I was bummed when Seattle’s music community rallied around the Lesser-Seattle cause of saving the Showbox because I believe cities need the arts and their artists to be forces for progressive policy, not forces of obstruction.
Death Cab for Cutie singer Ben Gibbard emerged as the frontman of that parochial crusade, which prioritized nostalgia over housing and embraced the knee-jerk narrative that development is bad.
The housing/retail high rise that was supposed to replace the two-story Showbox would have generated more than $5 million for affordable housing in one fell swoop under the city’s new Mandatory Housing Affordability policy. It also would have provided hundreds of housing units in one of Seattle’s densest, most transit-rich neighborhoods.
I’m rehashing the Showbox issue because it turns out—judging from the unofficial, version of Death Cab for Cutie’s recent video, “Gold Rush,” (shot among cranes on Capitol Hill)—loopy nostalgia isn’t limited to one-off preservation crusades. If there was a Grammy for NIMBY politics, Death Cab would have it locked.
I don’t mean to be to hard on Gibbard. His explanation of the song on NPR was evocative and poetic. “The song is not a complaint about how things were better or anything like that…It’s an observation, but more about coming to terms with the passage of time and losing the people and the moments in my life all over again as I walk down a street that is now so unfamiliar.”
The fact is, Seattle is leading the way to undo the auto-centric development and land use policies that paved over paradise.
But at this tense and critical moment both nationally and in Seattle, where the populist inclination to be aggrieved by what’s “unfamiliar” can translate into harmful, exclusionary ideologies, it’s worth taking the politics of this local anthem to task.
I’m not exaggerating when I say “Gold Rush” is a NIMBY anthem. After lamenting how developers are tearing down his old haunts in favor profits and parking—“they keep digging it down/down so their cars/can live underground”—here’s the plaintive refrain:
“Change/Please don’t change/Stay/Stay the same”
When Gibbard uses parking as a trope to represent evil developers, he reveals that this song’s phoned-in politics are ill-informed. Sure, it worked for Joni Mitchell in 1970; back then, cities were, in fact, catering to cars with a set of messed-up priorities that we’re still trying to undo today.
The fact is, Seattle is leading the way to undo the auto-centric development and land use policies that paved over paradise.
Most notably, the city has tied the new development Gibbard deplores to reformed parking rules that dramatically reduce the amount of parking. Check it out: Between 2004 and 2017, the average number of parking stalls for each new apartment unit has actually decreased from 1.57 to 0.63—a 60 percent drop. And, according to the city, 30 percent of new apartment buildings have no parking at all.
In Capitol Hill, the setting for Death Cab’s mournful video, this progressive trend toward less parking might have something to do with all the groovy change that has come to the neighborhood: A light rail station opened on Broadway and John in 2016, the streetcar came online in 2015, and protected bike lanes on Broadway opened in 2014. None of this green infrastructure existed in the good old days, which are commemorated by an old gas station on the corner of Broadway & Pine. Meanwhile, hundreds of units of affordable housing are in the pipeline thanks to MHA and the new transit-oriented development blueprint for the neighborhood. One of the projects will have 308 units with no more than 20 parking stalls, or a maximum of one stall for every 15 units.
Certainly, Capitol Hill isn’t they gay enclave it was in the 1980s. But what hasn’t changed on Capitol Hill? There are tons of places—more than ever, it seems—for artists to play music and show their art. (There are even pizza places that stay open past 10:45 pm now!) Yes, it’s harder for artists to pay rent on Capitol Hill, but there are more opportunities for artists to be artists on Capitol Hill. And there’s a way to ensure artists can have housing in the city: By building more housing in the city.