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Compliments of Dan Shanner — ————————————————————————

AMERICANTHE MAGAZINE CELEBRATING LIFE IN AMERICA LIFESTYLE

Riffing on a Sunset - pg. 30 | Indoor/Outdoor Arts in - pg. 24 | Some Like It Hot - pg. 14 | Making Sing - pg. 6

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678 56 12345 67890 Front of Tear Out Card 1 Dear Bill and Judy,

Welcome to American Lifestyle magazine!

I wanted to take the opportunity to connect and share this terrifi c gift as a thank you for your continued support through business and refer- rals. American Lifestyle is a celebration of the fl avor and fl air of life in the , and takes the reader on a journey of the nation’s Dan Shanner sights, sounds, smells, and tastes. This 48-page publication features articles on interior design, travel, technology, restaurants, and culture. Toll Free: (866) 458-4226 Entertaining writing coupled with gorgeous photography makes this magazine a must read. Office: (610) 878-5000 Fax: (610) 878-2000 I hope you will enjoy receiving this magazine periodically and that you will allow me to continue to provide great service to you in the future. www.remindermedia.com Please feel free to share this issue with friends and colleagues. I would love to hear what they think of the magazine too.

Thank you again for always keeping me in mind.

The Shanner Group 1100 First Avenue Suite 200 Dan Shanner of Prussia, PA 19406 Dan Shanner The Shanner Group Toll Free: (866) 458-4226 Offi ce: (610) 878-5000 Fax: (610) 878-2000 E-mail: [email protected] www.remindermedia.com Back of Tear Out Card 1

The Shanner Group 1100 First Avenue Suite 200 King of Prussia, PA 19406 CONTENTS 24 INDOOR/OUTDOOR ARTS IN SEATTLE

6 Making Textiles Sing KATE TROYER’S WIPPOWILLOW LINE Kate Troyer took her degrees in art history and and carved out a niche in surface design, leading to the launch of Wippowillow textiles.

14 Some Like It Hot HOT SAUCE RECIPES TO TRY AND SHARE If you’re craving a little spice with your food, take a peek at this mini collection of hot sauce recipes excerpted from Hot Sauce! by Jennifer Trainer Thompson, photography by Tara Donne, used with permission from Storey Publishing.

20 Ron Maxwell STORYTELLER EXTRAORDINAIRE Independent film director and writer Ronald Maxwell talks the Civil War, fatherhood, filmmaking, and artistic vision.

24 Rain or Shine INDOOR/OUTDOOR ARTS IN SEATTLE Explore all things arty with a guide to Seattle’s art galleries, , theater venues, music outlets, and other bits o’ culture.

30 Riffing on a Sunset KIMZEY WALTMAN INTERIOR DESIGN Missouri-raised Kimzey Waltman carves out a design path for her clients that best reflects their tastes and aesthetic sensibility.

38 Motors and Mayhem RECOUNTING THE FIRST INDY 500 Enjoy a taste of the historic car race in an excerpt from Blood and Smoke by Charles Leerhsen. Copyright © 2011 by Charles Leerhsen. Reprinted by permission of Simon & Schuster, Inc.

44 The Perfect Pairing CHEF PAT MCLARNON’S IRISH CUISINE Dublin-based Chef McLarnon dishes about his childhood, his foraging adventures, and what it takes to make it as a chef these days. TEXTILES

When did you start developing an interest in art and textiles? I was a very creative child and was involved in dance, visual art, and theater early on. Like most children, I had a very active imagina- tion, but I really decided that pursuing fine art was my path sometime in high school. I had incredibly supportive art teachers who strongly encouraged me to pursue my pas- sion and believed in my talents. I was also fortunate to have parents who supported my creative interests and believed in the impor- Making Textiles Sing tance and validity of the arts. I explored a lot KATE TROYER’S WIPPOWILLOW LINE of other art forms in my twenties before I dis- covered that working with textiles was what I text: KATE TROYER photography: ADAM L. SMITH loved most! Kate Troyer took her degrees in art history and sculpture and carved out a niche in textile surface design, leading to the launch of Wippowillow textiles. I attended a liberal arts college and received a BA in sculpture and art history. It wasn’t until the end of my time as an undergraduate that I began experimenting with fabric as a sculptural medium—using textiles to create soft and wearable art. From there, I took some time off to travel and ended up working in a small town in North Dakota as an Artist in Residence. I continued experi- menting with soft sculpture, which sparked my interest in textile surface design. I re- ceived my master’s of fine arts in textile art and design from the University of Wiscon- sin with a concentration in large-scale textile print design. Since then, I designed a line of women’s dresses and handbags while regu- larly teaching classes at local art colleges.

6 AL 7 Wippowillow was born in the summer of shaped who I am, and therefore, my work is Wippowillow is a 2011 and has continued to grow and devel- highly influenced by both nature and story- combination of the words op every day. I debuted Wippowillow’s first telling. I wanted the company name to capture line of textiles at the IDS West Interior De- a union of nature and narrative. Wippowil- willow tree and sign Show in Vancouver, British Columbia, low is a combination of the words willow tree whippoorwill birds, both that fall. and whippoorwill birds, both of which hold of which hold specific specific meanings. The whippoorwill bird meanings. The whippoorwill Did you always envision using your was a common sound in the northern woods handmade textiles as the base to produce and mentioned in many of our family camp- bird was a common sound other products? fire stories. The sound of the whippoorwill’s in the northern woods and Yes! However, it took me a while to get there. call is simultaneously lovely and eerie. The mentioned in many of our I started out by designing women’s dresses willow tree symbolized strength and comfort family campfire stories. The and handbags out of fabrics I purchased, but and has also played an important role in past felt somewhat limited by the fabrics I could stories and tales. I felt that the combination of sound of the whippoorwill’s buy. Since my educational background is in these two words into Wippowillow captured call is simultaneously lovely textile surface design, I decided I needed to the essence of something plucked straight out and eerie. The willow tree figure out a way to include that into my fu- of a fantasy world or fable. The word comes symbolized strength and ture designs. Since then, we have developed from a place of memories and sincerity which relationships with boutiques, designers, and I try to translate into my textiles. comfort and has also played architects selling our hand-printed hanging an important role in past drum lampshades, fabrics, and pillows. I am What is it about textiles that draws you in? stories and tales. very excited about some of the new products Textiles are incredibly influential and impor- we are bringing to market including limited tant in our lives, although we don’t always edition handbags, tabletop mats and runners, think of them that way. They have a rich his- and area rugs. I am also always open to in- tory and play many roles ranging from neces- teresting custom projects with architects and sity to luxury. Textiles can be used to cover interior designers. the body for protection or may be worn to express rank, position, cultural association, EXPLAIN the name Wippowillow: gender, and individuality. Additionally, I love My family has a cabin in Michigan’s Upper that textiles can be two- or three-dimensional, Peninsula. Growing up, we spent many week- taking on shapes and forms of their own, and ends in the woods and evenings around the the right textile can really liven up an interior campfire. I believe these memories really environment or create the feeling of a warm

8 AL 9 I love combining urban and inviting home! I am a very tactile person; influences with natural when I see an appealing fabric, my first incli- elements to achieve a modern nation is to touch it!

look. For instance, the other Talk about the process of creating day I saw some graffiti on the a textile: sidewalk and loved the Typically, we start with a drawing or a sam- juxtaposition of the gray, pling of sketches which are scanned into the computer and manipulated into a repeatable gritty pavement and the pattern. We then print off one unit of the pat- bright, artificial blue paint. tern to scale and critique whether the design Using this contrast of muted needs to be reworked or changed in any way. natural color and a pop color Once we have a final design unit, we print a “positive” onto a transparent substrate and is something I am currently use a photo sensitive process to “burn” the using in my prints. design onto a large silkscreen measuring five feet by three feet. The design is then large enough to print on fabric measuring ap- proximately fifty-six inches wide. The fabric is pinned down onto our printing tables, the repeat system is carefully measured, and two printing partners silkscreen the length of the fabric with the capability of printing up to thirty feet at one time.

Why do you choose to hand draw? It is important to me that I retain the integ- rity of the initial drawing or when I design a pattern. Maintaining the original I am a very tactile person; when I see an appealing fabric, gestural qualities and idiosyncrasies of a my first inclination is to touch it! hand-drawn design has a certain amount of sincerity and individual expression that may be lost through digital design. That being said, I love using digital software in combina- tion with hand-drawn elements. This allows harmony. When hand printing, we strive to urban influences with natural elements to me to see the motif configured into a vari- find a fluid rhythm in the pass and pressure achieve a modern look. For instance, the ety of different pattern networks quickly and to create an even and pleasing print. other day I saw some graffiti on the sidewalk easily without compromising the original and loved the juxtaposition of the gray, gritty aesthetic qualities of the drawing. Describe your textiles: pavement and the bright, artificial blue paint. I typically use one to three colors in my de- Using this contrast of muted natural color I am happy to see that over the past few signs, so depending on the colors chosen, and a pop color is something I am currently years, there has been a renewed interest in the design can be bold and modern or subtle using in my prints. I also love playing with handcrafted objects. At Wippowillow, we and sophisticated. I try to find a compromise scale and taking something minuscule and embrace the studio tradition of hand print- mixing contemporary urban with a certain making it larger. For instance, I might find an ing textiles, allowing us to experiment with elegance and sophistication. Ultimately, amoeba-like shape under a microscope ap- materials, process, and design and at times craftsmanship is very important to me. You pealing, or find interesting patterns looking be faced with unexpected or unintended re- may have a great design, but it is equally im- down at the landscape from an airplane, and sults! Hand printing textiles on a large scale portant to make sure it is well crafted. turn them into patterns. I like when patterns is a collaborative process by nature because don’t always have a literal translation. the textile must be printed by two people, one What FORMS THE INSPIRATION FOR on either end of the table. I sometimes com- YOUR ARTWORK? Currently, the Reflections Collection is a styl- pare it to the smooth pass of a baton in a relay Sometimes designs form themselves through ization of specific places or experiences in race or a group of musicians who find perfect experimental sketching. I love combining nature that allows for personal introspection,

10 AL 11 meditation, or a journey of the imagination. and on a clear day, we have an amazing view right, it is okay to say no, and you probably For instance, a couple of my patterns are in- of Mount Hood. As soon as I enter the studio, should! Also, when you are able, let go of re- spired by laying under a canopy of leaves on I feel inspired and excited to work! One of my sponsibilities if you have the ability to out- a cool summer day or peering over a ledge at favorite activities is to sit in one of our big source so that you can focus on the things lily pads silently bobbing in place. I want that comfy couches with a cup of coffee and page you really want to spend time on. feeling of comfort, spirit, and ease to trans- through the library of textile books! late to an individual’s home. Shine some light on your life outside of What challenges do you face as your work: How would you say your style differs an artist? In the summertime, I love barbecues with from other contemporary artists in the One of my challenges is balancing all the re- friends, watching baseball (go Brewers!), or textile realm? sponsibilities of running a business. There are spending a day on the Oregon coast! I am One of the biggest differences is that we have so many different facets to being a business also a dog lover and enjoy spending time the ability to hand print large designs which owner that I am learning every day! I also with my Corgi, Herbie! makes both designing and printing incred- constantly have new ideas that I want to ex- AL :: www.wippowillow.com ibly exciting! There are many talented design- plore, but finding the time to work through ers out there using organic botanical prints, them all is difficult. but since each of our designs were initially drawn or painted by hand, they are (by their What is your guiding philosophy as an very nature of creation) unique and one of a artist/entrepreneur? kind. Also, no print is ever exactly the same I suppose I would say, “Be open to new pos- which I think adds to the integrity and dis- sibilities, but follow your instincts, and stay tinctiveness of hand-printed products. true to yourself.” If something doesn’t feel

What is the most fulfilling part about your work? The most fulfilling part of my work is the very first print of a new design! It is a long but fun process designing a pattern and burning it onto the screens, but when we get to see what the repeat looks like on actual fabric, it is very exciting and fulfilling!

What do you find visually inspiring that you can’t wait to recreate in your textiles? I am currently looking at Mola appliqué textiles of the Kuna women and botani- cal photography from artists such as Karl Hand printing textiles on a large scale is a collaborative process by nature because Blossfeldt and . I am also influenced by fables and fairy tales the textile must be printed people, one on either end of the table. by two and nineteenth-century botanical imagery and drawings.

Describe for us the atmosphere of your studio as you work: Our studio is in an old industrial building with large windows on the southern- and eastern-facing walls. We are fortunate to get brilliant natural light throughout the day;

12 AL 13 FOOD Some Like It Hot HOT SAUCE RECIPES TO TRY AND SHARE text: JENNIFER TRAINER THOMPSON photography: TARA DONNE If you’re craving a little spice with your food, take a peek at this mini collection of hot sauce recipes excerpted from Hot Sauce! by Jennifer Trainer Thompson, photography by Tara Donne, used with permission from Storey Publishing. ingredients:

1 cup distilled white vinegar 6 fresh Scotch bonnet chiles, stemmed (seeded if desired) 1 bunch scallions, chopped 4 garlic cloves, minced V ¼ cup brown sugar 3 tablespoons ground allspice 1 teaspoon dried thyme 1 teaspoon ground cinnamon V ½ teaspoon ground nutmeg ½ teaspoon ground coriander ¼ teaspoon freshly ground black pepper Salt ja maican me crazy jerk sauce MAKES 2 CUPS

Jerk is a culinary technique created by cooking instructions: the native Arawak people of Jamaica, • Add all of the ingredients to a blender, and process until smooth. who preserved meats with spices and fire. Today jerk is a broad term that • Transfer to a nonreactive saucepan, and bring to a boil. Then lower the heat, can refer to the seasoning, the cooking and simmer for 10 minutes. method, or the prepared dish (not to mention the girl who picked on • When cool, pour into a bottle. You can eat right away or store for a me in eighth grade). The essence of more intense heat. jerk cooking incorporates three main ingredients: Scotch bonnet peppers, allspice, and thyme. This sauce is delicious as either a condiment or a marinade (marinate meat for at least 2 hours).

14 AL 15 This French West Indian hot sauce is ingredients: great with lobster, shrimp, or grilled fish. Some believe the “dog” (chien in 2 Scotch bonnet chiles, stemmed and seeded French) refers to the fierce bite of the 2 garlic cloves, minced chiles, while others think the name ingredients: 2 medium shallots or 1 medium yellow onion, quartered refers to the fact that this is a humble 1 tablespoon chopped fresh Italian parsley sauce, without the egg yolks, butter, 40 fresh piquin chiles 1 tablespoon chopped fresh cilantro or cream typically found in French 2 cups dry sherry 2 teaspoons chopped fresh chives sauces. If not serving within a few 2 teaspoons minced fresh ginger hours, refrigerate the sauce, and it 1 teaspoon salt

will keep for a few days. V ½ teaspoon fresh thyme leaves

Freshly ground black pepper V 1 cup boiling water, or as needed ½ cup olive oil Juice of 2 limes sauce chien MAKES 2 CUPS cooking instructions:

• Add all of the ingredients to a blender, and puree, adding just enough of the boiling water to make a smooth sauce.

• Let cool; then pour into bottles. Seal the sherry-pepper sauce M A K E S 3 cups bottles if storing. Years ago, I had the pleasure of meeting Yeaton cooking instructions: Outerbridge, a fourteenth- generation Bermudan whose • Bring a pot of water to a boil. Add the chiles, and let sit in the boiling water for 2 minutes to soften them. family sailed from Yorkshire to Bermuda in 1620 and • Drain well, and put the peppers into sterilized bottles. has been there ever since. His family has been making • Fill the bottles with sherry, and seal. The longer it sits, the sherry-pepper sauce there for hotter it will be. decades; indeed, the family’s name is so synonymous with Bermuda that there’s a saying that Bermuda is a string of islands connected by Outerbridges.

16 AL 17 ingredients: V

10V to 12 fresh chiles (try different colors, lengths, and shapes, such as green serrano chiles, red Tabasco chiles, and yellow habanero chiles) 6 cloves garlic, peeled 4 cups distilled or white wine vinegar 5 or 6 sprigs mixed fresh herbs (thyme, oregano, or what’s in your garden) pique (puerto rican hot sauce) MAKES ABOUT 5 CUPS

cooking instructions: In Puerto Rico, you’ll frequently • Bring a pot of water to a boil. Cut off the stems and a bit find homemade versions of this of the top of the chiles (or, if you prefer the look of the sauce at restaurants and roadside stem, make a slice in the chiles with a knife) so the vinegar stands. It’s a simple sauce— can get inside. Add the chiles and garlic to the boiling peppers steeping in vinegar, water, leaving them there for a few minutes to soften the with seasonings—and the longer chiles. Divide the garlic and chiles between sterilized it sits, the more fiery it gets. A bottle(s) that will hold 6 cups total. charter pilot from Barbados told • Heat the vinegar to just below boiling in a nonreactive me that when he was growing saucepan; then pour it into the bottle(s). Add a few sprigs up, his kitchen table always had of herbs to each for flavor and looks, making sure to push a bottle of pique with peppers them down below the surface of the vinegar. (You could from his mother’s garden. As the also add the herbs first, and then pour in the bottle emptied, she’d simply add vinegar carefully.) more vinegar. • Seal the bottle(s), and allow to sit for 2 weeks in a spot that’s not too sunny, turning occasionally, before using. The longer the sauce sits, the hotter it gets.

18 AL 19 Ron has a reputation for Film director Ronald F. Maxwell knows the Civil War inside out. His three getting highly trained actors, HISTORY putting them in the right most famous films (Gettysburg, Gods and Generals, and Copperhead) all center on environment, and the defining years of 1861 through 1865 in protecting them so they American history. But Maxwell knows a lot have the possibility for fully of other things, too: the fifteenth-century becoming their characters. French language, literature, and culture of Actors can do a good, Joan of Arc (for his epic Joan of Arc, Virgin basic job with almost any Warrior); how to get the most from actors such as Dennis Quaid and Kristy McNichol role because they’re (The Night the Lights Went Out in ); professionally trained; but and how to be a good, single dad to young if you want them to take children while working (not something one emotional risks—to inhabit would have expected of a director more than their characters—you have thirty-five years ago). to be a guide. Ron Maxwell is a guide. “I was one of the first single dads in Amer- ica,” he says, referring to his mid-1970s di- vorce when his daughter, now thirty-nine, and his son, thirty-seven, were ages four and two. “They were either eight and six or nine and seven when they came to live with me full time. I was a part-time filmmaker and a full-time dad. I learned to make lots of break- fasts—but I had to bring home the bacon figuratively, too, as the kids went to private schools at $12,000 apiece in the 1970s.”

Based on what actor Brian Mallon (General Hancock in Gettysburg and Gods and Gener- als) says about being a director, one might see a lot of similarities between that and being a good dad: “Ron has a reputation for getting

highly trained actors, putting them in the library at his Virginia country home after “It was a seamless transition from reading lit- Ron Maxwell right environment, and protecting them so hearing him talk about visiting the great erature to filmmaking,” Maxwell says. “It was STORYTELLER EXTRAORDINAIRE they have the possibility for fully becoming libraries of , one sees authors rang- easy to visualize stories as films.” This ongo- text: MARTHA STEGER photography: CHRIS REARDON their characters. Actors can do a good, basic ing from Pliny and Plutarch to Goethe and ing interest in history is reflected in other Independent film director and writer Ronald Maxwell talks the Civil War, fatherhood, job with almost any role because they’re pro- twenty volumes of Thomas Carlyle—along books on his shelves, such as Ernest Gellner’s filmmaking, and artistic vision. fessionally trained; but if you want them to with biographies and history books for young Postmodernism, Reason, and Religion; David take emotional risks—to inhabit their char- readers that Maxwell saved from his New Jer- G. Chandler’s The Campaigns of Napoleon; acters—you have to be a guide. Ron Maxwell sey childhood. His father, who was in the US and James Fenimore Cooper’s History of the is a guide.” Army Air Corps and with General Dwight D. Navy of the United States of America. Flu- Eisenhower in North Africa, Sicily, and Italy, ent in French, he did his own translations of An Artist’s Vision Revealed read to him and took him to nearby New Middle French when he was researching Joan This is classic Ron Maxwell: the artist’s quest York war-related sites such as Fort Ticond- of Arc. With a little prompting, Maxwell also for truth is critical. Looking around his vast eroga and Fort William Henry. enjoys quoting favorite verses from the Civil

20 AL 21 War poetry of Stephen Vincent Benét, Walt Whitman, and Sidney Lanier.

He was writer as well as director of the 1993 film Gettysburg and the 2003 film Gods and Generals. The first (based on The Killer An- gels, a novel by Michael Shaara) is the story of the decisive, three-day battle of Gettys- burg. One of the longest films ever released by a Hollywood studio (four hours, fourteen minutes), it became an all-time top grosser in the home entertainment market and a staple of classroom history lessons, despite With a little prompting, Maxwell also enjoys quoting favorite verses from the Civil War not doing well in theaters. Gods and Gener- poetry of Stephen Vincent Benét, Walt Whitman, and Sidney Lanier. als (based on the novel of the same name by Michael Shaara’s son, Jeffrey Shaara) depicts the shards you’ve unearthed, and you un- phone calls about the whereabouts of loved Civil War films. Based on the epic novel by events that take place prior to those shown in derstand that when Joshua Chamberlain ac- ones,” he says. “We agreed to reconvene at Harold Frederic, Copperhead is a probing Gettysburg. Some Civil War aficionados pre- cepted the surrender at Appomattox [April 9, one o’clock after the lunch break. We had story of the war at home—of a family ripped fer Gettysburg to Gods and Generals because 1865], everyone accepted it. There could have thousands of extras on hand and people who apart by war, of fathers set against sons and they like the all-male battlefield film, whereas been a guerrilla war that went on forever. were in [military] reserve units. daughters, of a community driven to an ap- Gods and Generals encompasses not only The magnanimity, the wisdom, of the gener- palling act of vengeance against a man who military life but life at home during 1861 to als who fought the war is amazing. I’m not “After lunch, I addressed the crew and said insists on exercising his right to free speech 1863 with women, families, and slaves as part into dogma. I’m into living, breathing people. we were making a movie about history as we during wartime. of the epic. The truth is always complex, surprising, and watched history unfold around us that day. fabulously interesting.” The making of the movie itself stood in op- Maxwell’s timeless, deeply moving exami- Maxwell explains, “Both Fannie Chamber- position to the people who were trying to nation of the price of dissent illustrates that lain (wife of Union General Joshua Lawrence Emotions of September 11 and Antietam bring us down. I wasn’t about to let those what he hopes to accomplish as a director Chamberlain) and Anna Jackson (wife of Interpreting a war always brings emotions people interfere with the making of the film. is showing people as they seek to know the Confederate General Thomas “Stonewall” to the surface, but September 11, 2001, I told the crew I would be there by my camera truth through the generations. “This is the Jackson) are in Jeff Shaara’s novel [Gods and turned out to be an ironic day for film- the rest of the day but said that anyone who way we add to the sum of our understanding Generals], and they’re part of my attempt to ing a major Civil War battle. “We were didn’t want to return to work for any reason and compassion,” he says. “None of us stands explore the home front, to broaden the per- filming the Battle of Antietam [Gods and would be excused. Everyone stayed (with alone nor would we want to.” spective of what life was like, and to put the Generals], the bloodiest day in history on the exception of the handful of reservists), AL :: www.ronmaxwell.com war in its context. I had come upon the diary an American battlefield,” Maxwell says, and we worked the rest of the day, with even of Jane Beale—who was caught in the terrify- Martha Steger is a Midlothian, Virginia-based freelance “and September 11 turned out to be one of greater resolve.” ing invasion of Fredericksburg—so I added journalist who regularly covers the arts, historical sites, the most devastating days for civilians in authors, and travel destinations for a variety of print and her, as well as her domestic slave, Martha American history.” Maxwell hopes to have, eventually, a third online publications. [played by Donzaleigh Abernathy, daughter film—The Last Full Measure—to complete his of Civil Rights leader ]. Everyone in the film crew on September 11 Civil War trilogy; but another big epic means was quite aware of the highly charged emo- at least another $50 to $60 million of funding, “As a filmmaker, I have to put myself in the tions on both sides of the twelve-hour battle monies not easy to come by in any economy shoes of all of the characters—and the fur- of Antietam—which ended the Confed- and certainly not in the economy of the past ther you go back in time, the harder it is to eracy’s first invasion of the North and led to five years. Still, Maxwell says, “Not a week immerse yourself in the characters. Just as Abraham Lincoln’s issuance of the prelimi- goes by that I don’t work on it.” I put Joan of Arc in her fifteenth-century nary Emancipation Proclamation. When the moral environment, so I put Joshua Law- second plane hit the World Trade Center, Copperhead: Story of Antiwar Resistance rence Chamberlain in his. When you start twenty-first-century emotions connected in the North putting people into scenes, you take the leap with those of 1862. “We broke the crew His most recent Civil War film, Copperhead, of the imagination. You’re putting together midmorning so that people could make isn’t then a conclusion related to his first two

22 AL 23 TRAVEL

Let’s clarify something from the get-go: it doesn’t rain in Seattle all that much. Honest. We average about thirty-six inches of rain here where I live. It rains more in . Actually, Seattle’s not even ranked as one of the wettest cities in America. Far from it. Miami has twice as much rain annu- ally. Sure, it’s cloudy here. It drizzles some. Yes, we like to wear our Gore-Tex jackets and REI waterproof boots and our Filson caps and our large bumbershoots (heck, even one of our city’s largest arts events each year is called ), but it’s just because we like to be prepared. We like to expect the worst in our weather, though it never really comes. If it does pour down sheets of rain, torrents from the ripped-open gray clouds hugging the tops of our skyscrapers, we sim- ply make our way indoors. It’s there, inside the friendly confines of welcoming build- ings, that we find arts and culture. We find a lot of it, and travelers can, too. No mat- ter if it’s or burlesque, Impressionist or Shakespearean comedies, a trio or a full symphony playing Debussy’s “Clair de Lune,” Seattle’s got culture, rain or shine.

FINE ART Seattle’s come a long way since those Gold Rush days of saloons and brothels on every corner. It’s been replaced with Richard Ser- ra’s sculptures and Dale Chihuly’s fantasti- cal glass art. Instead of taxidermy stalls and livery stables (it really wasn’t all that long ago for us), it’s paintings from the Munich Secession and odd video installations at college galleries.

There are a lot of experiences one can have Rain or Shine within Seattle’s ever-growing arts world. INDOOR/OUTDOOR ARTS IN SEATTLE text: JONATHAN SHIPLEY photography: KELLER ROSE Explore all things arty with a guide to Seattle’s art galleries, museums, theater venues, music outlets, and other bits o’ culture.

24 AL 25 There’s no better place to start than the be- Waters and Deborah Butterfield, and G. hemoth downtown—the Seattle Art Gibson Gallery who oftentimes shows the (SAM). With traveling exhibitions (their best in Depression-era photography. Gauguin show was huge; their Picasso show more so) and a strong permanent collection, The newest, brightest gleaming entry in Se- the facility is a rich cornucopia of art. There’s attle’s fine art landscape is Chihuly Garden a Rothko. There, a Warhol. Down the hall, and Glass. Under the shadow of the iconic there’s Australian Aboriginal art; and across , the building and outdoor gar- the way, Native and Mesoamerican art. Their den is a glorious showcase of glass art by cel- collection of Northwest artists is a full one, ebrated native Dale Chihuly (he grew up in with the works of , , nearby Tacoma). Sculptures tower over you. and , amongst others, lining The glass art twists, turns, and blazes in the the walls. And if the weather is nice (I prom- Seattle sunlight. ise it will be . . . maybe), head across town to SAM’s magical Olympic Sculpture Park. Only a few years old, the nine-acre former If art on walls isn’t your thing, perhaps per- industrial site has become a jewel locals love. formance art is more your style. If so, you’re Highlights on the grounds include Claes Old- in luck. Seattle has become a hotbed, nation- enburg’s Typewriter Eraser, Scale X, Richard ally, for theater. The Fifth Avenue Theatre Serra’s Wake, and ’s soar- showcases the finest musicals from classics ing Eagle. Also, SAM has a facility on Capitol like Les Misérables and Damn Yankees, to Hill’s tranquil Volunteer Park, the Seattle soon-to-be classics. It was at the Fifth Av- Asian . enue Theatre that Broadway-hit Shrek was first performed. It was on the stage that Tony SAM is not the only game in town for fine Award-winners Hairspray and Memphis had above art, however. Far from it. On Capitol Hill their world premieres as well. Eagle, a red metal sculpture by sits the . Showcasing late Alexander Calder, is part of nineteenth-century and twentieth-century Not to be outdone, Village Theatre (in the the Olympic Sculpture Park. art, the free museum has rotating exhibits nearby suburb of Issaquah) also strives to that have included such artists as R. Crumb, produce great musicals of old (like Okla- Isaac Layman, and Yvonne Twining Humber. homa! and Jesus Christ Superstar) and new On the campus ones, never seen before. Over eighty-five new sits the Henry . A contemporary works have been staged at the Village Theatre arts center, the Henry offers up cutting-edge since its founding in 1979, including Stunt exhibits by some of America’s most cutting- Girl, Little Women, and Million Dollar Quar- edge artists in a wide variety of mediums, tet that opened on Broadway in 2010. Under the shadow of the iconic Space Needle, the building and from paint to web comics, video installations outdoor garden is a glorious showcase of glass art by celebrated native to old-school, black-and-white photography. Like plays and not high-kicking musi- Dale Chihuly (he grew up in nearby Tacoma). cal numbers? Seattle has set the stage for And, if it’s not too wet out (it won’t be!) and stage work. Seattle Repertory Theatre, Tony if it’s the first Thursday of the month, head Award-winner for Outstanding Regional to Seattle’s historic Pioneer Square (the cra- Theatre, has had actors like Samuel L. Jack- dle of the Gold Rush boomtown that became son, Jessica Tandy, Richard Gere, and Rich- Seattle) for First Thursday Art Walk. Galler- ard Chamberlain walk the boards. Plays by ies and boutiques throw open their doors August Wilson, Neil Simon, and Wendy Was- to all comers and revel in all things arty— serstein have been staged there. places like Davidson Galleries who special- ize in antiquarian prints, Greg Kucera Gal- lery whose past shows have included John

26 AL 27 right There are, in fact, countless theater compa- Heart, Hey Marseilles, and Brandi Carlile are to the stage—Turandot, Fidelio, and Roots and Branches is an nies in Seattle. ACT strives to present the making waves nationally and playing locally. Aida—as well as regularly performing opera’s interactive sculpture made of hundreds of instruments, best in contemporary theater. Recent shows We’ve got Bumbershoot, a Labor Day week- masterwork—’s Ring Cycle. mostly guitars. Created by included works by Sarah Ruhl, David Kir- end music fest that has put on such acts as German artist Trimpin, it shenbaum, and Yussef El Guindi. Seattle Bob Dylan, Beck, and Hall and Oates. We’ve MISCELLANEOUS BITS resides in the Experience Music Project Museum Shakespeare Company offers plays indoors got the Capitol Hill Block Party, the City Arts This story, of course, doesn’t cover all of in Seattle. and outdoors (their summer shows are pre- Fest, and the Earshot Jazz Festival. what Seattle has to offer the arts connois- sented for free at neighborhood parks). Se- seur. It simply can’t be done in a few hundred attle Children’s Theatre is the second largest If rock ’n’ roll isn’t your bag, fear not. Other words. What’s great is that it’s as diverse as children’s theater in the country and offers strains of fine music can be heard most any- Seattle’s physical landscape, one of mountain artistic wonderments like The Wizard of Oz where. The (SSO) has been and lake, forest and field. Instead it’s one of and The Very Hungry Caterpillar. Book-It playing classical music in the city since 1903 art and musical, concerto and sculpture. Repertory Theatre, On the Boards, Taproot and has twelve Grammy nominations. With There’s Seattle Festival of Improv Theatre, Theatre, Arts West—there is a show for every their new artistic director and conductor, the Festival, and the taste. Events, too, like Seattle Fringe Festival Ludovic Morlot, SSO continues to expand Seattle International Drum Festival. There and the 14/48 Festival, a speed theater festi- their repertoire while playing music we’ve all are tattoo expos, and every year, the neigh- val where fourteen world-premiere plays are grown to love—Holst’s “The Planets,” Mus- borhood of Fremont tries to set the Guin- conceived, created, developed, and presented sorgsky’s “Pictures at an Exhibition,” Mozart’s ness Book of World Records for gatherings within forty-eight hours. “Jupiter” symphony. Back on the Univer- of zombies. (Yes, you read that right.) There’s sity of Washington campus, musical strains Seattle’s letterpress scene, steampunk scene, MUSIC come from Meany Hall as UW World Series poetry slam scene, Renaissance fair scene, and There’s more, still, to Seattle, arts-wise. presents the finest in dance and music from Gilbert and Sullivan societies. There’s that gi- Much more. Seattle’s got music. Sure, we’ve around the globe. Modern dance, chamber ant troll sculpture under the Aurora Bridge. got , but that’s almost on classic rock music, world music—they perform it all. There’s the Northwest Accordion Society and stations now. Kurt Cobain’s long dead. Ed- Seattle Society. There are gay die Vedder’s playing the ukulele these days. I could go on. In fact, I will. is choruses and the Seattle Recorder Society. It’s a new type of music out here. It’s warm. one of the largest opera companies in Amer- Cheery, even. It’s banjos and pop songs. It’s ica. It has the highest per capita attendance Why so much? We have to do something out happy singing cellists and thoughtful acous- of any major opera company in the coun- here when it rains. tic guitarists. Bands like The Head and the try. It’s easy to see why. They bring the finest AL :: www.visitseattle.org

28 AL 29 DESIGN

With Lake Michigan glistening at the doorstep and a breeze blowing inland en- ticing the family outside, Kimzey Waltman knew better than to compete with nature when designing the interiors of this sum- mer home for her clients. Instead, she relied on nature to inform her decor choices, tak- ing cues from the natural surroundings in order to create an oasis that complements the breathtaking views. The resulting design theme, as the Michigan-based professional explains, evokes a feeling of welcoming tran- quility that is only further enhanced by the exquisite beauty of the lake.

“My design philosophy is rooted in doing ev- erything possible to capture the clients’ per- sonality and lifestyle through an environment that is stylish but not fussy, and to provide a home that is comfortable to live in. When Riffing on a Sunset their guests arrive, they should feel at ease KIMZEY WALTMAN INTERIOR DESIGN the moment they walk through the doorway,” text: ELLIE LAWRENCE photography: ASHLEY AVILA describes Kimzey. “The key is to keep it real, Missouri-raised Kimzey Waltman carves out a design path for her clients and keep it simple. And use products and col- that best reflects their tastes and aesthetic sensibility. ors that wear gracefully with age.”

30 AL 31 Interior design is an art form, and I like to think of each room as a painting. It’s a layering process which starts with the background. As each element is added to After almost twenty-five years of experience the painting, it should in the industry, Kimzey has clearly mastered reinforce the elements the formula for a flawless home, but her in- before it through the nate command for interior design surfaced careful placement of shapes, when she was just a young girl. “As a child growing up on a farm in Missouri, I was cu- colors, and textures which rious about other farm-style homes in our ultimately create a beautiful, community, and I loved to explore their in- pleasing picture. teriors to see how they were different,” she remembers. “My mother thought I was be- ing ‘nosy’ when we were guests in these houses because I would disappear only to be found roaming around from room to room touching everything even though I was not invited to do so! While studying art in col- lege, I continued to gravitate toward design by helping friends with their dorm rooms and apartments.”

Assisting loved ones in developing their own design sense allowed Kimzey to test the in- dustry’s waters, yet it wasn’t until she took a job at a high-end office furniture manufac- turer after earning her art degree that she embraced interior design as a serious career contender. “I eventually was responsible for the showroom and commercial interior

32 AL 33 design projects for the president of the com- pany. I realized then that this was the career path I wanted to pursue independently for private offices and homes. My design busi- ness was thus established in 1990, special- izing in residential and commercial design,” narrates Kimzey, who founded her firm on providing clients with the highest standards of excellence, from conception to comple- tion. “A client’s completed project is a direct result of our attention to detail, meticulous planning, and an exceptional level of client service. I am very conscious of balance, sym- metry, and color and the powerful impact it has on your sense of well-being in all areas of your life,” she adds.

Kimzey’s style can be characterized as eclec- tic because the design direction for any proj- ect she takes on is directly reflective of the homeowners. “I am inspired by listening to the clients’ vision and discovering what is important for their lifestyle. I want their home to tastefully reflect who they are,” she explains. “I create for the clients; therefore, I do not have a distinctive style. My style is to discover and bring to life a home that showcases the clients’ personality and life- style. I’m the resource that guides them along this path. Interior design is an art form, and I like to think of each room as a painting. It’s a layering process which starts with the background. As each element is added to the painting, it should reinforce the elements before it through the careful placement of shapes, colors, and textures which ultimately create a beautiful, pleasing picture.”

The synthesis of nature and design that Kimzey has painted into this Michigan prop- erty exemplifies her ability to translate the clients’ interests into a sanctuary. “Because I had worked with the clients on previous proj- ects, it was easy to get a sense of their vision for the summer home,” Kimzey recalls. “They love Lake Michigan and wanted a place where their family and friends would immediately feel welcome and relaxed. So we sculpt- ed a summer retreat with yummy colors,

34 AL 35 delectable textures, and exciting details. It’s crust-shaped table, underneath a treasured full of surprises around every corner.” antique chandelier, proves to be the ideal location for nestling a cozy banquette into a She worked closely with a talented architect niche in the kitchen. and a top-notch general contractor to create an open floor plan that takes advantage of the Creating spaces where family and friends sweeping panoramic views and sunset watch- would immediately feel welcome and relaxed ing. In a timeless and lasting fashion, the was high on the clients’ priority list in all of resulting Dutch colonial style home blends the common areas, so the designer selected into its surroundings and accommodates an furnishings that were made for relaxation easy flow for entertaining. A raised English and comfort. “To keep the living room light garden welcoming guests as they enter the and airy, the sun-kissed yellow walls are en- property pays homage to the homeowners’ hanced by soft, neutral fabrics with botani- gardening hobby. cal and nature accents,” she continues. “We wanted an eclectic feeling throughout the It was then only natural to accentuate the ar- cottage with touches of the unexpected, such chitecture with nature-inspired elements and as the coffee table that has a mirrored top and a botanical theme. “Bolder colors and flowers a silver-glazed iron base.” are used throughout the home in one form or another, reinforcing all the joys and beauty That airy ambience flows through the sun of summer. The rooms are completed with parlor where the upholstery picks up the fanciful and touchable fabrics and nature- summery hues. “I had the pleasure of select- inspired wall colors that make for an old- ing colors and fabrics that further enhance fashioned lemonade summer on the lake,” the cheerful atmosphere of the home,” notes she details. Kimzey. “The turtle motif on the pillows speaks not only to the client’s fondness for The color palette initiates the outdoor con- turtles and frogs, but also adds a whimsical nection—sky blue hues and flowery laven- element that complements the sunny back- ders can be found throughout the bedrooms drop on the furniture.” while sun-kissed yellows and leafy greens spruce up the common areas. “My favorite To further integrate the home with the land, design detail about this project is the color outside living areas carry the design theme. The color palette initiates the outdoor connection—sky blue hues and flowery palette,” the interior designer reveals. “The The family can lounge with friends on the lavenders can be found throughout the bedrooms while sun-kissed yellows and colors are a reflection of the beautiful sunset porch and extended patio to enjoy the views leafy greens spruce up the common areas. shades that dance across the crystal waters of of the glistening lake, completing the circle of Lake Michigan.” connecting high-end design with the beauty of nature. Color was not only a means of bringing na- AL :: www.kimzeywaltmandesigns.com ture inside; it also was used to infuse whimsi- cal elements into the overall design. “I believe that adding splashes of color in unexpected places can give a predictable area flair and pizzazz,” informs Kimzey. In the kitchen, for instance, painting the insides of the glass- doored cabinets a bold green draws the eye upward so the beauty of the cabinetry does not go unnoticed. The rest of that abundantly spaced room is perfect for entertaining fami- ly and friends in an inviting setting. Their pie

36 AL 37 only to be passed, after about seven miles, hacks. Right on cue, the No. 44 Amplex, by Spencer Wishart, the son of a mining a bright red car driven by Arthur Greiner SPORTS magnate, who was driving a squat gray and traveling in mid pack, just ahead of a customized Mercedes that was said to scarlet and gray Firestone-Columbus, lost its have cost him (or more likely his daddy) right front tire. The bare wooden wheel hit $62,000. Eight laps later, Wishart (who wore the bricks hard, causing Greiner’s extralong a custom-made shirt and silk tie beneath auto to swerve crazily amidst the trailing cars his overalls) suddenly pitted with a bad tire, and veer into the infield, where it plowed leaving the lead to a big brown Knox driven through tall meadow grass, then started to by the unheralded working-class kid from perform an end-over-end somersault. Rather Springfield, Massachusetts, Fred Belcher. than keep going, though, the car stopped Soon Wishart stormed back onto the course, in midmaneuver, so that it stood straight but into what lap exactly no one, including up, balancing for a moment on its steaming the judges, could say for certain. The leaders, grille. The twenty-seven-year-old Greiner as mile thirty approached, were starting to was flipped from the cockpit like a shucked lap the stragglers, so the field of forty was a oyster, with the steering wheel somehow snake eating its own tail. Belcher now found himself running second to a ball of smoke concealing, it was generally believed, the dark red Fiat of twenty-three-year-old David Bruce-Brown, whose family was even richer than Wishart’s. A class-war theme might be emerging, the newspapermen thought—but then again, just as likely, perhaps not.

Motors and Mayhem The crowd regained its focus and oohed RECOUNTING THE FIRST INDY 500 audibly each time a scoreboard worker text: CHARLES LEERHSEN photography: IMS PHOTO indicated a change in running order by Enjoy a taste of the historic car race in an excerpt from Blood and Smoke by Charles Leerhsen. manually removing and rehanging the Copyright © 2011 by Charles Leerhsen. Reprinted by permission of Simon & Schuster, Inc. numbers on their pegs. Still, the denizens of the infield press box—more skeptical than the average fan, and with a better perch— The sober, scientific men of the early- morning, wasn’t paying the pressmen back couldn’t help noticing that the Speedway’s twentieth-century motor press sometimes in kind. It was, like every other lengthy four scoreboards were usually not in referred to the thirteenth circuit of an automobile contest these experts on baseball agreement, and that a crew from the timing automobile racecourse as “the hoodoo lap,” and boxing (but not car racing) had ever department was frantically trying to repair not because more bad stuff tended to happen witnessed, damnably confusing. The race one of the Warner Electric Timing System at that point, but because for professional had gotten off to a thrillingly raucous start trip wires, which had been snapped by who reasons they fervently wished that it would. replete with aerial bombs and a grandstand knows which automobile a lap or two back And so it was that on May 30, 1911, a dozen “gay with tossing flags, roaring with cheers,” (they succeeded, but it was immediately reporters leaned forward anxiously—their but with every mile the storyline became rebroken). Given such chaos, was it really straw boaters tilted backward, their pencil more and more scrambled, the spectators so wrong to wish for a spectacular accident points whetted and wetted—to watch the more and more subdued, and those charged that would wipe away the muddle and allow forty-car field for the first Indianapolis 500- with describing the “excitement” to an eager the beleaguered scribes a second chance at mile race power past the start line for the audience of millions had felt the first damp getting a grip on the action? twelfth time and roar yet again into turn one. signs of panic. Of course it was wrong, but moral questions But the 500-mile sweepstakes, when it finally “Happy” Johnny Aitken, in the dark blue wither in the face of a hoodoo, even one transpired on that surprisingly cool Tuesday No. 4 National, had grabbed the early lead, conjured by a coven of pasty, ink-stained

38 AL 39 Given such chaos, was it really so wrong to wish for a spectacular accident that would wipe away the muddle and allow the beleaguered scribes a second chance at getting a grip on the action?

still in his hands. Riding mechanic Sam up. It took some crews two minutes to change scoreboards . . . keep very bad tally on the Dickson, meanwhile, remained more or less a tire, others eight or ten or fifteen, and no laps that each car makes,” said the syndicated in his bucket seat, one hand planted on the one was timing these stops officially, so the writer Crittenden Marriott. “Hundreds of dashboard, the other clutching a leather side- already debatable running order became amateur mathematicians do sums upon their handle, his only restraining device. This was utterly inscrutable. To compound the chaos, cuffs and find that the pace is seventy to the sort of heart-stopping moment that only some cars were crossing the finish line, then seventy-five miles an hour, a speed that the auto racing could provide. The crowd fell backing up to their pit, causing themselves survivors maintain till the end.” Said the New silent. Dickson tensed. The Amplex rocked on to (perhaps inadvertently) get credit for a York Times: “It was acknowledged that the its radiator. In real time, the upended Amplex whole additional lap when they emerged and timing device was out of repair . . . for an hour probably didn’t take more than ten seconds to traveled a few feet back across the line. And during the race.” (Actually, some sources had fall. And when it did, it fell forward. the worst breaches of order and continuity the downtime as considerably longer than were yet to come. that.) Cycle and Automobile Trade Journal It didn’t take long for things at the Speedway found that “cars were bunched so closely to return to their confusingly normal state What makes all this especially maddening and came across the wire so continuously following the crash of the Amplex. Twenty- was that the race was proceeding exactly as that it was absolutely impossible to tell who five minutes later, the several hundred people everyone had expected it would, given the was ahead and who was running behind.” who had overwhelmed the “Speedway militia” natural antagonism between bricks and tires: But no one sounded more exasperated than they were seeing, and by agreeing to agree on and swarmed the infield to get a closer look at the smarter drivers were adopting the Ray the influential weekly Motor Age, which certain premises. But mostly they wrote their the wreckage had been dispersed; the greater Harroun style of curbing their aggressiveness dismissed the sweepstakes as “a spectacle stories by accepting the Speedway’s official mass of attendees had stopped screaming and and instead hanging back and going at the only, rather than a struggle for supremacy version of events as disseminated by Heinie resumed its distracted rumble. relatively easy pace of seventy-five miles between great motor cars.” There were, said Shuart—even though that did not always an hour in an attempt to keep pit stops to a the weekly, “too many cars on the track, and jibe with the venue’s scoreboards, and would I came to realize that except in sporadic minimum, just as they had said they would. no one could follow the race . . . [The event] change substantially when the judges issued moments of crisis, very few spectators (“I don’t think the winner will take the was robbed of that great interest that is ever their Revised Results early on the morning were following the action. Newspapers lead until about 400 miles,” Ralph Mulford present when everyone knows at all times of June 1. What any one of these spoon- and auto industry magazines both noted had predicted, and Harroun had said in at exactly how the different cars are running. fed reporters had to say about the running that for most of the day many seats in the least one of his prerace interviews that the The race did not tire the drivers perhaps order is for informational purposes mostly grandstand, though sold, went unoccupied, engineers at Firestone had warned him to stay as much as was expected, but it did tire worthless. But by braiding their accounts, and lines at lavatories and concession stands below eighty at all costs, because to go even thousands of spectators.” and occasionally referring to the Revised stayed serpentine. five miles an hour above that would halve the Results, we can perhaps begin to recreate a lives of his tires.) You might think that such a Most reporters, however, took a different very rough version of the race and also see Few watched for the simple reason that conservative and formful contest would help tack, and chose not to peek around the edges why so many sweepstakes spectators got up no one could tell what he was seeing. The the hundreds of clocking and scoring officials of Carl Fisher’s Potemkin timing system. so frequently to get a bread ham sandwich. opening half hour had been bewildering in their labors. But no. As The Horseless Age Realizing that a conventional story was easier enough, with all forty racers on the track put it, “The system planned did not work as to compose on deadline than an exposé, that The dashing David Bruce-Brown played an passing and being passed as they scrambled expected, merely because the cars were so their readers preferred a winner to a whine, important role in the proceedings. Virtually for early position, but at least it was fairly numerous and tore around so fast.” they acted as if the race had a coherent all newspaper and industry-magazine writers apparent in those first thirty miles who storyline that could be grasped by an agreed that his Fiat, in the lead when the at any one time held the lead. As the field They constituted a largely ignored eyewitness, written down, and passed along Amplex plunged into the infield on lap approached forty miles, tires started to minority, to be sure, but a few writers and to readers, the way a journalist might do with, thirteen, was still ahead a few minutes later, blow—or as The Horseless Age tended to publications were frank about the problems say, an account of a fire or a baseball game. when the field began to stream past the forty- phrase it, with perhaps more precision, blow in their accounts. “The workers at the great The writers did this partly by guessing at what mile mark. At fifty miles, though, accounts

40 AL 41 diverge. Most dailies said “the millionaire If the operators of the well-written book published by the Belcher Mulford, in this version of events, crossed speed maniac” remained on top, but The Warner Timing System hadn’t Foundation, an organization apparently the wire first, and, as was the custom among Horseless Age had Johnny Aitken and his lost the thread of the race dedicated to preserving the memory of many drivers of that day, ran an “insurance the man who finished nineth in the first lap” (or two) after getting the checkered flag, big blue No. 4 National back in front at this narrative before that moment, point, with Bruce-Brown second and Ralph sweepstakes (and didn’t accomplish much just to be doubly certain that he had covered they would have done so then, DePalma third. The Speedway’s Revised else of historical import), the anonymous the required distance. When Mulford finally Results, meanwhile, put DePalma’s Simplex abandoning their author notes that “one of the most exciting came back to the winner’s circle to claim his in the lead, followed by Bruce-Brown, telephones, Dictaphones, artistic works in racing history is . . . artist trophy, he found Harroun there, surrounded then Aitken. adding machines, Horograph, Peter Helck’s painting of the close battle by multitudes. marble chutes, and between Harroun’s yellow 32 Marmon and Virtually all sources converge again at mile telautograph as the cars Mulford’s white No. 33 Lozier for the 1911 Mulford had as much chance of overturning sixty, where they have DePalma ahead, and Indianapolis 500.” The syndicated writer the unofficial decision as the anti-car lobby continued to whiz by most also say that soon afterward Bruce- Marriott said that the Lozier hovered thirty had of pushing through laws that lowered the Brown reclaimed the lead and held it for and to enter and exit the pits. seconds behind the Wasp from mile 300 to speed limit to five miles an hour and forced a good long while. Bruce-Brown reached 350, and The Horseless Age made the gap only autoists to attach a rendering of a bucolic the one hundred-mile mark first, according slightly larger. For what it’s worth, the Revised scene to their bumpers so as to camouflage to the Warner System. At mile 140, some out of the vehicle and somehow wound up Results have Mulford in front at 350 miles— their appearance from skittish horses. The sources placed Bruce-Brown a full three laps, underneath it, lying on his back; the right though the Star spoke for most journalists world may have had to view the race through or 7.5 miles, ahead of DePalma, with Mulford rear wheel of the Case passed directly over when it said that “Harroun was never headed the cracked lens of the newspaper coverage, and his Lozier holding down third. As for his chest. He was able to get up, however, or from the 250th mile to the finish of the race.” but it had been galvanized by the images of Harroun, he had been riding as far back as at least begin to—when he saw Harry Knight Harroun in the winner’s circle, surrounded tenth place for most of the race by some bearing down on him in the battleship gray At about 400 miles, the drivers stopped being by happy faces, saying he would never race estimates, but he moved into second place at No. 7 Westcott. Would he mow down the cautious and started to position themselves again “because it is simply too dangerous,” mile 150. Or so said some sources. hapless riding mechanic and perhaps improve for the final push. The crowd sensed the and smiling gallantly as a cup of water is held his position in the running order—or swerve gathering intensity on the track and in the pits to his cracked and greased-smeared lips. To The buffs and nerds who still chat about such violently, spare the riding mechanic, but and, said Motor Age, “realized that it really no one alive, but to many now gone, this was matters know that May 30, 1911, was not quite likely wreck? He chose the latter course, was a race. They forgot their morbid curiosity an indelible memory. the steering knuckle’s finest hour. Several crushing the brakes and veering toward pit in accidents and studied the scoreboards.” had given way early in the day, and, at about row—where he crashed into the vermilion To delve into the 1911 race is, I think, to 205 miles, Eddie Parker broke the one on and white No. 35 Apperson, taking his own But what exactly did the crowd see when they sympathize with Mulford, yet we cannot his No. 18 Fiat and spun out into loose sand and Herb Lytle’s car out of the race. gazed upon the scoreboards? The Lozier team simply say that he was cheated out of victory. on the inside of the track at the top of the would insist that its car was listed first on at We cannot simply say anything about the first homestretch. Though not a serious mishap— There are contemporary reports stating that least one of the scoreboards after 450 miles, Indianapolis 500. A year later, the sweepstakes no one was hurt and Parker got out and with in the wake of the chain reaction of accidents and that officials even had assured team would have a glorious reincarnation. With a few others pushed his car a few hundred on mile 240, no one was keeping track of manager Charles Emise (exactly how is not improvements in the scoring and timing, yards into the pits—it set the stage for what the timing and running order for at least clear) that that was one of the rare scoreboard and the field reduced to a saner twenty-four steering knuckle historians know as The ten minutes. If the operators of the Warner postings people could trust. As a result of this cars, the race righted itself in 1912 and took Big One. Timing System hadn’t lost the thread of the for the 250 miles was overlooked.” As far as assurance, Emise said he had through hand off toward its destiny as one of America’s race narrative before that moment, they placement went, The Horseless Age said that signals told Mulford that he should ease off premier sporting events. But the 1911 edition As the leaders, whoever they were, came would have done so then, abandoning their Harroun’s reliever, Patschke, had the Wasp as much as possible in the last ten or twenty was something else—a weird mashup of cars, down the homestretch on what is officially telephones, Dictaphones, adding machines, ahead at the halfway point; the Indianapolis miles to ensure that he would finish first. money, and misdirection that was, for better said to be mile 240, Joe Jagersberger suddenly Horograph, marble chutes, and telautograph Star said that Harroun himself had the No. 32 or worse, symptomatic of the new American realized he had no control over his red and as the cars continued to whiz by and to enter car in the lead; and the always entertaining Several members of the Lozier camp would century. From it we can learn . . . well, what, gray No. 8 Case. The car bounced off the and exit the pits. One can easily imagine Revised Results said it was Bruce-Brown, later swear that Mulford saw the green one- exactly? Maybe only that there are things concrete retaining wall on the outer part of scoring sheets fluttering away in the breeze. followed by the Wasp, then Mulford’s Lozier. lap-to-go flag first, at which point he was more hotly desired than truth. Against the the track, then skidded diagonally toward In any case, with the halfway point of the running comfortably ahead of Bruce-Brown, need for heroic men and sacred places, truth the infield, traveling perhaps one hundred marathon approaching, the Indianapolis All sources had Harroun ahead at 300 with Harroun third. A mile or so later, Bruce- doesn’t stand a chance. feet. Jagersberger’s riding mechanic, Charles News said, “So much excitement was caused miles, but now Mulford was making his Brown’s Fiat developed sparkplug problems AL :: www.charlesleerhsen.com Anderson, fell or perhaps jumped in panic in the judges’ and timers’ stands that the time move. In The Fastest of the First, an odd but that caused it to drop back behind Harroun.

42 AL 43 DESICULTUREGN The Perfect Pairing CHEF PAT MCLARNON’S IRISH CUISINE text: LAUREN REESE photography: LAUREN REESE Dublin-based Chef McLarnon dishes about his childhood, his foraging adventures, and what it takes to make it as a chef these days.

Within fifteen minutes of sitting down with chef Pat McLarnon, it is quite clear he would just as happily talk about his country

of Ireland as he would about his chosen ca-

reer. It’s a beautiful kind of pride—not osten- tatious or defensive; simply a quiet and un- “ wavering love for his native land.

This great love of country serves as motiva- tion and inspiration for recipes and flavors. While cooking at the Philadelphia Flower

Food is shaped by people around you. Show in 2012, McLarnon created a dish con- It’s like a band. One guy is the percussionist type, who keeps the tempo sisting of steamed salmon filet and double going. Another person might be the artistic solo. And I’d be the conductor, bay prawns with beetroot and dulse seaweed. but I cowrite sometimes. As a young boy, McLarnon would go on holi- day with an aunt in Carnlough, a small vil- lage with white-washed houses and a quaint harbor. Explains Chef, “Along the shoreline, we’d be shrimping and collecting seaweed. This dish brought back flavors of the coast. The environment you grew up in will shape the way you cook.” McLarnon comes from the Mid Ulster region of northern Ireland. The two major cities, Derry and Belfast, were both within forty-five minutes, and it was only a half hour to the coast.

Chef McLarnon’s environment did more than shape the way he cooks; it shaped his en- tire career. Watching his mother make soda bread and bake cakes in the kitchen is his first memory of cooking. He reminisces, “When I was young, I would have been keen to lend a

44 AL 45 hand. My mother often needed a little helper. chef. When asked to name chefs he admires, there’s Uncle Pat with the mushrooms, jam, left A plate of small appetizers We would have been out in the hedgerows he chooses Marco Pierre White for his pas- and pesto.’ If they’re lucky, they’ll get slow includes stuffed tomatoes collecting berries. She would make jam.” sion and dedication in proving himself. He wine.” A couple Novembers ago, for Dine in filled with soft Irish goat Food and cooking is more than a career or a also counts French chef Paul Bocuse among Dublin week, they had a wild food menu at cheese, sandwiches filled means for nourishment. It brings back mem- those he looks up to—a man who gives his the restaurant, where he was able to use the with tomato and tapenade, and smoked salmon bites. ories. It’s sharing a table. Unfortunately for crew passion and words and his past. McLar- fruits of his foraging. Chicken terrine was ac- McLarnon, his mother passed away early in non hopes to cultivate a similar legacy, desir- companied by a wildberry chutney, gnocchi her life. Much of the cooking responsibilities ing to pass on a love for the job to his fellow was made with mushrooms, and the fish was fell to his oldest sister, but she was also going teammates, for he reminds us, “It’s not just served with seaweed. to university, so he would often do the shop- my journey. It’s no journey unless someone ping, go to the butcher, and cook dinner. is traveling with you.” Ever poetic, McLarnon He laughs when asked if he has a life philoso- describes cooking in a kitchen with others as phy, but he does borrow a quote from accom- He took that experience, along with two “a dance. You’re holding hot pans, and you plished architect Tadao Ando who asserts, years at a technical college, to Portrush Ca- need to know where everyone is. You learn to “The essence of minimalism is simplicity, but tering College. He describes his education read people and different movements in their simplicity without depth is merely cheap.” here as a fantastic experience. The college face or their body, and you can help them The point being, to get anywhere, you have to sat on the north coast of northern Ireland— once you know them.” put in a lot of practice. This way of thinking a seaside village with great nightlife. Before is certainly not lost on McLarnon, who is the coming to his present job at the Brooks Ho- He offers the same level of attention to his epitome of hard work, dedication, and pride tel in Dublin, Ireland, McLarnon worked at ingredients as he does to his staff, believing in his work and country. And a darn good Ardtara Country House, which had eight strongly in the importance of knowing where sense of humor to boot! bedrooms at the time. Sometimes he’d be your food is coming from. This conscious AL :: www.brookshotel.ie www.discoverireland.com Food and cooking is more than a career or a means for nourishment. It brings working five and a half to six days a week. He way of cooking is becoming the norm, espe- back memories. It’s sharing a table. continues, “You’d be there for breakfast and cially in northern Ireland. McLarnon knows lunch, have a quick break, and then you’d be the suppliers and even their families in some small bites there for dinner. If you have a dream or vi- cases. He starts off the year with phone calls sion for yourself, you’ll suffer through this from suppliers, discussing what he antici- guilty food pleasure: to excel. The good guys are putting in the pates needing for the year. It’s all about build- Wendy’s cheeseburger in Philadelphia. extra hours.” ing relationships and creating a community. place you’d love to cook at for a day: At his current job at a boutique hotel, he con- McLarnon has created bonds with custom- I wouldn’t mind cooking in Paris. They be- siders himself one of the characters of the ers as well, sometimes unbeknownst to them! lieve in their French cuisine, so it’s harder for hotel, and cites his personality as being just Because of the open-plan kitchen, the chef a guy outside the country to get in there. I as much a part of the interview process as his has an unobstructed view of the dining room, would love to get into a restaurant there and culinary wizardry. That’s often the case with and will often watch his patrons’ reactions to offer Irish food, flavor, and attitude. the kitchen team as well. McLarnon prefers the dish. “You can tell if they are genuinely to wait until the right person comes along if surprised or happy, and you make eye con- do you listen to music while you cook? a spot opens up. He elaborates, “Inside the tact and give each other a polite nod. I like Not so much here because of the open-plan kitchen, we’re a small team. Food is shaped American customers. They get very excited. kitchen. Previously, I would have listened to by the people around you. It’s like a band. They often come in tour groups, and I want to the Ramones! I also like a band called Fall. One guy is the percussionist type, who keeps give them the best meal of their trip.” The Fall is always Mark E. Smith; the band right Dessert was a gluten-free the tempo going. Another person might be members just change around him. That’s how pear and almond tart with the artistic solo. And I’d be the conductor, but When the chef is not in the kitchen, he can my kitchen works. My signature stays; other a scoop of vanilla ice cream, I cowrite sometimes.” sometimes be found in the woods, indulg- members of the team come and go. garnished with a dusting of ing in a bit of foraging. The objects of his powdered sugar and mint leaves. It’s this team spirit that contributes to McLar- search are mushrooms, leaves, and berries. any famous celebrities or chefs: non’s success in the kitchen. Determination, He brings some to the restaurant; the rest Anthony Bourdain was sitting in your chair grace under pressure, and an ability to lead are dried and frozen for holiday gifts. He right there, drinking a Guinness. He came in are key ingredients in the makings of a great jokes, “My relatives point to me and say, ‘Oh, to the kitchen and got his photograph taken.

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Back of Tear Out Card 2 American Lifestyle The Shanner Group Dan Shanner 1100 First Avenue Suite 200 King of Prussia, PA 19406 Bill and Judy Smith 123 Main Street King of Prussia, PA 19406