Amazon.com Widgets
via musicruinedmylife.blogspot.ca
The Fastbacks, the “Seattle Scene’s” most enduring band (and one of its most loveable), recorded lots of great cover songs (originally by the Raspberries, the Sweet, and even Sesame Street!) in addition to their many originals. Some of these were buried on “tribute” compilation CDs. Here’s a list of 17 such tunes, and a slightly longer but still incomplete list.
Elsewhere in randomosity:
There is no such thing as a private language. We speak in order to be heard, we write in order to be read. But words also speak through us and, sometimes, are as much a dissolution as an assertion of our identity.
ebay photos, via thestir.cafemom.com
jordan stead, seattlepi.com
collegehumor.com
joshua trujillo, seattlepi.com
messynessychic.com
Most of you know about the horrors inflicted on May 30, 2012.
About the crazed disgruntled customer who strode into Café Racer and shot five people, four of them fatally.
Who then got on a bus to downtown, where he killed a woman to steal her car.
Who then drove to West Seattle, where he killed himself as police closed in on him.
For a lot of people around the Seattle music, art, and nightlife scenes, it was a day of shock and devastation.
For me, it was just the start of the worst two weeks of my life.
•
While all the mourning was going on around me, I had a little birthday, gave one of my semiannual Costco Vanishing Seattle book signings, and visited the Georgetown Carnival. Racer owner Kurt Geissel was at the latter, essentially showing concerned friends that he was surviving.
It was there that I got the cell call from my brother.
My mother had gone into the hospital, for what would be the last time.
Two buses and two hours later, I was in Everett.
She had stayed un-sedated long enough for me to arrive and pay my respects, along with seven or eight of her closest friends.
An hour after that, she agreed to take the morphine.
She passed on 54 hours later.
She had always been there for me.
Now I was truly on my own.
It was, and continues to be, a struggle.
Only now am I beginning to get something of a life back together, thanks to the help of many of the same people who kept one another together after the Racer tragedy.
via theatlantic.com
quickmeme.com
ap via nbc news
While I’ve been busy doing whatever (looking for a new home, etc.), I missed a few big birthdays here in online-land.
Tim Berners-Lee opened the first public World Wide Web site on 4/30/93 at the CERN particle-physics lab in Switzerland. For the occasion, that site has been put back up at its original URL.
Berners-Lee was, and still is, an idealist. In the original CERN site’s documents, he described the WWW as something that could open up information to the masses.
Instead of “walled garden” online networks such as CompuServe, Prodigy, and the original AOL, the Web would be open to all comers and contributors. Anybody could put anything on, or receive anything from, it.
This ultimate “disruptive technology,” creator of LOLcat memes and destroyer of newspapers, record labels, and middle-class livelihoods, got its start with the most noble of intentions.
(Just like many a mad-scientist-movie experiment.)
By pure coincidence, the first issue of Wired magazine was out that same month.
From the start, it was intended to be a lot more important than a mere buying guide to PC gear. It was to chronicle tech as the biggest economic, societal, and even ideological movement of our time.
It posited loudmouth, alpha-male San Franciscan Libertarians as the Voice of the Future. It sneered at governments, residents of “Tired” locales (France, Manhattan, Seattle), and people who dared to think about the well-being of others as backward-thinking parasites.
In the world according to the early Wired, CEOs were the new rock stars, even the new royalty. No social or environmental issue could be discussed in its pages, unless there was a potential solution that would also enrich (or at least never inconvenience) big business.
In the end, the bosses and bosses’ lackeys Wired worshipped got most of their way.
And as cyber-critic Jason Lanier notes, the 99 Percent are still trying to pick up the pieces.
That same week 10 years later, Apple launched the first version of the iTunes Store.
The iTunes application had been around since 2001, when Apple bought and revamped a third-party program called SoundJam MP.
Steve Jobs had identified music (and eventually general media) playback as a technology in which Apple had to lead, for the sake of the company’s survival. Otherwise, Windows-only applications and file formats (remember WinAmp?) would shut out Mac users, threatening Apple’s presence in home environments. By making iTunes, and making a Windows version of it, Jobs and co. stayed in the home-computer game.
Two years later, Windows Media-only file protection schemes were threatening to put a lock on “legal” (commercial) music downloads. Again, the Mac and its users would be shut out. Apple’s response not only had to be Windows-compatible, it had to dominate the market on both platforms.
The iTunes Store did that, and more.
Its stand-alone hardware adjuct, the iPod, quickly dominated the new market of portable digital music machines.
And along the way, iTunes allegedly “killed the old music industry.”
(Of course, many of us felt the old music industry had deserved to die, but that’s not the point here.)
But now, the notion of music downloads seems as archaic as the notion of buying music on little compact discs.
The big hype these days is for streaming music subscriptions, a field which Apple has yet to enter.
Yet through all these industry changes, one thing remains constant.
Most recording artists themselves still get the fiscal shaft.
'every driver every time it ever rains ever'
slate
junkee.com
neil hubbard via cousearem.wordpress.com
tom banse via kplu
networkawesome.com
seatacmedia.org
Earlier this year, KUOW and MOHAI came up with a list of 25 “objects that tell Seattle’s story.”
They range from the obvious (a Boeing B-17, a poster announcing the Japanese-American internment, a Starbucks coffee cup) to the more obscure (an ancient, giant ground sloth).
A little more recently, SeattlePI.com ran a list of “25 things we miss in Seattle.”
These also ranged from the truly famous (the Lusty Lady sign, Frederick & Nelson’s window displays) to the lesser known (the Woodland Park Zoo’s nocturnal-creatures exhibit).
I’ve got my own list of Seattle pop culture icons. All of them are things I’ve personally seen or owned.
And yes, there are 25 of them. (Why break a routine that works?)
In no particular order, they are:
via cartoonresearch.com
Lots of people love and remember View-Master 3D photo reels, including those involving dolls based on cartoon characters.
Not many people realize View-Master was invented, and based for the longest time, in Portland.
View-Master’s expertise in making cartoon models and settings was the real basis for the Portland stop-motion animation tradition of Will Vinton (The California Raisins) and Laika Films (Coraline, ParaNorman).
Success Story, a documentary series made by KING-TV and its Portland sister station KGW-TV, produced a live half-hour tour of the View-Master studio and factory in 1960.
A kinescope film of the telecast made its way onto the collector circuit. It’s now been posted online by animation historian, scholar, and restorer Jerry Beck.
The factory was the site of an eco-scandal much later. Drinking water at the plant came from the company’s own supply well, on the factory site. Years later, that well was found to be contaminated with residues from processing chemicals (mostly an industrial solvent). Perhaps 1,000 employees over the years received long-term exposure to the tainted water. The factory closed in 2001; the site’s supposed to be all cleaned up now.
miyavik.deviantart.com, via sodahead.com
Acoustic/emo/neo-folk/whatever singer-songwriter John Roderick has helped bring back an old tradition at the again-locally-owned Seattle Weekly.
In the heritage of such long-remembered Weekly cover stories as “Should Gays Act ‘Gay’?” and “Is ‘Grunge’ Too White?”, Roderick has crafted the zeitgeist-challenging manifesto “Punk Rock Is Bullshit.”
Before we get into the critique of his critique, let’s let his critique speak for itself a little:
Ultimately, punk rock was a disease of the soul, a doctrine of projecting and amplifying feelings of insecurity and fear outward and inward until the whole world seemed like an ice cave. It wasn’t necessary to judge every new piece of art against unwinnable criteria, or ourselves against imaginary standards of altruistic correctness. It wasn’t preordained that fun, lighthearted inspiration was shallow or contemptible; nor was it true that everything sucked, that life sucked, or that the world sucked. Successful art isn’t always garbage, and lazy, shitty art isn’t always teaching us something.
That’s harsh. (Or, in the made-up “glossary of grunge” published by an ignorant NY Times, “Harsh Realm.”)
Did an entire neo-bohemian generation really let itself be suckered into something this terrible?
Well, no.
“Punk rock” meant many different things to many different people.
To some, it was simply the continuation of dirt metal, stripped down for greater immediacy.
To others, it was a movement to strip rock n’ roll back to its garage rock (if not its R&B) roots.
And yes, to some it was an excuse for drinking, drugging, vandalism, and other unhealthy behaviors.
Calvin Johnson famously redefined punk broadly enough to include innocent teenage love songs—just as long as they were created and distributed in adherence to a strict “indie” ideology.
That was a near-exact opposite of Sex Pistols manager Malcolm McLaren’s “cash from chaos” motto, which involved staging scandalous events for maximum publicity (and commercial) value.
Yeah, there were punks who got all self- (and other-) destructive.
But there were also punks who took the DIY ethos seriously, who built venues and labels and movements.
Punk was/is big enough to include skinheads and longhairs; junkies and straight-edgers; riot grrrls and Suicide Girls®; vegans and 7-Eleven fans; born-again Christians and neo-pagans and devout nihilists and even a few Jews.
But, for argument’s sake (and what punk rocker doesn’t like a good argument?), let’s say there’s one particular strain of punk ideology that (1) makes kids believe (for the rest of their lives) that everything completely sucks, and (2) prevents them from doing a damn thing to improve their lives or their world.
It wouldn’t be “punk rock,” whatever that is (see above), that does that.
It’s something within them that does that.
Call it a mental/psychological condition, if you will, with “punk rock” as a thin excuse smeared on top.
As ex-Funhouse bar owner Brian Foss said in response to Roderick,
In my life I’ve always seen joiners, people who need some kind of rule book to live by. Be it religion, or politics, or sports/D&D, or yes, music scenes, some people have little imagination. I’ve also seen people take inspiration and make up their own shit from whatever culture they were exposed to. Something to prime the pump, jump start their own creations.
In my life I’ve always seen joiners, people who need some kind of rule book to live by. Be it religion, or politics, or sports/D&D, or yes, music scenes, some people have little imagination.
I’ve also seen people take inspiration and make up their own shit from whatever culture they were exposed to. Something to prime the pump, jump start their own creations.
Other responses: Megan Seling noting how punk wasn’t intended to defeat Reaganism but help people survive it; Grant Cogswell seeing it as a natural response to the media-conglomerate controlled pre-Internet culture.