Sunday, October 26, 2014

The Whatcom Jazz Music Arts Center: New York Saxophonist Eric Alexander and Pianist David Hazeltine with Michael Glynn and Julian MacDonough - Sunday, October 26, 2014






The Whatcom Jazz Music Arts Center: New York Saxophonist Eric Alexander and Pianist David Hazeltine with Michael Glynn and Julian MacDonough

Sunday, October 26, 2014


Downstairs at the Majestic on North Forest is the elegant new space for The Whatcom Jazz Music Arts Center (WJMAC), a project under the guidance of Bellingham drummer, Julian MacDonough. The Center is set up as an all ages, non-profit (much needed) performance space for local and national jazz acts. In addition, there will also be weekly jazz instruction and education by Bellingham jazz musicians. This is a welcome development for jazz performance and education in Bellingham and deserves the widest community support. More information about upcoming events and membership can be found at wjmac.org

Julian tells us the event today is a “soft opening”. What better way to break in the new space than with saxophonist Eric Alexander, pianist David Hazeltine, Michael Glynn on bass and Julian on drums. They start things off with “Blues for David” a lively upbeat interpretation of a tune by pianist Buddy Montgomery. The room, which seats about 100, is intimate and open. The sound is excellent. Alexander and Hazeltine, who are touring together, are well complemented by the tight rhythmic backing of Glynn and MacDonough.

Next up is the standard “Sweet and Lovely.” Alexander peels off lush rolls from his sax as Hazeltine compliments with rich counterpoint. The saxophone starts off front and center but the piano keeps commenting until it steps in. Likewise, Michael Glynn lays down the bones of the bass in subtle rearrangements as Julian marks the time in complex percussive phrases.

Alexander says the next tune will “hopefully transport you out of this rainy day”. It is “The Island” by Brazilian jazz artist Ivan Lins. Alexander’s playing on this piece reminds me of Ben Webster in the manner in which he is taking a basically upbeat melody line and infusing it with a latent ache of sorrow and longing. A beautiful piece.

Alexander steps away for the trio to perform. Hazeltine’s piano playing unfolds the melody, opening up hidden complexities and, at the same time, playfully exploring the flexibility of the music. Each musician takes obvious delight in the reaction, response, and reiteration of each other’s performance. Glynn’s playing is a thing of sweet bass beauty. Phrase and counter-phrase breaking down and restructuring the possibilities of a song, building fractal architectures in the mind.

Next up is a tune by Chicago saxophonist, Eddie Harris. Ultra-cool and smooth, Alexander’s playing is so on the beam, as controlled as Miles Davis, then spiraling out Coltrane-esque but contained in the limits of the song. Hazeltine’s playing on this piece is percussive with lightning fast runs.

The last song, Eric tells us after a quick conference with the other musicians, reflects an understanding of jazz as having an illusion of polish on the outside while the interior is completely helter-skelter. What follows is a beautiful crazy sax and drum exchange. Soaring saxophone trills and dynamic percussive breaks. Moments of balanced silence when you fear it might all fall apart - an acrobat spinning in the air with no net - and the graceful accomplished recovery of the dynamic Pulse of the song. Julian’s drum solo here is outstanding: eerily melodic and expressive.

There is a standing ovation. It is just pure joy to hear music performed at with such passion and skill. I look forward with great anticipation to the grand opening of the space with Seattle trumpeter Thomas Marriott and saxophonist Mark Taylor pianist Tony Foster bassist Michael Glynn and drummer Julian MacDonough on Wednesday November 5th. Highly recommended.



Sunday, October 12, 2014

Gallowglass: Traditional Irish Music from the Marrow of their Souls


Gallowglass - Terra - December 8. 2014


Some weeks it seems that wherever there is great music happening, Jan Peters is there. He is either helping out at one of Julian MacDonough’s Jazz shows at the Majestic, performing with Peadar Macmahon at Irish Night Mondays at The Star Club, hosting a Tuesday Night Open Mic there or happily playing along with Robert Blake or Hot Damn Scandal at Boundary Bay or the Green Frog. Jan lives and breathes music and his passion is evident in how involved and supportive he is of the Bellingham Music community. Recently, he has a new band, Gallowglass, that was formed out of a passion for Irish Traditional Music.

Along with Peters, the other musicians in Gallowglass are some of the most talented in Bellingham, most also members of the other popular bands in town: Devilly Brothers, Giant’s Causeway, Snug Harbor, Robert Blake and the Put It All Down in A Letters. It is testimony to their devotion to Irish Traditional music that they gathered together to form Gallowglass.

Several years ago, Jan met Britt Keeton, a talented fiddle player, at the Subdued Stringband Jamboree and they performed a few Irish songs together. About a year later, as Jan was walking around Fairhaven, he says, “I heard a beautiful sound.  It was a gorgeous tune being played on a fiddle.  I followed the sound and there was Brit Keeton busking on her own. I was so happy to see her and was really impressed with her playing.” They each began to consider the possibilities of forming a band.

Not long after, Jan became aware of how strong the Irish music community was here in Bellingham, much to the credit of Cayley Schmid, of Polecat. Cayley also organizes the Bellingham Ceili Club, a monthly meeting of local musicians to play traditional Irish Tunes. It was through the Ceili Club and Giant’s Causeway that Jan met Zach Bauman, who plays the guitar and mandolin. Bellingham being the tightly knit community that it is, Zach and Britt were also part of the outstanding local acoustic traditional band, The Devilly Brothers. Jan says, “It wasn't long before we realized we shared something in terms of a sound we all loved and wanted more in our lives.”

The three of them began meeting about once a week to play songs. They were soon joined by David Pender Lofgren on drums and the Irish Bodhran, a traditional Irish hand drum. David also performs with Snug Harbor, Robert Blake and the Put It All Down in A Letters and the Giant’s Causeway.  When David wasn’t available, Steven Tate, another talented local percussionist, joins in.

A strong commitment to the music is evident in how well rehearsed they are and how steadily the perform around town and county. They are booked two to three times a month out at Semiahomoo in Packer’s Oyster Bar. And they also perform regularly around town at Star Club, Honey Moon, and Green Frog.

At a recent show at The Conway Muse, Gallowglass began with the beautiful sorrowful Cuckoo's Nest moving gracefully into the Flower's of Edinburgh through the Blackberry Blossom and Follow Me Up to Carlow and others to finish the set with the Hare’s Lament. Britt’s fiddle often begins a new tune, the melancholy strings singing in solo until the other musician’s steadily  join in. Zach and Jan compliment each other as if they have been playing together all of their lives. And the dual percussion from David and Steven is outstanding. There is a palpable sense of the joy that each of the musicians radiates in performing this music as an act of love.

This is aptly summed up in something Jan tells me later: “sometimes I play a tune, one tune, for hours, over and over.  Little by little, there is a language - if you know how to listen for it - wherein how to vary and express the piece reveals itself to you. I'll not likely ever be someone profoundly accomplished or knowledgable with this music. But I know how it makes me feel, what it brings out in me. I know if I can take what material I can play into my marrows, it will be part of who I am as a musician and as a human being, always.”

And that, essentially, is Gallowglass as a band: taking the music, the beautiful beast of Irish Traditional music, taking it down into the marrow of their souls and performing it as an exquisite moment risen from the depths of time and brought forth as a bright new wonder for the fortunate audience to experience.





Gallowglass at The Conway Muse 

Sunday Oct 12


There is something simultaneously joyful and beautifully sad about Traditional Irish Music. Here in the well-worn tavern interior of the Conway Muse, listening to Gallowglass perform on a rainy evening, I can feel the spirit of the music making me want either dance like a fool or drink myself under the bar like one. There is a full range of generations here from dancing children to young couples to boisterous tables of older folk. With a little imagination, you can fall back a hundred years or so. The music of Gallowglass takes you back to an earlier age where the ache of the fiddle, beat of the bodhrán, the chime of mandolin and guitar, were all the entertainment you wanted in your life.

The music begins with Britt Keeton on fiddle slightly mournful but circling around into a lively jig as Jan Peters chimes in on bouzouki, adding sweet layers of sound. This is followed by Zach Bauman echoing and elaborating on the melody with a mandolin. The music steadily gaining momentum and weight as David Pender Loftgren knocks out beats on the bodhran and Steven Tate plays grace note percussion. All of these songs seem like I have heard them all my life. The DNA of their melodies down in the roots of Western music. Gallowglass shifts effortlessly from the time signature of Morrison’s jig to The Drunken Landlady reel. Following it with Boys of Bluehill and Longford Weaver. At times, Peters accompanies with a harmonica, somehow making it sound like a button box accordion or Uilleann Bagpipes. The music circles and passes like a merry-go-round, each of the musicians moving out to the edge and then stepping back into the center.

Listening to Gallowglass perform, there is no denying the passion and dedication each of these musicians has for traditional music. Not as an archaic form but as a present and living thing. This is music to dance to, sing to, drink and think to. Go see them and may God hold you in the palm of his hand.

Sunday, February 2, 2014

The Bureau of Historical Investigation



Since 2011, The Good Time Girls have been offering their entertaining and enlightening historical tours of Bellingham and Fairhaven. Each season, the Sin & Gin and Gore & Lore tours have been increasingly popular. It seems only natural that they should now have a brick and mortar presence. 

Located at 217 West Holly Street, in what is becoming the most interesting block in downtown - with Film is Truth, Senate Smoke Shop, Goat Mountain Pizza and the Comics Place - The Bureau of Historical Investigation is everything you would expect from the Good Time Girls: intelligent, passionate and beautiful with a wicked sense of humor. 

Walking into the Bureau is like stepping into a Bellingham Wunderkammer, a Living Cabinet of Historical Curiosities, filled with an elegant selection of art, jewelry, soaps, fragrances, books, prints, furniture, objects d'art and local curiosa. There is a lovely curated quality to everything - you sense each and every item was chosen with care and consideration to showcase only the most fascinating and interesting aspects of Bellingham. And everything is reasonably priced. 

If the city of Bellingham is seen as the living museum through which The Good Time Girls guide us, The Bureau of Historical Investigation is the gift shop for the city. 

The Bureau has only just opened but I imagine in the future if you were searching for a unicorn horn, clockwork automata, a photograph taken before 1826, clothing made from hummingbird's nest or fairy skeletons, you would be able to find them here. 


Historical Prints -
Bottom Left: A UFO Over A Flaming City

Stereoscopic Viewer with Cards

An Excellent Selection of Local History Books

A bookcase of the Essentials:
Strong Drinks, Strong Women & Well-Written History

Fragrances Created to Evoke
Nostalgic Memories of Particular Cities

Madame Scodioli Soaps and Perfumes

Bureau of Historical Investigation Postcards
Note the Attention to Every Detail:
Handwritten and Stamped Receipts

The Bureau of Historical Investigation is currently open 
Thursday through Sunday from 11 a.m. to 6 p.m.. 

For more information:





Thursday, January 30, 2014

9 Curious Notes on the History of Lake Padden




1. There is a man who walks around the lake with a notebook full of the bones of poems. He has memorized all of the bones. As he walks, he recites them all back to himself, watching for omissions, slips, substitutions, failures. The memorized bones of these poems are like thousands of canaries singing in the depths of his mind. At that moment his memory begins to fail, each of the canaries will suddenly stop singing and die. Then, he knows, there will be nothing left to do but get out of his mind as quickly as possible.

2. "March 6, 1880: Michael Padden, residing a few miles from Whatcom, was on Saturday, the sixth, shot dead by a little son of Thomas Clark, at the instance of the boy's mother.

The circumstances of the tragic affair are briefly reported to be about as follows: The Paddens and Clarks, being close neighbors quarreled over the ownership of a small tract of land, which each claimed was within their lines. To settle the matter the land was surveyed not long ago; at the instance of either or both parties we believe was decided to belong to Padden, but the Clarks still lay claim to it.

On Saturday Mr. Padden with his father-in-law Connelly, went out to fence in the tract in dispute. Mr. Clark being away from home to work at the Seattle Coal Mine, Mrs. Clark, accompanied by her little boy, aged about 10 years, with a loaded shotgun, went out to expostulate with and warn of Padden who would not desist. Hot words followed, and Mrs. Clark requested her son to shoot, which he did, killing Padden instantly.

The boy and his mother are under arrest to appear at the next term of court at La Connor. Mr. Padden, the victim of this tragedy, has long been a resident of the Sound. At one time he was foreman of the B. B. coal mine and more recently connected with the Talbot mine at Seattle, and after the collapse of that mine, in which he was part owner some three years ago, he returned to his homestead near Whatcom with his family, where he resided up to the time of his death." - Padden Family Notes




3. The Lake reminds him another Lake, the one where he was raised. There was a man who lived at the Lake who taught him how to catch fish. He also taught him how to wait with full attention. And he also taught him how to clean the fish, to separate the meat from the bones.

4. "Michael PADDEN was born in Ireland about 1840, the son of Michael and Mary (CARBIN) PADDEN. Michael died 8 Mar 1880 in Fairhaven, Whatcom, W. T. and was buried in Lake View Cemetery in Seattle, WA; shot and killed by a neighbor during an argument over a fence line. He came to Happy Valley in 1870 and filed on his homestead 22 Nov 1873. He discovered the lake which is known as Lake Padden. Michael married Anna CONNELLY 2 Nov 1877 in Bellingham, WA. She was born 4 Dec 1857 in Ireland and died August 30, 1926 in Bellingham, WA. She was the daughter of Edward Michael CONNELLY and Bridget DOLLY and is buried in Bay View Cemetery, Bellingham, WA. Michael's father, Michael PADDEN, Sr. and three brothers, Thomas, James, and Dominic, came out from Pennsylvania in the latter part of 1866. They took a sailing vessel from Philadelphia to Panama, crossed the isthmus and took another sailing ship to San Francisco, CA, then to Portland, OR and later to Vancouver, WA, where Michael PADDEN acquired 160 acres of land. They had heard out in Pennsylvania that coal had been discovered in the Washington Territory so they headed West." Michael Padden Family




5. One day, I am sure, the man will just keep walking. Already, he forgets where he is, how far he has gone, where he started and where he was going to end. He walks around and around, stopping now and then to check his memory against the notebook. Standing there in the middle of the path, eyes closed, remembering it all correctly. Closing the book, closing his eyes. The rain falls from the trees. Fragments of Shakespeare thread through the leaves.

6. "Lake Padden is located east of Interstate 5 on the south side of Bellingham, Washington. The outflow of the lake drains into Padden Creek and is controlled by a small concrete dam. Development within the watershed mcludes a golf course and dog park on the eastern edge of the lake, a swimming beach and park on the north, a boat launch, three public docks, and residential development in the northern watershed. There are no nearshore homes. Recreation on the lake includes walking, hiking, swimming, and fishing for annually stocked rainbow trout (Oncorhynchus mykiss) and fry plants of lokanee (O. nerka) and cutthroat trout (O. clarkii) (WDFW Fish Program, 2008). Residents have expressed concern about possible deterioration of the lake's water quality and intense algal blooms in the fall.

The bedrock of the Lake Padden basin is made of massive sandstone with interbedded conglomerate and siltstone (Huntting, et al., 1961). The soils are a mixture of loam and silt loam on rough mountainous land with moderate to steep slopes (Poulson and Flannery, 1953).

Water input into Lake Padden is a combination of direct precipitation, surface water runoff via tributaries and unconfined flow, and groundwater seepage. Three unnamed intermittent tributaries drain the eastern watershed, these tributaries are normally dry during summer months. Surface water from the northwestern portion of the watershed have largely been diverted through a culvert to Padden Creek. During high runoff events, overflows from this system enter the lake through a submerged pipe at the northwest corner of the lake."  - Lake Padden Water Quality Monitoring Project June–December 2011 Final Report PDF



7. There a few faint paths that lead off the main trails. He often stops before them. They seem to lead nowhere. A fallen tree. The stump, a broken column, fragments of a temple. He shakes his head. Angry. Frustrated at the traces left of his sad education. He stares in the direction of the pathless path. Wills himself to not be haunted by the ghosts of columns or temples. As he stands there, he realizes the boots he found in the storeroom, the almost new boots that fit so well, that one of them must have a hole in its sole. He walks on, singing this bit of nonsense under his breath.

8. "A decline in the available water supply in Lake Whatcom as a result of climate change impacts would require that Bellingham residents reduce their water usage. Water quantity, however, will not be the only issue facing the citizens of Bellingham as water quality will also continue to be an issue of concern. There is already heavy development and human usage along the west and north sides of Lake Whatcom. As of 2007, the population of the Lake Whatcom watershed was roughly 15,000 people or 6,500 homes. In 1998, Lake Whatcom water quality failed to meet state dissolved oxygen standards and was placed on Washington’s 303(d) list of polluted waters. In addition to the lake failing to meet dissolved oxygen standards due to phosphorus loading, 11 of Lake Whatcom’s tributary streams failed to meet state water quality standards for fecal coliform bacteria. In response to this listing, a Total Maximum Daily Load (TMDL) study was completed by DOE to determine the amount of phosphorus and fecal coliform reduction needed to return the lake to acceptable water quality standards. Currently there are 91 water bodies in Whatcom County on the 303(d) list as impaired. The pollutant of highest concern in both Whatcom County’s freshwater and marine ecosystems is fecal coliform bacteria." - Forest and Water Climate Adaptation: A Plan for Whatcom County, WA PDF

9. Everyone that passes him seems so bright and shining and full of colors and loud sound. He just wants to become quieter and unnoticable, a pile of leaves, a cluster of roots, a pile of wet bones beneath the ferns.

Map of Lake Padden and Trails PDF


Friday, March 22, 2013

Anais Mitchell and Jefferson Hamer – Green Frog – Friday, March 22nd, 2013




Anais Mitchell and Jefferson Hamer at The Green Frog

Friday, March 22nd

A standing room only crowd at the Green Frog, silent, reverent, anticipatory. On stage, opener Misty Flowers is in the middle of a plaintive haiku set, six string meditations echoing Joni Mitchell, an almost spiritual presence for the evening.

James Hardesty introduces two of his most favorite performers, Anais Mitchell and Jefferson Hamer. Unassuming and natural onstage, they begin with a song from their recently released CD, Child Ballads. What strikes one immediately is Anais’ voice: unique in timbre and tone, paradoxically delicate and strong, a thing beautiful and ancient, what you imagine the seer Cassandra to have sounded like. Jefferson harmonizes around Anais, at times in an even higher register, then right there beside her. Together they enrapture the crowd into a religious silence. Their musical compatibility reminds me of Gillian Welch and David Rawlings, singing inside each other wounds and laughter.

The Child Ballads are from a collection of traditional English and Scottish popular folk ballads from the Francis James Child collection. Anais and Jefferson adapted seven of them for two guitars. The result is haunting and sublime. Their guitars braid melodic lines through each other; unusual tunings evoking English Renaissance compositions; images of stone taverns on dark nights; these ballads having been spun out of ancient myth and legend.

In between each song, Jefferson sets the theme of the ballad for the crowd, telling about witches and jealous mothers, curses and wax babies, sister maidens beguiling young travelers, sailing ships and lost loves. All the characters seem simultaneously strange and familiar. Ghosts from fairy tales and archetypes from dreams.

They break from the Child Ballads to play a handful of their own songs, Jefferson playing his elegiac, The Ragged World We Spanned, building it before the crowd like a quiet cathedral: “We set out for allegory on a ship of the damned.” And Anais played the stunning, Young Man in America:

There's a hollow in my bones
Make me cry and carry on
Make the foam fly from my tongue
Make me want what I want
Another wayward son
Waiting on oblivion

After hearing the Child Ballads, much of the imagery of their earlier work is more accessible, the traditional songs providing a thematic bridge back into each of their catalogues. Young Man in America feels less disquieting and more familiar, the language suddenly translated through the new/old context.

The crowd, now a true audience - all of us - is deeply appreciative and respectful. It is one of those shows that marries performer to space in the most harmonious manner possible. Anais and Jefferson return for an a cappella encore, standing off to the side of the microphones, singing together, purely, quietly and intimately. The music dances there amidst the hushed presence of the room, reminding us all of  why it exists in the first place.






This review originally appeared in What's Up!



Sunday, January 13, 2013

Zach Zinn at the Cavity Club: A Human Wire Suspension Masterpiece - January 13, 2012




Zach Zinn at the Cavity Club: A Human Wire Suspension Masterpiece

January 13, 2012



An invitation to a new club. More like a burned-out house off of Texas Street. Set-up in the basement. Only Zach Zinn would play a gig like this. I walk in and am drowned in consecutive waves of thick incense and disturbing ambient sound. There are a few signs leading you through the house and down into the basement where there are about 30 people standing around – everyone looking like they are ready to run. Electric weird vibe. Dark anticipation. The odor of humans starting to worry. Across the room is a black plastic sheet. The occasional shudder as those working behind it move around. 15 minutes pass. A few people wander away. Then the ambient music stops and a girl comes out to pull the black plastic down from where it was nailed into the ceiling. And everyone has a hard time figuring out what exactly is it that they are seeing there on the other side.

At first, it looks like Zach Zinn is floating there in mid-air like some sort of absent magician’s trick. But then, you see that he is suspended by a multitude of wires which are hooked into his body. Tiny rivulets of blood trickle over his skin. After an initial inward gasp, a collective murmuring of concern starts to rise in volume. Zach slowly raises and arm and plucks one of the strings. A deep bass note trembles through the room. The crowd shuts up. Then he plucks another string and another until each is resonating and rising through manipulated tonalities, fading over long moments, swirling like water down a drain, suddenly going quiet, always a distant thunder sounding. Zach twists in obvious pain to reach some of the strings. And it dawns on me that he has made himself into a human stringed instrument and he is playing an ambient adagio of his own pain. It is brilliant and disturbing and no one could stop watching and listening for the duration of the 45 minute performance.

It is a rare artist that is willing to endure such agony for their own creation. I bow down to Zach Zinn and his willingness to push the boundaries and show the world something that has not been witnessed before.



Originally appeared in What's Up! Magazine

Saturday, October 27, 2012

Good Time Girls Gore and Lore Tour – Bellingham – October 27th, 2012


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Good Time Girls Gore and Lore Tour – Bellingham

October 27th, 2012


The appropriately dark and stormy night begins in the radiator warmth of the Black Drop Coffee House, the air redolent with beautiful coffee aroma. 17 stalwart souls have gathered to take the Good Time Girls Gore and Lore Tour of downtown Bellingham. Our Virgil for the evening is the lovely “Francine” (a.k.a. Jane Burleigh), dressed in 1930s attire clothing, who informs us that she perished under one of the local streetcars before “people catchers” were installed. Each of us is given a newspaper style handout full of murder stories and macabre details.

Then Francine introduces Chuck Crooks from B.O.O.O. or Bellingham Observers of the Odd and Obscure. Chuck plays a few E.V.P. (electronic voice phenomenon) recordings from when members of B.O.O.O. were investigating Bayview Cemetery. In one, you can hear some people talking and then an eerie breathy voice saying: “I keep myself awake as long as I can.” I look around at the skeptical faces and note just the tiniest bit of freak-out as Chuck plays it back for us a few times.

Francine leads us out into the elements, down the rainy streets to the Old City Hall building. After a bit of Bellingham history, she shows us where the entrance to the basement jail once was, just beneath the Mayor’s office. A reputed story goes, she says, that one night they arrested a strange man, presumed to be intoxicated, and placed him in a cell by himself. The next morning they came in to discover a painting of Leonardo’s Last Supper on the walls… painted in the man’s blood. Nice.

Just next door at the old Fire Department, Francine directs our attention to Bellingham Towers and cheerfully told us about how in April of 1929 the fireman witnessed a man, despondent over stock market losses, commit suicide by jumping from the upper floors. I enjoyed how she added that the fireman responded, you know, to go “clean up the mess.”

We then walk down to the corner in front of Old Town Café, where Francine informs, with evocative photographs that we pass around, that there was once a Funeral Home in this location. She provides an entertaining history of embalming and makes certain that we note the presence of the woman in the picture. Necessary, she says, to prepare the female corpses with propriety. We walk a down the street a bit, almost to the front of Old Town, where we are told about an assortment of ghostly occurrences, from plates levitating to the persistent odor of smoke at certain times of the day.

We are now only about halfway through the hour-long tour. I look around at the other members of the tour and can see that all of them are intensely caught up in the weird, the gore and lore, of Bellingham. No one seems to mind the rain. If anything, it adds to the atmosphere. It is a wonderful to be led around by an informative and entertaining guide through the city and stand immersed within its history. I am tempted to recount all of the fascinating dark history that I was shown that night, but I will leave that to the Good Time Girls. Suffice it to say, that gore got gorier and the lore even more interesting.

The Good Time Girls offer a variety of historical activities throughout the year here in Bellingham: most notably, the Sin and Gin tour, exploring the colorful history of brothels in the early days of the city. Each of these now also has a Fairhaven version, which has gotten high praise. They also produce Wild West Variety shows, involve themselves in a many charitable shows and have an enchanting Victorian Christmas Caroling tour in December. I have only the highest recommendations for all of their productions. The Good Time Girls bring the lesser known, but far more interesting, aspects of our local history to vivid life and, by doing this, help to create a richer character of the city that we all live within. The local schools and colleges should take note and start incorporating GTG tours into their curriculum. They make history fun, exciting and… yes, very sexy.

Update: Please check out the Bureau of Historical Investigation for more information

Related on Bellingham Reviews:

Bureau of Historical Investigation
Bayview Cemetery
Washington State Archives

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