Though they tried to minimize it, I knew that it was our grandiose monument to music--Paul Allen's Experience Music Project--that had brought them to Seattle and to their misguided conclusions. Of course, each one denied it (as if some French-language Canadian publication or Germany's national radio would finance a trip to our city in 2000 simply because there was nothing going on here anymore).
Actually, there were two instances where sparkling French Canadians converged upon Seattle to make snap judgments on our music scene. The first time, a beautiful clan of trendy folk from Quebec dragged me all over town (accompanied by a camera crew filming in 3-D) in search of "what's hot in the Seattle Scene." Along the way, they managed to avoid every viable new band or future up-and-comer I suggested, instead plying me with drinks while taking shot after shot of their stylish anchorwoman making insinuating statements against our music community.
Several months later, another French Canadian journalist (stylish but not all that handsome) sat down in my office, and we became embroiled in an increasingly heated discussion on the comings and goings of Seattle music. Was it because of Paul Allen's big ol' EMP that he had such a naysaying bee in his bonnet? (I was now quite good at recognizing that bee, as it had once flown about my own headgear quite furiously.) Of course his answer was a resounding "No," bathed in typical smarty-pants muso cynicism, but I knew better.
Comparatively, Mr. German National Radio was quite friendly and open to debate, but his mind was made up far before he winged it to Seattle--although I did spot him later that night checking out the Murder City Devils, who were playing with At the Drive-In. I missed most of MCD's set as I headed over to I-Spy to see Transmarine, a new band friends said I'd like. I suggested that Mr. GNR might accompany me and possibly witness history in the making, but like the rest of his fellow foreign correspondents, he declined. The German guy got me marveling that our "scene" as it is right now is pretty damn great, not that it hasn't always been (although '94 was pretty ridiculous, I'll allow). As a matter of fact, I'm floored by the shining diversity and sheer talent one can witness any night of the week in the clubs and bars of Seattle, as bands like Aveo and the Prom rise in popularity and get the larger attention they deserve. Aveo, like Carissa's Wierd, are jaw-droppers who have you stunned from the moment they strum the first note. They're going to be something special.
Speaking of Carissa's Wierd, co-vocalist Jenn Ghetto's solo project S is another stunner. She just might be Seattle's own Cat Power. Be sure to check her out January 13 at the Sit & Spin, when she plays with the amazing Magical Magicians, John Atkins' (764-HERO) other project, another one to pay attention to in 2001.
Enjoy.
