Trying to find words is hard for me, a lot of the time. Today, it’s even harder.
Missy James was a longtime figure in Seattle’s underground literary, pottery, and music circles, and a mainstay of the tight-knit bohemian scene in Seattle’s remote South Park neighborhood. Her “artist’s product” business Fossil Fire, in which she made ceramics that looked just like fine chocolates, has been on the “Friends of MISCmedia” column on this page since ’09.
I’d first met her, bizarrely enough, through a national email list of fans of the author David Foster Wallace. I first met her in person at a local meetup of some of that group’s members. We quickly became good friends, as did most people who met her.
She was a major force in South Park’s art/music/party scene, a “world unto its own” the likes of which Seattle otherwise doesn’t have anymore. She was an occasional guest voice with drag-rocker Gnarlene Hall. She helped organize regular street and yard parties. She was a hockey fan, a cat lover, and a voice against injustice and stupidity.
But mostly she was a Presence. One of light and passion and sass.
So, when she finally learned she’d had a long undiagnosed cancer, she became furious. At the doctors who’d told her it was something else. At the world for thrusting this painful, brutal burden upon her.
But she fought back, for as long as she could (more than three years since her first surgeries), as fully as she could.
Then she went in to Overlake Hospital near Christmas. She went back in late January. She then spent several days at a hospice facility. Then her brother David, who’d flown down from Anchorage, picked her up and took her back to her home. She received visits from neighbors and friends until David announced on Facebook that she couldn’t take any more visitors for the time being.
That was last Saturday. She passed on early Tuesday morning, with a friend holding her hand all the time.
She did not go gentle into that good night. She raged, raged against the dying of the light.
May I be more like her.
Since most of my most loyal readers will have other things to do on Sunday afternoon, here’s some relatively timeless randomosity for whenever you log back in:
'i hate the 49ers' on facebook
(Note: This post’s title is a gag based on a song lyric. Californians never get the joke.)
Twice a year, I get to express out loud an opinion that usually attracts scorn and correctiveness from even my closest friends.
And this week, I get to really say it.
The excuse: The Seahawks’ upcoming battle in the National Football League’s playoff semifinals, against the arch rival 49ers.
The opinion: San Francisco is a land of pompous, arrogant snobs who falsely believe themselves to be the Supreme Species of the Universe.
Especially San Francisco’s “alternative” and “radical” scenes.
That’s a socially forbidden opinion there—and even, often, here.
All my life, I’ve heard people here insisting that Seattle was a “hick town” that needed to become “world class” by religiously copying everything in, from, and about San Francisco. Its restaurants and bars. Its bands. Its fashions. Its municipal political structure. Its architecture. Its media institutions. Its stores. Its strip clubs. Even its street crime.
To these “local boosters,” anything Seattleites created on their own was intrinsically inferior to anything swiped from or “inspired by” cultural dictates from down south. (This attitude was particularly strong during the ’70s and ’80s, when Seattle’s civic establishment was almost completely run by upscale baby boomers.)
Over the years, there’s also been a steady stream of promoters and hucksters from there moving up here, opening “authentic San Francisco style” hoity-toity clubs or boutiques, long on attitude and short on anything really interesting. When these enterprises failed, as they usually did, said hucksters bemoaned us Seattle hicks for failing to appreciate their genius.
To a true San Franciscan, there is only San Francisco, and maybe New York, and just-maybe-maybe Los Angeles. The rest of America is all Bumfuck, Iowa.
“But,” people invariably say, “what about all the bohemian rebels and counterculturists and Establishment-challengers from there?”
They can be even more annoyingly snooty than your basic San Franciscan annoying snoot.
And it’s an American tragedy, the way they’ve helped left-wing politics to get ensnarled with the most anti-populist, square-bashing sentiments, in which one is supposed to love “the people” and hate “the sap masses” at the same time. (I’m talking to you, Mr. Tom Tomorrow and Mr. Jello Biafra.)
I happen to believe progressive/revolutionary politics should be for everybody.
Even meat eaters. Even TV viewers. Even people who don’t drink lattes or listen to public radio.
Otherwise it’s just a worthless pose.
There’s now a book out by one Fred Turner, called From Counterculture to Cyberculture. It traces the twisted path of San Franciscan “liberation” ideology/hype, from the “flower power” wild-oats sowers, through the Whole Earth Catalog gang, to the early microcomputer startups, to Wired magazine’s founders, to the hyper-alpha guys (and too few gals) running today’s dot-com giants.
Turner traces how a particular strain of NoCal “personal freedom” beliefs mutated and metastasized into corporate-Libertarian selfishness.
The Harvard Business Review story about the book carries the telling title, “How Silicon Valley Became the Man.”
Right now in Frisco (an informal, anti-elitist abbreviation I always insist upon using), there’s a loud backlash against dot-com one-percenters taking over the whole city, forcing artists and musicians (and, oh yeah, non-white folks) out, and making annoyances of themselves with their big spending and boorish behavior.
Protesters and pundits forthrightly proclaim that this all runs counter to “The City” and its heritage of rugged individualists, rule breakers, and wild boys.
No. It’s a monster bastard child of that heritage, taken to a parasitical extreme.
So no, Danny Westneat and Knute Berger: I don’t share any “sense of inferiority to San Francisco.”
I treat it as an example of what Seattle should not become.
For the 28th consecutive year (really!), we proudly present the MISCmedia In/Out List, the most venerable (and only accurate) list of its kind in this and all other known solar systems. As always, this is a prediction of what will become hot and not-so-hot in the coming year, not necessarily what’s hot and not-so-hot now. If you believe everything hot now will just keep getting hotter, I’ve got some BlackBerry stock to sell you.
If you know the answers to some or all of these questions, then you stand a fighting chance at MOHAI Trivia.
This monthly “pub trivia” competition began in April 2012, as a way to help promote the Museum of History and Industry’s pending reopening in south Lake Union. It began at the Wurst Place restaurant/tavern on Westlake, near the old Naval Reserve armory where MOHAI moved that December.
It’s now has also branched out to other bars around town, where volunteer quizmasters offer “MOHAI rounds” as part of those locations’ weekly trivia contests.
But the monthly flagship event is still held at the Wurst Place (except during summer breaks).
And, since its inception, it has been dominated by one team of obscure-knowledge buffs.
Which happens to be the team I’m on.
The Decatur Cannonballs were organized by Jeff Long, a rare book dealer and a longtime Seattle history maven. The other members, all founts of obscure knowledge, are Long’s longtime friends Chris Middleton, Brian Doan, Bill Sandell, and Randall Fehr.
The team is named after a U.S. Navy “sloop of war” whose artillery fire helped end the Battle of Seattle, a one-day uprising by local native Americans against the new white settlement in 1856.
(On nights when some members were unable to attend, the remaining team members have used the alternate name Denny Hillbillies, after the hill that was leveled to create today’s Belltown.)
The Cannonballs won all of the first 11 MOHAI Trivia events. Sometimes they won handily; sometimes by a mere half point. Once, a tiebreaker question was needed to put them on top.
They aced “name the local building” photo questions, questions based on audio clips from movies filmed in Seattle, the origins of local place names, old political scandals, local celebrities, historic events, and sports teams. They beat as many as ten other teams on any given night.
Finally, in November of this year, a team arose to challenge the Cannonballs.
And two categories were found that stumped the Cannonballs. They were local hip hop and local Olympic athletes—both vital aspect of our recent cultural scene but both topics about which these 50ish Caucasian dudes were relatively ignorant.
That night the Cannonballs finally lost.
The previously undefeated champs took it all in stride.
After all, constant triumph without at least a few setbacks just isn’t the Seattle way.
Then the Cannonballs promptly won again in December.
MOHAI Trivia at the Wurst Place (510 Westlake Ave. N.) occurs the first Tuesday evening of every month, including Jan. 7. Neighborhood MOHAI Trivia events will resume in the new year following a holiday hiatus; check MOHAI.org for dates and locations.
(ANSWERS: Henry Yesler; zero; University Village; Ben Haggerty.)
(Cross-posted with City Living Seattle.)
I first knew Mike Vraney, the legendary Seattle rock promoter and home-video mogul, from the regulars at Time Travelers, a comic book store at Second and Pike that also stocked some of the first “punk rock” records. It was a nexus for the nascent “alternative” music scene in town.
He became one of the promoters (with Jim Lightfoot, Carlo Scandiuzzi, and Terry Morgan) who reopened the Showbox Theater for live rock shows in 1979. (The legendary big-band hall at First and Pike had, by then, become a Jewish bingo parlor.)
For two amazing years he helped to stage dozens of shows, all of them memorable, with both national (the Ramones, XTC, the Police, Devo) and local (the Blackouts, the Beakers, the Fags) acts. For that alone, he shaped my life and what would become known years later as “the Seattle scene.”
From there, he went on to manage such bands as the Dead Kennedys, TSOL, and Seattle’s own The Accused.
Then in 1990 he launched Something Weird Video.
At first, it was a simple operation. Vraney had unearthed a cache of nudie-cutie “loop” film reels at a swap meet. He sold VHS tapes of their contents.
Those tapes sold well enough that he put out tapes of other reels he and friends had collected over the years, and sought out similar “cult” films to release.
Early hardcore pornos; earlier softcore sex films (that had been driven out of the marketplace by hardcore pornos); indie horror and gore flicks; nudist-camp pseudo-documentaries; sci-fi “creature features;” gangster and spy capers; gruesome driver’s-ed classroom films; drive-in intermission promos; old beer commercials—almost no genre was too outré for Something Weird.
In these tapes’ packaging and promotion, Vraney effectively captured and updated the carney-barker showmanship of old sleaze cinema. His video boxes were printed in lurid colors that made them stand out on store shelves. Wherever available, he incorporated the films’ original advertising copy and poster art on his videocassette boxes, along with scads of text placing the films in the context of their original making and release.
Before long, Vraney was buying or leasing the rights to films by such schlockmeister auteurs as Harry Novak, David Friedman, Doris Wishman, Joe Sarno, Michael and Roberta Finley, and Herschell Gordon Lewis. (Vraney took his company’s name and logo from one of Lewis’s no-budget “classics.”)
He brought these films (which had originally only been screened in drive-ins and urban “grindhouse” cinemas) and their makers (who’d been mostly unknown, even to the films’ original viewers) to the attention of new generations of enthusiasts. The pop-rock band 10,000 Maniacs named itself after a film Vraney had reissued, Lewis’s 2,000 Maniacs.
When DVDs first came out, Vraney hit upon a two-pronged business strategy.
For “mainstream” markets (or at least as mainstream as Something Weird got), Vraney signed up with distributor Image Entertainment to place over 100 discs (mostly double features) in major retail chains. These “Special Edition” discs included trailers, shorts, and the films’ original posters and ad art.
He kept full control of the rest of his catalog (which by this time numbered in thousands of titles) for sale on DVD-R, through mail order and through specialty video stores.
As the DVD biz peaked and declined (he once told me he’d known DVD was done for when Tower Records, his biggest customer, folded), Vraney moved into downloads, streaming, and on-demand cable TV. He even set up a stock footage operation, licensing scenes from some of his videos (such as his compilations of old commercials and educational films) for documentaries.
In 2012 he co-produced That’s Sexploitation!, a documentary about the makers of old time nudie, softcore, and stag films. Even as he appeared at some of its festival screenings, he kept private what only family and close friends knew—that he’d been diagnosed with lung cancer.
The end apparently came quickly.
He leaves behind his wife and partner, artist Lisa Petrucci, and two now-adult children he’d had with his first wife Tammy Decroff (who had also died from cancer).
My ol’ pals Marlow Harris and Jo David would love your presence at an event they’re helping to promote.
It’s the Three Crowns New Year’s Eve Ball at the Swedish Club, 1920 Dexter Ave. N.
It features live and DJ music (including the Moonspinners, Easy Big Fella, Gravity Kinds, and the Spyrographs) in three separate rooms, and a Swedish pancake breakfast at 12:15; plus stunning Lake Union views. A smorgasbord-style buffet and no-host bars will also be on hand.
Discount advance tickets are, at this writing, still available at Brown Paper Tickets.
A long-delayed batch of randomosity (the first in more than a month) begins with the discovery of the newest local “mainstream microbrew.” Underachiever Lager appears to have begun as a promo vehicle for Tacoma designer-casual-wear company Imperial Motion, but is now being rolled out as its own thang in select local bars.
getty images via huffington post
My first thought: How could such a still-vital part of our musical heritage, one of the original proto-punks, be gone from us so soon?
My second thought: How did the writer of “Heroin” (almost a love song to the drug), then later of “The Power of Positive Drinking,” live this long?
My third thought: Back to the first thought.
I mourn the Comet Tavern for what it had been. The un-upscaled hippie hangout; the dive that remained a dive when most of the other dives in town cleaned up their acts. I don’t mourn what it had become—a hangout ruled by an oft-violent aggro gang called Hate City. (A good friend, a petite female, was once roughed up by bouncers there, badly.) Could any new owners make it an inviting place again?
We went on holiday to Spain and had a problem with the taxi drivers as they were all Spanish.
During our three-week-plus blogging absence, one of the events we failed to note was the demise of one of the unsung pop-culture greats, Samuel W. Petrucci. A logo and packaging designer, he worked on everything from the Charleston Chew candy wrapper to a Lassie lunch box. But he’s best known for the logo and box art on the original G.I. Joe dolls, often using himself as a model for Joe’s face. His daughter Lisa Petrucci is a prominent local “pop surrealist” painter and co-owner of Something Weird Video.