________________ Dr. T.V. Reed ii ACKNOWLEDGEMENTS Since I joined the American Studies Graduate Program, there has been a host of faculty that has really helped me to learn what it takes to be in this field. The one professor that has really guided my development has been Dr. John Streamas. By connecting me to different resources and his challenging the confines of higher education so that it can improve, he has been an inspiration to finish this work. It is also important that I mention the help that other faculty members have given me. I appreciate the assistance I received anytime that I needed it from Dr. T.V. Reed and Dr. Rory Ong. A person that has kept me on point with deadlines and requirements has been Jean Wiegand with the American Studies Department. She gave many reminders and explained answers to my questions often more than once. Debbie Brudie and Rose Smetana assisted me as well in times of need in the Comparative Ethnic Studies office. My cohort over the years in the American Studies program have developed my thinking and inspired me with their own insight and work.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Rice and Rap: Hip Hop
    UNIVERSITY OF CALIFORNIA Los Angeles Rice and Rap: Hip Hop Music, Black/Asian American Racialization, and the Role of the U.S. Multicultural Neoliberal State A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Asian American Studies by Michelle Mihwa Chang 2015 © Copyright by Michelle Mihwa Chang 2015 ABSTRACT OF THE THESIS Rice and Rap: Hip Hop Music, Black/Asian American Racialization, and the Role of the U.S. Multicultural Neoliberal State by Michelle Mihwa Chang Master of Arts in Asian American Studies University of California, Los Angeles, 2015 Professor Kyungwon Hong, Chair This paper explores Black and Asian American racialization within the multicultural neoliberal state. Looking at Los Angeles in the 1980s and early 1990s, I examine the rise of multiculturalism and neoliberalism within the US as it parallels the rise and commercialization of hip hop music sub-genre, gangsta rap. By examining the multicultural neoliberal state, and its consequences for communities of color, I look at the ways in which Black/Asian American racialization occurred through the tropes of the gangster and the model minority, respectively. Moreover, I contend that the multicultural neoliberal state relied on popular constructions of Asianness and Blackness in order to maintain whiteness, conceal state-violences, and define its national borders of inclusion and exclusion, and gangsta rap provided an ideal space for this. My project also explores progressive rap and the ways in which it ii manifested from the same conditions of gangsta rap, yet managed to produce itself differently. Lastly, I conclude with a close examination of the hip hop duo Blue Scholars (featuring Asian American emcee Prometheus Brown) and their song, “Morning of America,” which addresses and challenges this particular moment of the 1980s through the lens of the colonized subject and racialized other.
    [Show full text]
  • The Trials of Leschi, Nisqually Chief
    Seattle Journal for Social Justice Volume 5 Issue 1 Article 14 11-1-2006 The Trials of Leschi, Nisqually Chief Kelly Kunsch Follow this and additional works at: https://digitalcommons.law.seattleu.edu/sjsj Recommended Citation Kunsch, Kelly (2006) "The Trials of Leschi, Nisqually Chief," Seattle Journal for Social Justice: Vol. 5 : Iss. 1 , Article 14. Available at: https://digitalcommons.law.seattleu.edu/sjsj/vol5/iss1/14 This Article is brought to you for free and open access by the Student Publications and Programs at Seattle University School of Law Digital Commons. It has been accepted for inclusion in Seattle Journal for Social Justice by an authorized editor of Seattle University School of Law Digital Commons. For more information, please contact [email protected]. 67 The Trials of Leschi, Nisqually Chief Kelly Kunsch1 His people’s bitterness is etched into stone: A MEMORIAL TO CHIEF LESCHI 1808-1858 AN ARBITRATOR OF HIS PEOPLE JUDICIALLY MURDERED, FEBRUARY 19, 18582 There is probably no one convicted of murder more beloved by his people than a man named Leschi. Among other things, he has a neighborhood in Seattle, Washington named after him, a city park, a marina, restaurants and stores, as well as a school on the Puyallup Indian Reservation. His name is revered by Northwest Indians and respected by non-Indians who know his story. And yet, he remains, legally, a convicted murderer. For years there has been a small movement to clear Leschi’s name. However, it was only two years ago, almost 150 years after his conviction, that
    [Show full text]
  • Indigenous People and the Transformation of Seattle's
    05-C3737 1/19/06 11:43 AM Page 89 City of the Changers: Indigenous People and the Transformation of Seattle’s Watersheds COLL THRUSH The author is a member of the history department at the University of British Columbia. Between the 1880s and the 1930s indigenous people continued to eke out traditional livings along the waterways and shorelines of Seattle’s urbanizing and industrializing landscape. During those same years, however, the city’s civic leaders and urban plan- ners oversaw massive transformations of that landscape, including the creation of a ship canal linking Puget Sound with Lake Washington and the straightening of the Duwamish River. These transformations typified the modernizing ethos that sought to improve nature to ameliorate or even end social conflict. The struggle of the Duwamish and other local indigenous people to survive urban change, as well as the efforts by residents of nearby Indian reservations to maintain connections to places within the city, illustrate the complex, ironic legacies of Seattle’s environmental his- tory. They also show the ways in which urban and Native history are linked through both material and discursive practices. Seattle was a bad place to build a city. Steep sand slopes crumbled atop slippery clay; a river wound through its wide, marshy estuary and bled out onto expansive tidal flats; kettle lakes and cranberried peat bogs recalled the retreat of the great ice sheets; unpredictable creeks plunged into deep ravines—all among seven (or, depending on whom you ask, nine or fifteen) hills sandwiched between the vast, deep waters of Puget Sound and of Lake Wash- ington.
    [Show full text]
  • NATIVE AMERICAN HIGHLIGHTS of WASHINGTON Statepdf
    NATIVE AMERICAN HIGHLIGHTS OF WASHINGTON STATE & OLYMPIC NATIONAL PARK (10 day) Fly-Drive Native American culture in the Pacific Northwest is unique and celebrated through the bold art and style of the diverse Northwest Coastal tribes that have been connected to one another for thousands of years through trade. This link is apparent in their art - masks, canoes, totem poles, baskets, clothing and bentwood boxes - using cedar, copper and other materials readily accessible in nature. Their art tells the stories of their lives through the centuries, passing history and wisdom from generation to generation. Native American culture is present in everyday life in Seattle from the totems that grace the parks and public spaces to the manhole covers on the streets. Along your journey, you will experience Seattle’s unique urban attractions, Bellingham’s historic seaport ambiance and the wild beauty of the Olympic Peninsula from lush old-growth forests to spectacular, untamed beaches. En route you’ll encounter the many ways Native American culture is woven into the fabric of the Pacific Northwest. Day 1 Arrive Seattle Pike Place Market 85 Pike Street Seattle, WA 98101 www.pikeplacemarket.org Pike Place Market is a hot spot for fresh food sourced from nearby farms, cocktails created by favorite mixologists and a place to rub elbows with both Seattle locals and visitors. From flying fish to street musicians to gorgeous flowers and an array of delicious food options, this 100+ year-old national historic district is a vibrant neighborhood, welcoming over 10 million visitors annually to this super cool hub. Steinbrueck Native Gallery (Near Pike Place Market) 2030 Western Avenue Seattle, WA 98121 www.steinbruecknativegallery.com Highlights: Works by long- established First Nations masters and talented emerging artists.
    [Show full text]
  • HD One Sheet.Indd
    Little By Little... “Harvey Danger are too smart to die.” – Spin “Get past the tags other people put on Harvey Danger.” – Pitchforkmedia.com We are proud to announce the third full-length by Seattle’s Harvey Danger. Little By Little... marks the end of the band’s studio hiatus after one of the most dramatic whirlwind success stories of the late ‘90s. Most listeners will be familiar with HD’s gold-selling debut LP, Where Have All The Merrymakers Gone? (Slash/London), which spawned the #1 single and MTV/alt rock radio perennial “Flagpole Sitta.” Many may also remember the much- loved, if little-heard cult follow-up, King James Version (London-Sire). Little By Little... is the sound of a radically • Produced in Seattle, February 2005, by John transformed band. Goodmanson (Sleater-Kinney, Blonde Redhead) and Steve The distorted energy of the original incarnation has been Fisk (Nirvana, Low, Beat Happening, Screaming Trees). replaced by a classic pop sensibility—a fuller, more •Heavy radio airplay at KEXP (www.kexp.org) and KNDD piano-driven sound in place of the caustic alt-garage in Seattle. style that characterized their debut. (Don’t worry, it still rocks.) The new stuff is a bit more Coldplay than Green • Strong web presence planned, including a free down- Day, perhaps, but neither comparison does justice to loadable version of the album at www.harveydanger.com. the intelligent lyrics and startling melodies of Harvey • Deluxe packaging on includes free 30-minute EP Bonus Danger. Little By Little... is a testament to the band’s Disc, for the price of a single album.
    [Show full text]
  • The Myth of Chief Seattle
    Human Ecology Forum The Myth of Chief Seattle William S. Abruzzi Department of Sociology and Anthropology, Muhlenberg College, Allentown, PA 18104 USA1 As the world faces increasing environmental challenges, things, but also because it epitomizes the ancient wisdom that people have sought wisdom and inspiration from a variety of is widely believed to be contained within Native American sources. One of those sources is the speech which Chief cultures generally — a wisdom that many view as lost in the Seattle delivered nearly 150 years ago. Seattle was a highly technical and materially oriented urban industrial Suquamish Indian from the American northwest who deliv- societies of the late 20th century. ered a speech in 1854 to Isaac Williams, the Territorial For these reasons, Chief Seattle’s Speech has been dupli- Governor of Washington, as Williams negotiated with him for cated and disseminated throughout Europe and the U.S. It the sale of land that was to become the city of Seattle (named has been used by the United Society for the Propagation of in the chiefs honor). The speech has been revered by many the Gospel in London and by the Woman’s Day World of people for the inspirational message it provides and for the Prayer (Kaiser 1987, 498). Portions of the speech have been respect for the environment it displays. Below is a short published in such diverse publications as Passages excerpt of that speech as it appeared in vice-president Al (Northwest Airlines in-flight magazine), Environmental Gores book, Earth in Balance: Ecology and the Human Spirit: Action, Sierra Club editorials, Canada’s “Green Plan” and NASA’s “Mission to Planet Earth” (see Kaiser 1987, 498- How can you buy or sell the sky? The land? The idea is 500; Adams 1994, 52).
    [Show full text]
  • Expressions of Resistance: Intersections of Filipino American
    EXPRESSIONS OF RESISTANCE: INTERSECTIONS OF FILIPINO AMERICAN IDENTITY, HIP HOP CULTURE, AND SOCIAL JUSTICE By STEPHEN ALAN BISCHOFF A dissertation submitted in partial fulfillment of The requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Program in American Studies APRIL 2012 © Copyright by STEPHEN ALAN BISCHOFF, 2012 All Rights Reserved © Copyright by STEPHEN ALAN BISCHOFF, 2012 All Rights Reserved ii To the Faculty of Washington State University: The members of the committee appointed to examine the dissertation of STEPHEN ALAN BISCHOFF find it satisfactory and recommend that it be accepted. _____________________________________ C. Richard King, Ph.D., Chair _____________________________________ David Leonard, Ph.D. _____________________________________ John Streamas, Ph.D. iii ACKNOWLEDGMENTS This project has been a labor of love. My partner, Rachel Silva-Bischoff, shares in this accomplishment as she gave me an immense amount of love, understanding, and support to finish this work. As I have told others throughout this project, it is our degree. Over the duration of my graduate program, we have been fortunate to have two beautiful sons in Isaiah and Zion. Seeing the three of them keeps me grounded in my priorities and in my drive for improving myself and the world around us. I am extremely grateful for the help, guidance, and support that my committee has given me. I would like to thank my committee chair, Richard King, in helping me stay on track with my writing and my timeline for this work. I would also like to thank the rest of my committee, David Leonard and John Streamas, for their insightful discussions in shaping my research.
    [Show full text]
  • A Chronological History Oe Seattle from 1850 to 1897
    A CHRONOLOGICAL HISTORY OE SEATTLE FROM 1850 TO 1897 PREPARED IN 1900 AND 1901 BT THOMAS W. PROSCH * * * tlBLS OF COIfJI'tS mm FAOE M*E PASS Prior to 1350 1 1875 225 1850 17 1874 251 1351 22 1875 254 1852 27 1S76 259 1855 58 1877 245 1854 47 1878 251 1SSS 65 1879 256 1356 77 1830 262 1357 87 1831 270 1358 95 1882 278 1859 105 1383 295 1360 112 1884 508 1861 121 1385 520 1862 i52 1886 5S5 1865 153 1887 542 1364 147 1888 551 1365 153 1883 562 1366 168 1390 577 1867 178 1391 595 1368 186 1892 407 1369 192 1805 424 1370 193 1894 441 1871 207 1895 457 1872 214 1896 474 Apostolus Valerianus, a Greek navigator in tho service of the Viceroy of Mexico, is supposed in 1592, to have discov­ ered and sailed through the Strait of Fuca, Gulf of Georgia, and into the Pacific Ocean north of Vancouver1 s Island. He was known by the name of Juan de Fuca, and the name was subsequently given to a portion of the waters he discovered. As far as known he made no official report of his discoveries, but he told navi­ gators, and from these men has descended to us the knowledge thereof. Richard Hakluyt, in 1600, gave some account of Fuca and his voyages and discoveries. Michael Locke, in 1625, pub­ lished the following statement in England. "I met in Venice in 1596 an old Greek mariner called Juan de Fuca, but whose real name was Apostolus Valerianus, who detailed that in 1592 he sailed in a small caravel from Mexico in the service of Spain along the coast of Mexico and California, until he came to the latitude of 47 degrees, and there finding the land trended north and northeast, and also east and south east, with a broad inlet of seas between 47 and 48 degrees of latitude, he entered therein, sailing more than twenty days, and at the entrance of said strait there is on the northwest coast thereto a great headland or island, with an exceeding high pinacle or spiral rock, like a pillar thereon." Fuca also reported find­ ing various inlets and divers islands; describes the natives as dressed in skins, and as being so hostile that he was glad to get away.
    [Show full text]
  • Download This PDF File
    tEbe ~a~bington J}i~torical auarterlp CHIEF SEATTLE AND ANGELINE Seattle, whose name the Queen City so proudly bears, as a yriJ!; :-- man was large of stature, dignified presence, of much natural po.' ,~ItiJ- .d a recognized leader among the tribes on Puget Soun" The environment of the natives of Washington, west of the Cascade Mountains, did not serve to bring out great capacity of leadership, or of nobility of character. Since their history has been known they were always a subject people. Before the coming of the whites they were hemmed in by fierce, treacherous, warlike and maurauding people on the north, and by an equally warlike and dominant, though not so bloodthirsty, people east of the mountains. With the latter there was some intermarriage and usually amicable relations. Their life was one of little more than bare existence. Food they had in plenty; the waters of the Sound and of its rivers abounded with all kinds of fish and shellfish in all seasons of the year; multitudes of aquatic and land birds were everywhere; elk and deer roamed in all directions and were alike the prey of the Indian hunter and the cougar and wildcat; berries grew luxuriantly in the forests and the prized camas bulb in quantities on the prai­ ries. In the summer time little raiment was worn, and for winter garments skins and furs, supplemented by blankets woven from feathers, hair and the inner bark of the cedar served at least to cover their nakedness. Long after the coming of the Hudson's Bay Company there was no money in circulation; all interchange of commodities was by barter.
    [Show full text]