Category: Blogs

  • The Not-So-New Kid on the Block || Where’s Patrick Swayze When You Need Him?

    The Not-So-New Kid on the Block || Where’s Patrick Swayze When You Need Him?

    BY LES McCARTHY
    September 23, 2015

    Into everyone’s life a little clay must fall.

    Well, that’s not exactly the saying…but perhaps it should be.

    This past week I did something I’ve never done before—I threw a bowl. Not across the room or anything like that—but on a potter’s wheel. From a lowly lump of clay I made a bowl.

    When asked if I had prior experience with clay, I answered, “Oh sure.” After all, Gumby and Pokey were good pals of mine in fifth grade. As a kid, I had packages of modeling clay (that seemed to instantly harden once opened) as well as a variety of colors of Play-Doh (man, I love that smell!).

    I was informed those things really didn’t count as experience. So, as far as my knowledge of all things clay, I had to admit that I had NONE…other than watching those horrid little dancing raisins.

    Nope, no experience. Zero. Zip. Zilch. Nada.

    And with that, let me backtrack a bit.

    Last week I was not quite zipping down Main Street in Freeland behind a motorist going 18 miles an hour—which basically meant we were being passed by bicyclists and speed walkers. However, that leisurely pace also allowed me to window shop from my car. As I came up to The Paint Escape, my car veered off the road and pretty much parked itself by the door. So, what’s a girl to do? I went in.

    The inviting paint room at The Paint Escape.
    The inviting paint room at The Paint Escape.

    I’d been in the shop a couple of times before…pretty much just nosing around. This time, my soul sensed something more—was it a serendipitous moment-to-be or did the attractive window display call to me on some level? Unsure, I settled for more nosing around. It was while doing said nosing that I remembered a charity thing they did last year (that I missed out on) and asked if they were doing it again. The charity event happens to be the Third Annual Empty Bowl Soup Night. I was told by owners Tina Beard and Susan Barratt that I was not too late to participate in this year’s event and we made an appointment for me to come back to throw a bowl.

    And so, that’s how into my life a little clay did fall. Well, more like spun around and glopped all over my hands.

    The Paint Escape generously donates the clay (and their time and teaching expertise) to anyone who would like to make a bowl for the event. Amazingly, participation is free. Unless you purchase your bowl yourself, attendees to the event then “buy” the bowl for $20 and get to fill it with soup from an all-you-can-eat (or until the soup runs out) soup buffet at the Langley United Methodist Church from 4 p.m.-6 p.m. on Sunday, Oct. 25. (Mark your calendars!)

    Fast forward to my appointment. Upon arrival I chatted with Susan and Tina as I wandered the shop getting a closer look at their space. There were shelves upon shelves of ready-to-paint ceramics and tables and work stations for glass fusion, clay building, ceramics painting, a workroom with kilns and a cluster of potter’s wheels, along with an office and storerooms—seemingly room upon room of goodies and joy.

    I have to admit I felt oddly anxious—excited to try this wonderful something new, yet apprehensive because I have this thing (not a fear but more like a distaste) for having my hands coated or with anything having dried on them. (I guess I wallpapered too much in the ‘80s!)

    The throwing of a bowl...and so it begins.
    The throwing of a bowl…and so it begins.

    Tina was my mentor and walked me through what we’d be doing. We sat at one of the potter’s wheels—a circular dishpan type container (that looked like a cotton candy machine to me) with a foot pedal-driven rotating pedestal in the middle—onto which she plopped a softball sized mound of clay. More than a little hand, foot, and eye coordination were called for—along with a little finesse. Tina made it look easy. But as I watched, I realized she put a lot more “body” into her work than I had ever expected I would need to do. I was worried my long-ago shattered wrist was going to be of no help once I reached a certain stage of creating my masterpiece.

    In a matter of minutes, Tina had transformed that lump of clay into a perfect bowl—just the right size for a portion of soup, chili or ice cream.

    And then it was my turn.

    A new lump of clay was plopped down and as I got going, I found that throwing a pot wasn’t difficult (I needn’t have worried about my uncooperative wrist) but there was a certain touch required and more pressure needed than I expected. I understood how practice would be beneficial, as well.

    Working the wheel...
    Working the wheel…

    Lump, twirl, pull, push, press, guide, sponge—all the while adding lots of water (also which I wasn’t expecting)—and so it went. I thought the process would be dry and possibly even gross. But it wasn’t—it was lovely. Almost sensual.

    Tina guided my hands at times and took over at other times, explaining the hows and whys. While she was extremely helpful, chatty and kind in her assurance that I was doing well for a first-timer, I couldn’t help but wish that I could somehow conjure up Patrick Swayze. The thought of his hands cradling my own, guiding me, was a bit distracting! (Sorry, Tina.)

    Guidance during the process is most helpful. Four hands are better than two...
    Four hands are better than two.

    Plop, whirl, push, spin, shape and…presto, I had a bowl! Tina helped me slide it off the pedestal and onto a drying rack. The freshly thrown bowl needed a few days to become dry enough to turn it over and trim off the thick bottom. (Who knew my new bowl and I would have such a thing in common!) I will go back to trim and then, sometime in the next week or so, I can go back and glaze my piece of pottery perfection. I will then decide if I will donate it to the event or pay a donation and take it home to my own cupboard. We shall see!

    The experience was enlightening (who knew making a bowl could be so soul satisfying) and a whole lot easier and more fun than I expected. Tina was great to work with. Unfortunately, my experience was over just as I was getting used to the feel of the clay and the speed of the foot pedal.

    Ta da! My finished bowl (left) is set to dry.
    Ta da! My finished bowl (left) is set to dry.

    But, now I know what I’ve been missing and I’ll just have to go back and play.

    And next time, I don’t think I’ll even need Patrick Swayze.

    For more information on The Paint Escape go to www.thepaintescape.com or call 360-331-2166 for classes, hours and all things fun, glass fusion and clay.

    All photos by Les McCarthy.

    Les McCarthy is an author, entrepreneur and IPPY bronze medalist for her yearly “Healthy Living ~ Healthy Life: 365 Days of Nutrition & Health for the Family” calendars. She’s been a year on the island and in the NW and loves every gorgeous bit of it. She joyfully tends to her geriatric fur factory and is rethinking her stand on how cute the snails and slugs really are!

     

  • In Search Of Truth and Beauty || Wandering the Fields of Meditation

    In Search Of Truth and Beauty || Wandering the Fields of Meditation

    By Joni Takanikos

    I have practiced meditation since I was a teenager. It has anchored me while providing a lift to my life and, at times, sheer transcendence. I am by no means an expert in the field, but I have taken some field notes along the way. Here are some of them:

    1. There are many ways to meditate.

    2. It is simply a practice.

    3. Meditation contains stillness, whether the body is moving or remains as still as a statue.

    4. You can practice meditation in any field—a pasture, a cathedral or a crowded airport.

    5. Even a five-minute practice will have an impact.

    6. Once you have stood in the center of your own field, you will have a strong heart sense of how to return.

    7. Meditation is an enormous boon to creativity.

    Takanikos 17
    Finding the Center (photo by Gina Burja-Simpson)

    I came to the practice of meditation through the ever expanding corridors of yoga. I continue to explore this path in different forms and as teachers present themselves, but from this exploration a simple everyday practice has emerged: the practice of sitting or lying still, following my breath and watching my thoughts and feelings drift by like clouds. Of course, some clouds are more dense and heavy than others, and they may occupy the space of your mind like a weather pattern you wish were different. Accepting the mind is similar to accepting the weather.

    A friend recently shared with me a quote from the writer and meditation teacher Adyashanti, “If you want to suffer, argue with what is.” I have adopted this as my mantra. “Mantra” in Sanskrit translates as “a tool for the mind,” and Adyashanti’s quote is one of my favorite new tools for finding and keeping myself centered.

    There are many ways to begin a meditation practice. If sitting is difficult, you might begin by lying down, closing your eyes and following the flow of your breath for five minutes. It helps to relax the throat, jaw and tongue so the flow of air is not constricted.

    Universal Field (photo by Joni Takanikos)
    Universal Field (photo by Joni Takanikos)

    This simple method can open up rooms in the mind and body you may have been neglecting. It helps to open the doors and windows inside our body for this fresh air to enter. The breath is a powerful gatekeeper and longs for a more intimate relationship with our bodies. In the yogic philosophy, the breath is called “prana,” a Sanskrit word that translates to “vital energy.” Prana, this vital energy, is easily accessed through simple breath awareness. If you follow the breath as if it were a beautiful piece of music, it will naturally expand and unfurl, making itself truly known to you, perhaps eventually becoming symphonic in nature. Physiologically, you will drop into your parasympathetic system, which can regulate and calm the central nervous system.

    Meditations on a Sedum (photo by Gina Burja-Simpson)
    Meditations on a Sedum (photo by Gina Burja-Simpson)

    Dancing, walking, doing dishes…all of these activities can easily and gracefully become our meditation as we follow the wind of our breath and practice letting our thoughts and feelings simply arise and drift off. This happens more naturally when we practice awareness of thoughts without attachment. Thích Nhãt Hanh, monk and author of Stepping into Freedom:Rules of Monastic Practice for Novices says, “Feelings come and go like clouds in a windy sky. Conscious breathing is my anchor.”

    Amit Ray, author of Om Chanting and Meditation, says, “If you want to conquer the anxiety of life, live in the moment, live in the breath.”

    A friend of mine recently called to tell me that no matter how hard he tried to meditate, he was unable to because his mind was full of thoughts. He said, “I’m not like you! I can’t just empty my mind and be peaceful.” I laughed and explained that my mind was also full of thoughts. I don’t know anyone who meditates who doesn’t have a parade of thoughts; this is the nature of our mind. It enables me to write my thoughts down on this paper right now. I have found that the freedom that comes through a regular practice of meditation, noticing thoughts come and go without attachment to them, does create a stillness and peace which tends to stay with me through my day. When my “thinking” begins to take over, I can more easily notice this “train of thought” without being overtaken by it. In my yoga practice—both on and off the mat—I often take a deep breath, and on the exhalation I bow my head to my heart. This simple surrender of the head to the heart will lead you towards beautiful and peaceful fields, fields that are always just around the corner from your present state of mind. Pema Chödrön, author of When Things Fall Apart: Heart Advice for Difficult Times, says “You are the sky. Everything else—it’s just the weather.”

    A certain Stillness (photo by Gina Burja-Simpson)
    A certain Stillness (photo by Gina Burja-Simpson)

    Here are just a few of the many places to practice meditation, all by donation, with teachers here on Whidbey Island:
    Half Moon Yoga Studio in Langley with Sarah Manchester halfmoonyogalangley.com

    Yeshe Long House with Kilung Jigme Rinpoche: pemakilaya.org

    Tacoma One Drop Zendo: onedropzen.org

    Stillness Tuesday’s at Whidbey Institute: whidbeyinstitute.org/stillness-tuesdays/

    Healing Circle Mindfulness Meditations every Tuesday evening beginning October 6th. Taught by students of the venerable Thich Nhãt Hanh: www.healingcircleslangley.org534 Camano Ave, Langley WA.

    Joni Takanikos teaches yoga at Half Moon Yoga Studio in Langley. She is also a poet, singer and performer ever in search of Truth and Beauty in all the fields.

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    CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

    WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

  • Magically Real || What You Learn When the Lights Go Off

    Magically Real || What You Learn When the Lights Go Off

    BY STEPHANIE BARBÉ HAMMER
    Sept 9, 2015

    Friends, I’ve experienced blackouts before. I lived in NYC during the big blackout of 1977. I descended 18 flights of stairs from my parents’ apartment, walked 20 or so blocks to the Plaza Hotel where I was working, then, along with a security guy, inspected the entire hotel to make sure everyone was okay.

    That was a cool experience.

    Urban blackout is very different from rural blackout. When the lights go out and the water goes out and you are alone with your partner and one set of neighbors, that’s a different experience than being in a huge city with jillions of people.

    Some people would argue that being in a NYC blackout would be like something out of a science fiction movie. Escape from New York leaps to mind.

    When the lights went out here on Whidbey on August 29th, at first we weren’t too worried. But when the lights and the water don’t work for 24 hours, then 48 hours, then 72 hours? That becomes a different story. Because you start to feel actively uncomfortable. Actively cut off from the world.

    My one set of neighbors were energized by this experience. I admire that. They were clearing away fallen tree branches by day and popping popcorn by night. They enjoyed the camping out quality of the blackout.

    I have to be honest, readers. I was terrified. There was something deeply frightening about being so isolated in the dark amongst nothing but trees.

    “This is great practice,” someone down the road said to me, as they raked and picked up pine tree bits.

    I smiled at them. But then I went home and sat on the sofa in the dark and shuddered.

    Practice for WHAT exactly?

    I don’t know and I DON’T want to find out.

    That was when J came to the rescue. J and M had moved into a house near us a few months ago, and because they were on a different set of power lines, they retained light and water capability. On day three of the blackout, J got us over to her house—on the pretext that she needed us to keep her and her kids company because M was working in Seattle. Then she basically tricked us into staying for dinner, all the while insisting that we were helping her with her kids. Then—when we went back to our house and saw that once again we were without lights and power—she texted us on our sputtering smartphones to inform us that we HAD to come back and spend the night because she had already put fresh sheets on the bed in the guest room.

    My husband demurred, and said I was a wimp.

    I insisted on sleeping at J’s. That night, I looked out of the guest room window and saw the moon. I felt safe for the first time in three days. I felt safe at our friends’ house.

    Let there be light
    Let there be light

    What’s the point of this story?

    The first point is yes, everyone, it’s official: I AM a wimp.

    And the second point is that kindness shines even more brightly in the dark.

    We woke up the next day and went back to our house.

    “All is well!” shouted our neighbors. They had cleared out the fallen debris from our driveway, and from everyone else’s in our little neighborhood. And they had placed an enormous bottle of water on our doorstep, just in case we had run out.

    We walked in and turned the lights on.

    Maybe the final point is not which friend is kinder than which, but rather that there is more than one way to be kind in a crisis.

    I personally need all the ways that are out there, and I’m going to have to figure out how to develop some crisis-kindness of my own.

    But first I have to run the dishwasher, the washing machine, and restock the refrigerator.

    Stephanie Barbé Hammer‘s debut novel, “The Puppet Turners of Narrow Interior,” was published this spring by Urban Farmhouse Press. She is also a published poet and authors scholarly studies and creative writing books. A University of California professor emerita, she teaches at writers’ conferences and associations, dividing her time between Coupeville and Los Angeles. Read more about her work at www.stephaniebarbehammer.net.

    __________________

    CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

    WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

  • Reflections of the Island Shakespeare Festival Company

    Reflections of the Island Shakespeare Festival Company

    BY OLENA HODGES
    Whidbey Life Magazine Guest Contributor
    Photos by Michael Stadler, photo collages by Olena Hodges
    Sept. 9, 2015

    As our 2015 season winds to a close and many company members prepare to depart, it’s easy to feel a bit nostalgic.  For those of us who’ve been part of ISF’s growth over the past six seasons, it’s incredible to think of what’s changed in just a few years.  We know we are part of a uniquely beautiful beast, and we each have our reasons for coming back every summer to play Shakespeare with our tribe of merry madcaps.

    Olena Hodges

    My journey with Island Shakespeare Festival began in 2010, when I returned home to Whidbey Island after graduating from Circle in the Square Theater School in New York, NY.  I wasn’t sure of my next steps, and was excited at the prospect of auditioning for a production of “As You Like It,” to be played in the woods.  I knew I wanted to pursue a career in classic theater, particularly Shakespeare, and what a fantastic way to begin!  I was cast as Rosalind in our inaugural production, and have enjoyed some incredible opportunities to play some of Shakespeare’s most courageous and empowering women since.

    Olena Hodges in Much Ado About Nothing (Beatrice, 2013), The Tempest (Ariel, 2015), Romeo and Juliet (Juliet, 2011), As You Like It (Rosalind, 2010), and A Midsummer Night’s Dream (Helena, 2012).
    Olena Hodges in Much Ado About Nothing (Beatrice, 2013), The Tempest (Ariel, 2015), Romeo and Juliet (Juliet, 2011), As You Like It (Rosalind, 2010), and A Midsummer Night’s Dream (Helena, 2012).

    What I love about this company is that we don’t forget where we came from.  While we’ve outgrown our original location, the beautiful Storyhouse stage on the Chinook land in Clinton, we continue to reminisce and pass the stories of those first years on to new company members.  I will never forget our cast circle before our opening performance of “As You Like It,” when Rose, completely unsure of what to expect (we were literally in the middle of the woods—the hike up to the stage from the parking lot was short but steep!) said to us “if we have as many people in the audience as we have on stage, we’re doing the show!”  We were all shocked when we couldn’t count the number in the audience.  We continue to be astounded by our growing audiences.  But we will always be a hands-on company of passionate artists who love sharing these timeless stories of the human condition with our community and beyond.  We more than love to do this—we are a company who feel a necessity continue the prehistoric tradition of storytelling.

    Miles Harrison 

    Miles Harrison in Romeo and Juliet (Balthasar, 2011), The Three Musketeers (Athos, 2015), Much Ado About Nothing (Don Jon, 2013), The Tempest (Antonio, 2015), and A Midsummer Night’s Dream (Demetrius, 2012)
    Miles Harrison in Romeo and Juliet (Balthasar, 2011), The Three Musketeers (Athos, 2015), Much Ado About Nothing (Don Jon, 2013), The Tempest (Antonio, 2015), and A Midsummer Night’s Dream (Demetrius, 2012).

    I have chosen to return to ISF from as far away as MA because of the Artistic Integrity maintained by both the cast and crew, as well as the incredible community that Whidbey fosters within these casts. The natural beauty of Whidbey, the generous contributions of community members housing actors, Good Cheer Food Bank and volunteer staff are just some of the support that makes for a unique and touching bond amongst the cast. We in turn get to share that bond, via the stories told, with the community that supports us. I’ve been working since I was 13 years old and this is the best job I’ve ever had.

    Morgan Bondelid 

    morgancollage
    Morgan Bondelid in The Three Musketeers (Ensemble, 2015), Richard III (Queen Elizabeth, 2014), Much Ado About Nothing (Verges, 2013) and The Tempest (Gonzalo, 2015).

    Why I keep coming back to ISF is not something I can adequately put into words. There’s the far-too-rare opportunity to perform Shakespeare; the talented and dedicated acting company; the raw, beautiful, utterly unpredictable nature of outdoor theater. And then, “herding all of the cats,” there’s our fearless leader Rose Woods, whose fierce passion and indefatigable nature inspires devotion. All of these elements combine into something ineffable that lives perpetually in my heart whether or not I’m actively in the company.

    Ahna Dunn-Wilder 

    Ahna Dunn-Wilder in Richard III (Ensemble, 2014), Much Ado About Nothing (Hero, 2013), The Taming of the Shrew (Bianca, 2014), A Midsummer Night’s Dream (Snug, 2012), and The Three Musketeers (Ensemble, 2015)
    Ahna Dunn-Wilder in Richard III (Ensemble, 2014), Much Ado About Nothing (Hero, 2013), The Taming of the Shrew (Bianca, 2014), A Midsummer Night’s Dream (Snug, 2012), and The Three Musketeers (Ensemble, 2015).

    Through ISF I have found an incredible and meaningful family. The atmosphere and culture that Rose Woods cultivates as a director carries into our rehearsals, relationships, and ultimately makes for incredible and touching theater for all who witness it. I am so grateful for the deep inspiration and love I have received as a part of ISF. What an fantastic company to be a part of!

    Andrew Fling 

    andycollage
    Andrew Fling in A Midsummer Night’s Dream (Bottom, 2012), The Tempest (Alonso, 2015) and The Three Musketeers (Duke of Buckingham, Treville and others, 2015).

    This is my second year at ISF. My first was 2012’s Midsummer Night’s Dream. Both summers at the festival have been pure magic, and if you knew how much of a stoic and skeptic I can be, you’d know I don’t use that term lightly. The people I’ve worked with at the festival, the work we’ve done and the island itself is like another world to me. I have said and can say again that this summer has been the best time of my life, hands down, and though I must wait two years to do so, I anticipate my return with a great deal of excitement.

    Valerie Huntington 

    Valerie Huntington in The Taming of the Shrew (Biondello, 2014), The Three Musketeers (Queen Ann and others, 2015), Romeo and Juliet (Peter, 2011), The Tempest (Caliban, 2015), Richard III (Ensemble, 2014), and Much Ado About Nothing (Margaret, 2013)
    Valerie Huntington in The Taming of the Shrew (Biondello, 2014), The Three Musketeers (Queen Ann and others, 2015), Romeo and Juliet (Peter, 2011), The Tempest (Caliban, 2015), Richard III (Ensemble, 2014), and Much Ado About Nothing (Margaret, 2013).

    Meeting a group of people, some old faces some new, who are all here for the same purpose, to work and strive to give art, FREE art; that’s why I return. Because here, for the past five years that I have been blessed to be a part of this company, we give it our all; all love, passion, energy, time. We all are here working together.

    Laurel Livezey

    Laurel Livezey in Much Ado About Nothing (Ursula, 2013), The Tempest (Elemental, 2015), and The Three Musketeers (Ensemble, 2015)
    Laurel Livezey in Much Ado About Nothing (Ursula, 2013), The Tempest (Elemental, 2015), and The Three Musketeers (Ensemble, 2015).

    I was brought into Island Shakespeare Festival purely on faith two seasons ago and I believe that has been the greatest lesson I have learned from this company. The artists with whom I have worked have an incredible faith in each other and the work we do, and because of that, we have all grown in unexpected and beautiful ways. As I explore life and future artistic endeavors, I will always consider ISF my home base and my family.

    Zora Lungren 

     Zora Lungren in The Three Musketeers (Constance and others, 2015), Richard III (Lady Anne Neville, 2014), The Taming of the Shrew (Nathanial/Saloon Wench, 2014), and The Tempest (Elemental, 2015)
    Zora Lungren in The Three Musketeers (Constance and others, 2015), Richard III (Lady Anne Neville, 2014), The Taming of the Shrew (Nathanial/Saloon Wench, 2014), and The Tempest (Elemental, 2015).

    I was so excited to come back to the island this summer. I had such a blast last season; we had an amazing cast and incredible shows and both were so well received by the community. There was no question in my mind that I would want to come back. The shows are so different this season, we’re in a new space and have lots of new faces. We have battled weather and heatstroke and bugs! But we have had so much fun doing it! The island is my home; it has given me so much. I love giving back what I can through free Shakespeare.

    Melanie Lowey 

    Melanie Lowey in The Three Musketeers (Milady, 2015), The Taming of the Shrew (Katherine, 2014), Much Ado About Nothing (Antonia, 2013), Richard III (Ensemble, 2014), and A Midsummer Night’s Dream (Snout, 2012)
    Melanie Lowey in The Three Musketeers (Milady, 2015), The Taming of the Shrew (Katherine, 2014), Much Ado About Nothing (Antonia, 2013), Richard III (Ensemble, 2014), and A Midsummer Night’s Dream (Snout, 2012).

    ISF’s first production was As You Like It (2010); things were a bit different then. We didn’t have Henry the tent, or even a place to call home. The company itself is Rose Woods’s brainchild; she simply possessed the passion, experience, and will to inspire others to give what they had to make some Shakespeare happen. The entire South Whidbey community was so gracious to us. The Hulls created a stage on their land, which required a lot of labor; Rose, the actors, ISF volunteers and Timothy Hull did much of this work themselves. Whidbey Children’s Theater lent us a lot of costume pieces, rehearsal and storage space; artists donated their time and resources for set decoration, props and costuming. It was a largely collaborative endeavor. We had no idea whether or not people would come see us. But they came in droves, which told us that—hurrah!—we probably could keep making shows each summer. Though we have changed locations, acquired a tent and a board of directors, and while the company grows by leaps and bounds and more and more audience comes to see us, the core passion that created the company remains unchanged. I am proud to have been part of each and every production since ISF’s inception. I can’t wait to see what happens next.

    Ken Stephens 

    Ken Stephens in The Taming of the Shrew (Gremio, 2014), and The Three Musketeers (Rochefort, 2015)
    Ken Stephens in The Taming of the Shrew (Gremio, 2014), and The Three Musketeers (Rochefort, 2015).

    I come back because it is so addictively fun! The cast, crew, directors, environment—all too much fun. And getting to be on Whidbey all summer long? Wow.

    Damien Cortez 

    Damien Cortez in Romeo and Juliet (Mercutio, 2011), As You Like It (Touchstone, 2010), The Three Musketeers (Porthos, 2015), and Much Ado About Nothing (Dogberry, 2013)
    Damien Cortez in Romeo and Juliet (Mercutio, 2011), As You Like It (Touchstone, 2010), The Three Musketeers (Porthos, 2015), and Much Ado About Nothing (Dogberry, 2013).

    I have been with ISF since before we were ISF. What we started in that forest was magical for all involved, to say the least. I return as often as I can because of the people in this company, and what we do here. We get to play with swords for crying out loud! I come back because I feel at home here. my children were born during rehearsal, I married my wife in our tent. There isn’t a word to express how honored I am to get to be a part of this. I truly believe in what we do, here, and the people I do it with.

    We have one weekend left to our 2015 season. The Three Musketeers plays Thursday, September 10 and closes Saturday, September 12. The Tempest plays Friday, September 11 and closes Sunday, September 13.  For further information, please visit our website.

    Olena Hodges has shared her love of Shakespeare with the Island Shakespeare Festival and as a guest contributor to WLM this summer.

    __________________________

    CLICK HERE to read more WLM stories and blogs. Have a great story idea? Let us know at info@whidbeylifemagazine.org.

    WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

  • Minding the Sky || Something Old, Something New

    Minding the Sky || Something Old, Something New

    BY JUDITH WALCUTT
    September 2, 2015

    It doesn’t take much rain to remind us of the real place we live most of the year, or did before the endless summer began. Just a bit like this recent early morning’s grey mist and scattered showers reminds us all that the sky is changing, once again, changing. The blue is fading, the green is crisping around the edges, the relentless sun has begun to yellow the alders and tinge with orange the Japanese maples. Yes, please, can we have a little bit of rain now?

    And so we got some, though I would have preferred that it had held off until after the weekend, that last crucial weekend of August—so that all the weddings and home repair projects that were already in progress could have had the benefit of the sunniest summer ever, instead of stormy skies, high winds, and surprise power outages!

    Wild cherry plums like jewels (photo by Judith Walcutt)
    Wild cherry plums like jewels (photo by Judith Walcutt)

    On the whole, though, it has been a dazzling summer on Whidbey, making it extra hard to get anything like actual work done. The fruit came early and left before we knew it; I’ve been scrabbling to catch up on the jam front ever since. As my loyal readers know, I am a jam fan—as in fanatic. I can’t bear to see fruit hanging on a tree or clustered on a bush and going to waste—blackberries, wild cherry plums, blueberries––they must be picked! When they came in tidal wave altogether, much earlier than expected, I knew if I didn’t stop everything and grab what I could, I would have missed my window of opportunity to slow down, gather the fruits of summer, and preserve them, literally, in a jar for later, when the rain starts for good and we forget the taste of beautiful days on our tongues.

    It has been an especially great summer for plums and, if you got them when they were ripe, the blackberries were smaller but deeply flavorful. The blueberries are in their final tsunami of ripeness and almost past—so hurry up and get them where you can! If you have already done so and are trying to save some for the future, here’s my best tip: combine them with plum—even if you don’t really like plum—you will get a much more flavorful blueberry.

    For reasons I can only explain as alchemical magic in action, when you combine plum and blueberries, you get something that really tastes more like blueberries than blueberries on their own. Also, tossing a few peaches into the mix never hurt anything and the sweetness of the peach counterbalances the tartness possible in wild cherry plums hidden here and there around the island. People think those little plums are just ornamental but, with a little de-seeding labor, they render a sweet and tart taste that holds the flavor of the first and last day of summer combined—lushly sweet and poignantly sour––these days and those ruby fruits are the last jewels of the season and they remind me of love.

    Author with husband (David Ossman) on their (unconventional) wedding day. Aug. 29, 1987 (photo courtesy of the author)
    Author with husband David Ossman on their (unconventional) wedding day. Aug. 29, 1987 (photo courtesy of the author)

    Actually, for me, this time of year is always evocative of love that arrives late in the day, yet just in time for a life-long affair—which is the story I share with the man I married. The end of this August marked our 28th wedding anniversary. We spoke our words together at a friend’s place up on Smuggler’s Cove Road, at the end of a rugged road through the tall cedar woods which lead to a cliff overlooking the Ship Canal and out to the Olympics, with a vista of the Canadian islands to the north. The mountains were so clear that day, they appeared closer than they actually are, having to do with the quality of the light and its refraction in the water.

    The sun was strong and bright; the sky was nothing if not blue; it was a perfect day to say “Yes! I do! Yes!” and so we did.

    Brook Ott, our Balloon Girl leads the way! (photo courtesy of the author)
    Brook Ott, our Balloon Girl leads the way! (photo courtesy of the author)

    It was not a very conventional wedding. My aisles was made of drift wood branches linked with Chinese paper cut-out garlands and there were an awful lot of balloons about the place—sometimes holding the streamers up and between the trees and sometimes just lingering in people’s hands, like floating confetti. I had a balloon girl, rather than a flower girl. My mother and my brother walked me down that colorful display and when the minister asked, “Who gives this woman in marriage,” a covey of my best girl friends shouted back: “We do!” and that was that.

    There was plenty of smoked salmon and wild rice salad and lots of cake and enough champagne as well, because I hated the thought of our new life starting with stingy little slices and a thimble-full of something not quite bubbly. We made sure everyone had enough of everything—and that’s how we have proceeded. We did have a samba band, but forgot to have a reception line. We just started to dance, instead!

    Abstract idea of an aisle! (photo courtesy of the author)
    Abstract idea of an aisle! (photo courtesy of the author)

    As we took the ferry to Port Townsend commencing our honeymoon later that night, we looked back where we thought the wedding party still lingered, where the core of people we loved with huge sparklers in hand and Motown on the stereo, played and danced late into the night long after the band went home. We thought we could see the sparklers waving at us and we waved back from the middle of the water—or maybe it was just the moon reflected off some distant glassy surface as it rose and rose, silver and gold over us, beaming something old, something new: the great beauty of the moon.

    We thought ourselves lucky then and still do.

    Brook Ott, once a Balloon Girl, now a bride—down the aisle with Dad, David Ott (photo courtesy of the author)
    Brook Ott, once a Balloon Girl, now a bride—down the aisle with Dad, David Ott (photo courtesy of the author)

    This summer we watched our wee balloon girl, Brook, come down her own aisle, on her Dad’s arm, to join paths with her beloved Chris. My husband David, as a reverend of the Universal Life Church, performed as minister. The vows were written by the couple and were personal and real and true. The benediction was literate and uplifting and the Mom, the great Mom, gave a reading from the I Ching which set everything “next” on its own true and loving course. All eyes were shiny with gladness and glistened with uplifted feelings.

    It was a perfect wedding in every way, a gift of the bride and groom who had been preparing the family land for their wedding plan for over a year—creating campsites for those who came from afar, building a dance floor in a field, and making magical paths through the woods within which to explore the whereabouts of fairy houses and elf hideaways, nested in the boney arms and the crooked knees of the trees in the woods.

    They had something of a samba band, too, and plenty of cake, as well as a feast made of food grown by their own hand in their own garden. No balloons, but dahlias of multiple colors and sizes and shapes, also grown in a patch of ground which used to be home to an enormous snaggled patch of blackberry vines.

    Brook Ott and Chris Hunter seal the deal with truth and beauty! (photo courtesy of the author)
    Brook Ott and Chris Hunter seal the deal with truth and beauty! (photo courtesy of the author)

    My gift to the wedding party was what we called in our family a “present tree”—like the one Brook remembered all these years past, from my own wedding. Invented by my mother as a way to celebrate any occasion by giving everyone something to take home, it consisted of a tree hung with colorful paper lanterns, little toys for the attendant children, and Chinese New Year’s envelopes for all, containing fortunes and magic charms for all to be enlightened and protected by.

    Something old, something new, something borrowed—and what was blue? Perhaps it was the face of the moon—which was nearly full again, and glowed quite silvery and balloon-like in a blueberry-plum colored sky.

    Why do we cry at weddings? I guess it is the chance we have, that we are afforded, to really feel that hope, that promise, of the speech of love—when our hearts are allowed to open to the truth, the pure unadulterated truth, that love is the meaning and purpose of life. That there is no purpose, really, but love. At a wedding we have full permission to hold that thought and practice it anew.

    Twenty-eight years of twenty-eight day cycles of the moon’s face waxing and waning—and both the moon and the man still knock me out. For Brook and Chris—and all newly marrieds—we wish them this kind of beauty and that kind of love.

    * * *

    Blueberry Plum jam in the making (photo by Judith Walcutt)
    Blueberry Plum jam in the making (photo by Judith Walcutt)

    Blueberry Plum Jam

    4 cups fresh blueberry
    2 cups de-pitted, cooked plums
    2.5 cups sugar
    ½” wide strip of lemon peel, and/or 2 tsp. lemon juice.

    Stir blueberries into warm plum base.
    Add sugar slowly, stirring it in to the fruit mixture.
    Add lemon peel.

    Cook on low, covered, until mixture is bubbling. Remove cover and stir, allowing mixture to cook throughout, but without sticking to and burning on the bottom. The secret to this is in the stirring. The jam is done when you can feel the thickened fruit at the bottom of the pan and gathering on the sides of the pan, as you are stirring, and you have to scrape it down with the spoon. The mixture becomes thickened and sticks to the spoon. Another sign of done or near-done jam is when the lemon peel which has been cooking with the fruit becomes translucent on the edges.

    Judith Walcutt lives and writes on Whidbey Island. “Memoirs of A Modern She-Noodle: A Novel” is forthcoming in 2016 from NeoPoiesis Press.

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  • Sue the Screenwriter  ||  Memoirs from the Ledge of ‘Oh, how in the Heck did I Get here’

    Sue the Screenwriter || Memoirs from the Ledge of ‘Oh, how in the Heck did I Get here’

    BY SUZANNE KELMAN
    August 26, 2015

    Many of us who are ‘creatives’ know the challenge it can be to make a living doing what we love, which is, of course, making art. Some artists take on jobs outside their home to subsidize their art “habit.” I take on multiple writing and film producing assignments in the hope that one of my ships will come happily sailing home.

    Let me repeat that…in the HOPE that ONE of my ships would come sailing home. And. after working at this writing habit for five years, often doing 12 hour days, what happened this summer was the arrival of the equivalent of a writing Armada.

    KelmanWelcome to Kelman Harbor. You can’t get a toothpick between all the ships that are fighting their way into dry dock right now.

    In the month of August alone, I became an Executive and a Co-producer for two separate movie projects, one of which is winning major awards. I also had the unique opportunity to write the ending for another movie that was filmed in Ireland, giving me my much-desired IMDb writing credit.

    Then there was much cheering as my stage play, “Over my dead body,” was a winner in the well-respected Annual Writers Digest Competition. Then, on the back of that celebration, my script “Held,” which I wrote with Susannah Rose Woods, battled it over 16,000 other scripts to make it to the top 1% of not one, but two, very prestigious competitions. One of them is run by the Academy of Motion Pictures (that’s right, those are the people that are right now polishing Oscars for the Academy Awards next year.) Then to add a huge dollop of cream to the top of my cake, my book “The Rejected Writers Book Club” was just picked up by a major Publisher.

    Phew, it was tiring just writing all that and the month’s not over yet.

    And it’s not that I’m complaining—no, Siree! Because this outcome means each of these projects was well received in the world. I am, in fact, ecstatic, (if not a little mystified). It’s just—I wasn’t prepared for the workload that comes with navigating all your celebrated cargo safely home. Right now I’m desperately spinning all my plates to keep up with the demand to respond to the needs that arise from each success.

    I am mystified because I didn’t become a writer to become successful. I write because I enjoy the sheer delight of throwing the clay of words onto a spinning potter’s wheel and seeing how many funny and amusing shapes I can make with them.

    I’m like a kindergartener at her first pottery class. “Oh, look! I can make a long smoochie tower if I roll it up like this!” Then if I smack it with my fist and stick my thumbs in, it becomes a fat wobbly pot! It’s all about the sheer delight of writing for me because I love it. It’s fun to throw down words like a gauntlet, words that come cavorting and cascading out of my odd little brain in their own wild and abundant exuberance. I have my own little personal circus of words.

    But I realized a couple of things in all of this homecoming cheering.

    Firstly, there is a ledge between “fighting your way up to the top and having enough money to pay people to help you” that I didn’t know about. It’s called the ridge of “how in the heck did I get here!” I think there isn’t a successful small business owner that doesn’t know what I’m talking about: the “Ledge of In-Between.”

    Then secondly, I kept throwing things out into the world day after day, month after month, year after year, hoping that one of them would do well but with no plan for them if they did. And as far as I know there are no “how to manage your success” classes, only “how to become successful” classes. Once you’re hanging off the ledge of “oh heck, how did I get here,” the only help up is the big boot of the universe as it kicks your patootie in the success door. And you have to figure the rest out for yourself.

    But it was as I was hanging by my fingernails that something struck me; it’s you guys who have made me successful—my readers, my Superfans, my family and friends. My book publisher informed me that my Amazon and Goodreads reviews were something they had taken into consideration before they approached me. So, never underestimate the power of YOUR words. The truth is without someone to enjoy and celebrate my words they are just… well, words.

    So, this post is just a roundabout Kelman style way to say “thank you.” Thank you for not only believing in me but voting for me with your incredible Amazon and Goodreads reviews, Facebook, LinkedIn and Twitter posts. I always feel pretty humbled by the praise, not unlike a waitress that has just been thanked for preparing the fabulous dinner you just enjoyed. When all I did was be a careful vessel of the delivery from the story house of the universe. The inspiration, the humor, the sheer joy I enjoy in my work all comes from somewhere else, something I have no control over—the enormous sea of storytelling that surrounds us all; I am just grateful to have been blessed with a rather large, quirky and absurd fishing net.

    Suzanne Kelman is a screenwriter and author of “The Rejected Writers Book Club.” Her writing voice has been described as a perfect blend of Janet Evanovich and Debbie Macomber. Some of her accolades include best comedy feature screenplay at the 2011 LA International Film Festival, a Gold Award at the 2012 CA Film Awards and a Van Gogh Award at the 2012 Amsterdam Film Festival. She can also sing Puff the Magic Dragon backwards! You can learn more about her on IMDb.

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  • The Not-So-New Kid on the Block  ||  Guts, Cotton Candy and All Things Fair

    The Not-So-New Kid on the Block || Guts, Cotton Candy and All Things Fair

    BY LES McCARTHY
    August 19, 2015

    Ah, the Fair.

    Cotton candy dreamin' (photo supplied by the author)
    Cotton candy dreamin’ (photo courtesy of the author)

    Visions of cotton candy had been swirling in my head for two weeks when I realized the reason—the Whidbey Island County Fair was coming to town. I found my fascination odd, as I have to admit I’m not a “fair” gal, yet I couldn’t get it out of my mind, and I couldn’t wait to go!

    So last weekend I walked over, those same cotton-candy visions still swirling in my head while I made a beeline to the cart selling clouds of sugary goodness. My destination was detoured, however, when I happened upon the Arts and Crafts building; this was one display I didn’t want to miss. I walked the rows of children’s craft entries—smiling over some, wondering over others—and as I stood looking at a little toilet paper roll sheep, 50-year-old memories led me back to my second-grade art project—Clara Barton.

    Original art: a toilet paper tube lamb (photo by the author)
    Original art: a toilet paper tube lamb (photo by the author)

    She was the founder of the American Red Cross and I liked her gumption; I deemed her worthy of my artistic talents. The likeness I created, however, was a god-awful toilet paper tube rendering: some cotton for hair, scraps of cloth for her dress and a yarn mouth that resembled that of Mr. Bill’s (oh nooo). I remember it well; it was truly horrible.

    This little TP tube lamby was so much better. No self-praise intended, but it takes a lot of guts to turn a toilet paper roll into art.

    I say I’m not a fair gal, yet I attend them—I like the sounds, the animals, the people-watching. I remember I loved to go to our town fairs when I was a youngster. They were loud and thrilling (because I was a child) and it was exciting to stay up late and be out walking amongst the smells and sounds of All Things Fair. Those were steamy nights in Chicago; this night I had on a jacket. And as hard as I tried, I just couldn’t conjure up those feelings I used to have.

    Returning to Earth, while fighting nausea and dizziness (photo by David Welton)
    Returning to Earth, while fighting nausea and dizziness (photo by David Welton)

    Darn. Time just isn’t fair. Things change…

    Things like my love for amusement park and carnival rides. I would buy my tokens and stand in line and go on the Regurgitator 12 times before it affected my equilibrium or stomach. These days, as much as I’d like to get on one, I can’t even look at the tame Merry-Go-Round or Ferris Wheel without thinking I’ll get sick… No fair.

    I used to be a Fair Food Fanatic…chowing down whatever my iron gut and pocketbook would allow: anything and everything as long as it was deep-fried, exotic, double-dunked, extra-chunked, bacon-wrapped and, of course, on a stick! Fair food was fair game! I walked around, sucking in the scents—fried Snickers bars, cotton candy, roasting corn-on-the-cob, sizzling whatever—savoring the aromas of foods that only appear at functions and festivals such as this.

    Erin Kelly Savors a caramel apple. (photo by David Welton)
    Erin Kelly savors a caramel apple. (photo by David Welton)

    I’d read that morning that Indiana’s State Fair boasted deep-fried sweet corn while Iowa’s touted a bacon-wrapped, jalapeño cheese-stuffed brisket on a stick. It was decidedly heart-attack worthy but, oh joy—gluten free!

    The winner of the fair food fight, however, was clearly Wisconsin with its skewered concoction of deep fried-crispy alligator. I think it would take guts to try any of those treats—and not just intestinal fortitude, but actual courage! Our fair, to my knowledge, didn’t have any deep fried alligator. Perhaps that was a good thing or perhaps we missed out!

    Curly fries and friends before the show (photo by David Welton)
    Curly fries and friends before the show (photo by David Welton)

    As I passed the curly fries kiosk and some guy carrying a bag of kettle corn larger than his child, I longed for the days when I wasn’t allergic to everything on the planet and when my insides didn’t revolt against anything wilder than a bowl of rice. Again, no fair.

    Past the food stalls, I wound my way through the throngs of attendees milling about, munching down and listening to some singer up on stage chatting with the crowd. Again, I was on a mission—this time I was headed to pet some animals—and the goat barn was in sight. I’ve always wanted to, but have never lived on a farm. The closest I’ve ever gotten to being a farm girl was pretending to be Fern from Charlotte’s Web and living where I do now, with chickens next door. But there is something about farm animals that just gets me—they are sweet and innocent and it all makes me want to kiss their furry, little faces.

    One of the many goats being talked to... (photo by the author)
    One of the many goats being talked to… (photo by the author)

    I walked the barns and talked to the goats (yes, I talked to them) and looked into their wide-set, cat-like eyeballs and baa’d at the sheep and moo’d at the cows and then apologized to the pigs for loving bacon as much as I do. And by the time I made my rounds I had a heartache the size of the island. How could these kids raise these beautiful creatures and then sell them—either as a herd animal or for consumption? I cried when my kids’ tadpoles died; I’d never be able to do what these kids do. They have guts.

    I left the barns rubbing a glob of anti-bacterial gel onto my licked and dusty hands and silently thanked the genius who provided those bottles. I walked past more food kiosks where families stood huddled making important decisions while kids ran around laughing like goons.

    As I made my way out, I passed the rocket ride—The Vomitor, I think it was called—and looked at the little faces waiting in line, their bodies electric with excitement, jubilation and sheer terror! Those kids had guts! Courage with a capital C. As much as I like rides, you couldn’t pay me to get on that thing! I wanted to stand and watch them go on and then come off, but I’m allergic to hay and my throat was feeling scratchy. I was more in favor of breathing and removing myself from the fairgrounds than having (even a cute) EMT do it for me. So, I started for the exit.

    Alpaca hums and smiles (photo by David Welton)
    An alpaca hums and smiles. (photo by David Welton)

    My night wasn’t quite like out of the movie “Pollyanna” or how I remember fairs when I was a child, but the faces of the kids I passed as I was leaving told me they felt differently. Glee and sticky sugar bits were on their faces and rapture shone from their eyes.

    I stopped and looked at those beaming children, cursed hay under my labored breathing and turned on my heels and headed back for the spun-sugar vendor. If I was going to keel over, it was going to be with sticky fingers and in a cotton candy coma—it only seemed fair.

    Kids and adults enjoyed the slide, (photo by David Welton)
    Kids and adults enjoyed the slide. (photo by David Welton)

    Les McCarthy is an author, entrepreneur and IPPY bronze medalist for her yearly “Healthy Living ~ Healthy Life: 365 Days of Nutrition & Health for the Family” calendars. She’s been a year on the island and in the NW and loves every gorgeous bit of it. She joyfully tends to her geriatric fur factory and is rethinking her stand on how cute the snails and slugs are! 

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    WLM stories and blogs are copyrighted and all rights are reserved. Linking is permitted. To request permission to use or reprint content from this site, email info@whidbeylifemagazine.org.

     

  • Play that Song Again  ||  The Joy of the Mixtape: Practicing Safe Compilation

    Play that Song Again || The Joy of the Mixtape: Practicing Safe Compilation

    BY ERIK CHRISTENSEN
    August 12, 2015

    “Now, the making of a good compilation tape is a very subtle art. Many do’s and don’ts. First of all, you ‘re using someone else’s poetry to express how you feel. This is a delicate thing.”   —Rob Gordon, High Fidelity

    * * *

    As mentioned in my very first blog for Whidbey Life Magazine (April 2013, to be found here), I love a good mixtape. Although done on CDs now instead of cassettes, there is still magic in the mixing together of a great collection of songs.

    I’m proud to have passed this on to my daughter, who makes compilation CDs with titles written in colored sharpie: “Hannah’s Mix,” “Fun Songs,” “Good Stuff.” Sometimes I worry about her wild, eclectic tastes; she listens to everything from hardcore rap to modern country and, because she grew up in my house, the Beatles.

    Is it healthy for a kid to listen to “Eight Days A Week,” “F*** The Police,” and “Jesus, Take the Wheel” back to back to back? And—in the-apple-doesn’t-fall-far-from-the-tree, full-disclosure department, I listen to everything from Americana to blues, to old jazz, to bad pop music. When I hit the “shuffle all” button on my iPod, it goes from Chuck Prophet to the Staple Singers to Frank Sinatra to Ren + Stimpy to a Billy Collins poem.

    Ah, well.

    The real joy of the compilation tape is not knowing what song is going to come next, but knowing it’s going to be great. One song fades out, and I lean forward—literally and figuratively—waiting for the first notes of the next track.

    compilationI think this is important to me because I grew up listening to the radio. I anticipate on the mixtape because I used to do that in my room late at night with a small plastic Panasonic AM/FM. You never knew what was coming next. And, if you wanted to hear “Christine Sixteen,” brother, you had to wait. It was exciting, and a fleeting moment. The compilation tape takes me back to that feeling.

    * * *

    “The making of a great compilation tape, like breaking up, is hard to do and takes ages longer than it might seem. You gotta kick off with a killer, to grab attention…then you got to take it up a notch. There are a lot of rules.”  —Rob Gordon, High Fidelity

    * * *

    Sometimes pre-packaged mixes can do the trick. I would strongly recommend the 10 (dear Lord, 10!) CD package “70s Hit Explosion.” Also, the “Oxford American” literary magazine puts together a solid annual collection of southern music built around a theme.

    And recently, I came across two absolute gems on the wonderful (and aptly named) collection, “Like, Omigod! The ‘80s Pop Culture Box (Totally). I had never given this compilation much thought, but after letting it play, I was floored by the crazy mix of music, and all the memories of that time in my life. Two songs I haven’t thought about in decades stood out:

    First, “They Don’t Know About Us” by Tracy Ullman https://www.youtube.com/watch?v=f9un119lq4c

    tracey ullmanWe all know about how great “The Tracy Ullman Show” was; we all know that she debuted “The Simpsons” back in 1987. (That’s right, kids. No Tracy Ullman, no Simpsons. Oh, the humanity!)

    But her cover of Kirsty MacCall’s “They Don’t Know About Us” is perhaps the greatest thing EVER. Pure bubblegum goodness: three minutes and one second of the best Phil Spector imitation you will ever hear. Bonus—Paul McCartney cameo in the video. This, my friends, is what music should sound like.

    Next, “Cool It Now” by New Edition
    https://www.youtube.com/watch?v=RZUq6N7Gx1c

    new editionMore childhood fluff. The video is so cheesy, you could drizzle it on nachos. Still, it’s an instant time-capsule back to 1984. It conjurs up the sounds of summer and it even has a cornball spoken-word section near the end, like a bad 50s song. Click on the link above; you’ll be singing it for days.

    Where else to find an interesting collection of music? On a hopeful note, the imminent death of good music on the radio has been greatly exaggerated. Back in the’80s, I listened to local hero Danny Holiday’s excellent “Rock and Roll Time Machine” without fail every Saturday morning. Sadly, Danny passed away in 2012, but if there’s an oldies jukebox in heaven, he’s got it covered.

    These days, you can find great, eclectic stuff on NPR’s “American Routes.” (http://americanroutes.wwno.org) Someone described this show as “a mixtape made by your coolest friend,” and that just about sums it up perfectly. It’s an American music, history and culture education, two hours a week. Also, I would be remiss if I didn’t mention “Little Steven’s Underground Garage,” found at http://undergroundgarage.com. Hosted by perhaps the coolest human being on the planet—former star of “The Sopranos,” “Lillyhammer,” and the E Street Band, Steve Van Zandt puts together an amazing collection of new and old rock and roll every week. Both shows have archived collections, and they are my go-to listening when I’m at my computer.

    There is nothing like a personal, handpicked collection put together by someone who really cares. Whether it’s on cassette, CD, online, or whatever format is coming next, I’m always waiting and listening. Long live the mixtape.

    * * *

    “Anyway… I’ve started to make a tape… in my head… for Laura. Full of stuff she likes. Full of stuff that makes her happy. For the first time I can sort of see how that is done.”   —Rob Gordon, High Fidelity

    Erik Christensen teaches at Oak Harbor High School, writes songs and poetry, and loves a song with a spoken-word section in the middle.

    Erik Christensen Band plays from 7-9 p.m. at The Taproom in Bayview Cash Store pm Tuesday, Aug 25 and The Evergreen State Fair in Monroe from 5:30-6:30 on Thursday, Aug 27 .

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  • Sirithiri || “Monstro”

    Sirithiri || “Monstro”

    BY SIRI BARDARSON
    August 5, 2015

    On one of our recent sunny days, I sped down the highway around the end of Penn Cove and saw many cars parked at the beach. I had seen a notice online for a “Digging for Dinner” class, a how-to on clam habitat, limits and licensing. I guessed that this was it, people learning about the rich shellfish bounty of our wonderful Puget Sound.

    This made me think of Monstro.

    Monstro was an ancient boat, 14-feet long, wooden, and a double-ended dory. It appeared one afternoon, towed behind our father’s car, down the dirt driveway of our summer cabin at the end of Holmes Harbor. I never knew where he got it.

    What a surprise! It was enough that our father was here for a visit; usually he stayed in town to work. But here he was with a boat that you might see in a picture of a whaling village, and loaded on an equally odd trailer—also wooden, with tall tires that had spokes painted hunter green.

    We girls were thrilled; my mother was silent. We named the boat Monstro and my dad announced we were going to use it to go clam digging.

    Clamshells     (illustration by Siri Bardarson)
    Clamshells (illustration by Siri Bardarson)

    My parents purchased their waterfront lot on Whidbey Island when I was nine and everywhere along the beach was evidence of a dying logging industry. Holmes Harbor was virtually unpopulated. The green clapboard machine shop that became Nichols boatyard was vacant, and across the street from it was a ramshackle wharf with a dilapidated storefront. Beyond the wharf, log skids extended out over the mud, like giant ribs of a dead animal picked clean by time. Underneath the skids, eight inches of sawdust covered the mudflats and, when the tide came in, the dark sawdust filled the waves.

    Just off our beach, there was a behemoth of a raft, built on the scale of Paul Bunyan—huge-dimensioned lumber nailed with giant spikes. The loggers also built a tree swing in the huge maple tree by our cabin. The tree was so tall that there were no branches within 30 feet of the ground. A brave soul had scaled way up the tree and attached big wooden braces, stringing wire cable down the distance to the plank swing seat. The ground under the swing was sloped and if someone tall would give you a push, you would sail out over the whole world.

    The loggers also left behind a giant picnic table in our yard. One evening during our first summer there, we sat at the table eating dinner and someone blew up the wharf and store and pieces of it landed in our dinner.

    Our cabin was previously a tool shed and it was outfitted from St. Vincent de Paul’s. It had four sets of army bunk beds, two large, sturdy, leather-benched wooden chairs, (turned out they were original Stickley pieces!), three kerosene lamps, an orange-enameled après ski stove that Austin Powers would die for, a small picnic table and a chest of drawers. The cabin had no electricity but a huge Majestic wood cook stove with heating coils and a tall riveted hot water heater on an ornate steel stand. It provided hot water for scrubbing dishes but there was no shower. We didn’t care. We lived in our swimsuits and slept in sleeping bags that were full of sand.

    Our cousins from Spokane were visiting us the day we went clam digging in Monstro. There must’ve been four to six kids along with my dad. I don’t remember any life jackets. The really little kids stayed at home with our moms. Our destination was a beach down around the corner, below what is now the Holmes Harbor Golf Club.

    Monstro was moored to the big raft and to get out to it was tricky. Logistically, the tide had to be out to dig the clams, but “in” enough to load the boat. The long draw of the tide flat meant that, first, we walked knee-deep through the quicksand-like mud and next, forded thigh-high water with the clamming gear: a galvanized pail, shovel and coffee cans for bailing buckets. Our father carried the Seagull three-horse outboard above his head, someone had the gas can. It was raining.

    We loaded in. My dad set the outboard in the engine well in the center of the boat and gave a yank; the engine sputtered to a start. I remember that it was a small noise, and secretly wondered if it was up to the task. My dad re-arranged us to get the boat balanced as Monstro moved slowly forward through riffled waves pitted with rain.

    We kids dragged our hands overboard and stared down, looking for the drop-off. It’s 200 yards out from the end of Holmes Harbor, an eerie watery marker even for a Pisces like myself. Just before the drop off, the eelgrass waved dark and menacing and then there was the black void.

    About then, my dad barked to start bailing. We looked into the bilge to see the water up to our ankles.

    We bailed continuously until we reached our destination and nudged into the beach. My dad stepped out, shovel in hand and we scampered after him with the bucket. He dug, we sifted—nothing. We moved on and he dug again and this time we smelled the metallic smell of the gray oily sand that clams love. We sorted through the huge piles of wet muck and quickly filled the pail and loaded back into Monstro.

    The wind came up as we headed back, a northerly coming from behind. It was colder now and we hunkered into the task of bailing, which kept us warm. My dad would sing. He knew just when to sing, to distract us from complaining or worry.

    “One night as I was a trimming of the glim,
    a singing a verse from the evening hymn.
    A voice from starboard shouted ahoy,
    and there was me mother a sittin’ on a buoy.
    Yo-ho-ho, the wind blows free,
    all for the life on the rolling sea.”

    We reached the big logging raft and moored, leaving the bailing cans in the boat. The tide had come in and the water was deeper, but we managed to get back to the cabin. We were all cold and, inside the cabin, we wrapped ourselves in Army surplus blankets and our moms fed us lunch. They started frying bacon and cooking onions for the clam chowder and the top of the cook stove clanked as my mom loaded more wood. She and my aunt had baked a wild blackberry pie and there was a piecrust cinnamon roll for each of us after lunch.

    I finished first, grabbed my warm piecrust cookie and beat it outside to the big swing. The sun was tentatively out, the grass still wet. I gave myself a push and floated over the big picnic table. I had a good view of Monstro tied up at the raft and, in the distance, the brown sawdust waves washed over the skids.

    Soon the tide would be all the way in and it would be time to go swimming. I would find the biggest, whitest clamshell and play my favorite game. Throw the clamshell, swim as fast as I could under water with my eyes open and catch the clamshell before it hit the sand. Back and forth in front of the cabin; toss, dive, toss, dive.

    And later, there would be a delicious dinner and some singing.

    A Northwest native, Siri Bardarson is a writer with an emotional hotline to the vibrant natural beauty of Puget Sound. When not writing about the importance of the wild blackberry, daisies and natural time, she practices her cello a lot and sings at the same time. She loves her Whidbey Island home. Find out more about Siri at www.siribardarson.com.

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  • Rock Bottom Line || Adopting the ‘What Me Worry?’ Approach to the Really Big One

    Rock Bottom Line || Adopting the ‘What Me Worry?’ Approach to the Really Big One

    BY HARRY ANDERSON
    July 29, 2015

    Are you spending sleepless nights fretting about the Really Big One? Not me. I prefer to enjoy this beautiful, sunny summer in blissful and purposeful denial.

    By now, I expect that you—as just about every other human being west of the Cascades—are aware of Kathryn Schulz’s terrifying piece in the July 20 issue of The New Yorker magazine about the catastrophic earthquake that will hit the Pacific Northwest any day now. The best of our world’s geologic minds have determined that our gorgeous corner of the earth lies on a gigantic tectonic fault line that has suffered an earthquake of magnitude 9.0 or greater, on average every 243 years. And we are currently 72 years overdue. Yikes! Lions and tigers and bears, oh my!

    The last Really Big One—these brilliant minds have determined—occurred about 9 p.m. on Jan. 26, 1700. The tsunami that followed swamped everything from modern-day Forks to Mount Vernon with a 100-foot tidal wave. Oral traditions from about that time among some native peoples in Neah Bay and Vancouver Island recall the drowning of a whole village, with their canoes left hanging in trees. That Really Big One also left a souvenir still visible today: a “ghost forest” of red cedars killed by sea water several miles inland along the banks of the Copalis River.

    washingtonToastWith the insensitive bedside manner of a truly arrogant brain surgeon, our regional director of FEMA is quoted as making this statement, sure to fray everyone’s nerves: “Our operating assumption is that everything west of Interstate 5 will be toast.” Yikes! Raptors and pterodactyls and tyrannosaurus rexes, oh my!

    Think about what this means.

    Buh-bye to Skagit Head and Useless Bay Colony and Keystone and Fort Casey and the Deception Pass Bridge. Not to mention Bayview Nursery, the Star Store, the Goose, Whidbey Pies and Fraser’s Gourmet Hideaway, to name a few. No need to keep waiting impatiently for The Dog House to reopen in Langley; it won’t. And why bother preserving historic structures like Jacob Ebey’s House or the Greenbank Barn or the Seaplane Hangar in Oak Harbor? They’ll be driftwood soon.

    It also means our farmers will quit worrying about drought and start learning about hydroponics. Or perhaps, if the tsunami subsides enough, their farms will become seaside resorts with scuba-diving adventures thrown in. The controversy over Navy jet noise will be over; Outlying Field in Coupeville will be a brackish lake. Perhaps Oak Harbor’s Naval Air Station will become a submarine training center. Aquarium tours will replace farmers’ markets. Whidbey Grown labels will be wrapped around bunches of seaweed instead of radishes. Boat-to-table will replace farm-to-table.

    Floating RV-2It’s all just too much to think about. I choose not to let it trouble my pretty little head. When the Really Big One happens, we’ll make the best of it. We’ll clamor aboard our RV and head to the Okanogan country. Hopefully the RV will stay afloat long enough for us to row it to dry land somewhere near Sedro-Woolley.

    Even though we’re 72 years overdue for The Really Big One, I will not let it spoil this moment. Until we become toast, I’ll simply enjoy some toast—preferably slathered with lots of jam made with the Bell’s Farm strawberries I picked last June.

    Once upon a time, Harry Anderson made an honest living as a reporter, editor and columnist at the Los Angeles Times. He now lives in central Whidbey, where he spends his time gardening and ruminating on things that interest him.

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