Modern totem poles
"The Chimacum, also spelled Chemakum and Chimakum are a near extinct Native American people (known to themselves as Aqokúlo and sometimes called the Port Townsend Indians), who lived in the northeastern portion of the Olympic Peninsula in Washington state, between Hood Canal and Discovery Bay" Wiki
A photo of the Hicks family near Chimicum Creek circa 1914 can be seen here along with details of other first nation communities on the peninsula: www.nps.gov/olym/learn/historyculture/tribes-of-the-olymp....
Opposite the south end of Vancouver Island and directly west of Seattle, the Chimacum people occupied a land of very real mist and rain, as the Olympic peninsula is well known for its good air and dominant rain, with up to 355cm a year. Tall trees of the north west coast were used for Totem poles - often placed in coves behind the worst laps of the sea - and they start to appear along the coastal mainland, opposite and around Vancouver Island just to the north of Discovery Bay. The carved poles then continue up the laced coast into Alaska - a close enough cultural vision to be a symbol for today's Seattle (aside the Chimacum). (www.burkemuseum.org/news/how-did-totem-poles-become-symbo...). 'Looking' at but not living with. Were there arborglyphs or decorations assigned for their real tree giants, with the permanent carving starting in the near yonder?
Some of the tallest trees in the world come from the reserves along this coast. The World's tallest Spruce, Western Red Cedar and Douglas Fir are all old growths living through and past the Chimacum rains on the Olympic Peninsula. The biggest tree today reads 75m tall by 6m circumference and 5.7m diameter. Chimacum rains in the spaces between these trees.
In this clip the tall totems and mythical trees are in modern cement, and they draw in 'worshipers' of modernity. Norman Foster's bridge is very successful, and during our visit we met a Brazilian who was motorbiking to see the best bridges of Europe (Lisbon, Porto (!!) and on up to Millau...). The Millau bridge tilts to respect the line of the hills either side of the valley, and it curves slightly to undulate with the mist and river. In the days prior to the bridge, the drive up to the Larzac plateau was a chain of old lorries puffing like steam-trains at walking pace, with summer cars overheating to a general breakdown, and a steep tilted jam that seemed to crumple and slide back down into the city of Millau; so the bridge does adapt well to today's lifestyle of car and long distance haulage. Despite that, it is a totemic forest of cement and hardened sand that has turned a landscape with a deep past into another visible link from a modern web.
Lynda Perhac's LP 'Parallelograms' was released on Kapp records in the same years as Joni Mitchell's 'Ladies of the Canyon', and between the two Karen Dalton LPs. For the recording, she used the studio knowhow and orchestration skill of Leonard Rosenman, who is perhaps best known for the music and work he did with the film star James Dean ('Giant', 'Rebel without a cause'). After a long break, Lynda returned to release on Sufjan Steven's 'Asthmatic Kitty' label, with other releases currently through Sundazed and Omnivore.
Her style is often described as 'Psychedelic folk', which seems a miss-up. There can a psychological expressionism to her folk music - not unlike Kate Bush, but with the intimate spaces of early Sufjan or Joni. And she really doesn't need a category as she has a name.
Was this shot taken of Lynda by the Olympic peninsula?
www.youtube.com/watch?v=_FzsY7AXEBQ
Here Lynda talks about the visual method behind her song writing. Being inspired by the sea, or Larks rising; a New York crossroads, or Dr Caligari are all examples of the visual senses mapping into music. Lynda went a step further and abstracted her own visual for the musical subject before then transcribing. Creative ways to inspire the mind's eye are more common in musical composition than is apparent in the generic and 'manufactured' and should not be mixed up with issues of drugs or disorders even if both have appeared in the history of music:
www.youtube.com/watch?v=VEW5CRnnnws
An original demo of Chimacum rains:
www.youtube.com/watch?v=QaJsViR_PV0
AJM 09.11.22
Modern totem poles
"The Chimacum, also spelled Chemakum and Chimakum are a near extinct Native American people (known to themselves as Aqokúlo and sometimes called the Port Townsend Indians), who lived in the northeastern portion of the Olympic Peninsula in Washington state, between Hood Canal and Discovery Bay" Wiki
A photo of the Hicks family near Chimicum Creek circa 1914 can be seen here along with details of other first nation communities on the peninsula: www.nps.gov/olym/learn/historyculture/tribes-of-the-olymp....
Opposite the south end of Vancouver Island and directly west of Seattle, the Chimacum people occupied a land of very real mist and rain, as the Olympic peninsula is well known for its good air and dominant rain, with up to 355cm a year. Tall trees of the north west coast were used for Totem poles - often placed in coves behind the worst laps of the sea - and they start to appear along the coastal mainland, opposite and around Vancouver Island just to the north of Discovery Bay. The carved poles then continue up the laced coast into Alaska - a close enough cultural vision to be a symbol for today's Seattle (aside the Chimacum). (www.burkemuseum.org/news/how-did-totem-poles-become-symbo...). 'Looking' at but not living with. Were there arborglyphs or decorations assigned for their real tree giants, with the permanent carving starting in the near yonder?
Some of the tallest trees in the world come from the reserves along this coast. The World's tallest Spruce, Western Red Cedar and Douglas Fir are all old growths living through and past the Chimacum rains on the Olympic Peninsula. The biggest tree today reads 75m tall by 6m circumference and 5.7m diameter. Chimacum rains in the spaces between these trees.
In this clip the tall totems and mythical trees are in modern cement, and they draw in 'worshipers' of modernity. Norman Foster's bridge is very successful, and during our visit we met a Brazilian who was motorbiking to see the best bridges of Europe (Lisbon, Porto (!!) and on up to Millau...). The Millau bridge tilts to respect the line of the hills either side of the valley, and it curves slightly to undulate with the mist and river. In the days prior to the bridge, the drive up to the Larzac plateau was a chain of old lorries puffing like steam-trains at walking pace, with summer cars overheating to a general breakdown, and a steep tilted jam that seemed to crumple and slide back down into the city of Millau; so the bridge does adapt well to today's lifestyle of car and long distance haulage. Despite that, it is a totemic forest of cement and hardened sand that has turned a landscape with a deep past into another visible link from a modern web.
Lynda Perhac's LP 'Parallelograms' was released on Kapp records in the same years as Joni Mitchell's 'Ladies of the Canyon', and between the two Karen Dalton LPs. For the recording, she used the studio knowhow and orchestration skill of Leonard Rosenman, who is perhaps best known for the music and work he did with the film star James Dean ('Giant', 'Rebel without a cause'). After a long break, Lynda returned to release on Sufjan Steven's 'Asthmatic Kitty' label, with other releases currently through Sundazed and Omnivore.
Her style is often described as 'Psychedelic folk', which seems a miss-up. There can a psychological expressionism to her folk music - not unlike Kate Bush, but with the intimate spaces of early Sufjan or Joni. And she really doesn't need a category as she has a name.
Was this shot taken of Lynda by the Olympic peninsula?
www.youtube.com/watch?v=_FzsY7AXEBQ
Here Lynda talks about the visual method behind her song writing. Being inspired by the sea, or Larks rising; a New York crossroads, or Dr Caligari are all examples of the visual senses mapping into music. Lynda went a step further and abstracted her own visual for the musical subject before then transcribing. Creative ways to inspire the mind's eye are more common in musical composition than is apparent in the generic and 'manufactured' and should not be mixed up with issues of drugs or disorders even if both have appeared in the history of music:
www.youtube.com/watch?v=VEW5CRnnnws
An original demo of Chimacum rains:
www.youtube.com/watch?v=QaJsViR_PV0
AJM 09.11.22