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OF DESPERATE TIMES AND VISUAL VOCABULARIES
Jul 24th, 2015 by Clark Humphrey

desperate times cover

I know I’ve been taking however many of you are reading this back to memory lane a lot lately. But indulge me a few more times, please, including this time.

This time, it’s back to a weekend day in June 1981.

I went straight from my UW commencement ceremony, still possessing my cap and gown, and went to a planning meeting in a Wallingford rental house.

Also there were Daina Darzin, Maire Masco, and Dennis White.

We were starting a punk rock zine, to overcome what we all thought was The Rocket’s excessive commercialism. (Yeah, I know.)

The result was called Desperate Times.

It lasted for six tabloid issues, before Darzin effectively ended it by returning to New York, where she’d previously lived.

(And yes, like so many New Yorkers, she absolutely KNEW how everyone ought to think and behave. And if they thought or behaved in a non-New Yorkish way, then that thought or behavior automatically sucked.)

I had at least one piece in each of the six issues. The most affecting, albeit in a very indirect way, was in the first issue. I asked readers to write in mentioning the band they hated the most. (A cheap “comment bait” trick, it would now be called.)

It got a response all right.

That response came from one Mark McLaughlin, then a student at Bellevue Christian High School. He wrote that he loved the simple repetitive music of Philip Glass, and hated Mr. Epp and the Calculations. (“Pure grunge. Pure shit.”)

This, I continue to insist, was the first documented use of that six-letter word to describe a Seattle punk band.

And it was the first print mention of Mr. Epp, McLaughlin’s own band (of course).

One night shortly after that, Masco found McLaughlin on the streets downtown, pasting up flyers for a fictional gig by Mr. Epp, which at the time was mostly a fictional band (named after a favorite math teacher). Masco persuaded McLaughlin to stage real gigs.

For the next three nearly three years, Darren “Mor-X” Morray, Jeff “Jo Smitty” Smith, and Mark “Arm” McLaughlin gigged and recorded under the Mr. Epp name.

Arm, of course, went on to Green River and then to Mudhoney, famously performing on top of the Space Needle for Sub Pop’s 25th anniversary in 2013.

Darzin became a scribe for Billboard and other high falutin’ rags.

White and Masco started the short-lived Pravda Records label (not the Chicago firm of the same name).

White now runs another indie music label, “dadastic! sounds.”

Masco took a long hiatus from “creative” endeavors.

But now she’s back with a book collecting every issue of Desperate Times, from full-size high-quality digital scans.

Some thoughts on looking at these pages nearly 3.5 decades later:

The music discussed, well a large part of it anyway, still stands up.

The writing and the graphic design are of their time and of the milieu. That is to say, they’re brash, un-slick, and occasionally immature. But that was part of the whole aesthetic of the period. This was before “desktop publishing.” The text was created on typewriters. The headlines were created with press-type lettering. It was DIY Or Die, and it expresses the emotional states of its content better than anything in Adobe InDesign ever could.

Masco is selling the book online and at a few select local shops.

 

 

chantry speaks cover

Masco’s been living in Tacoma in recent years, with a guy who knows a thing or two about graphic design, and who’s not shy about sharing what he knows.

I’ve written several times in the past about Art Chantry. How he played a critical role in creating my book Loser (itself coming back later this year). How he did most of the grunt work in bringing “punk rock graphics” and poster art beyond the deliberately “amateur” style seen in Desperate Times and toward something that was “professional” but NOT corporate. He took his obsessive research into design schticks high and lowbrow, industrial and “artistic,” and created a whole new visual vocabulary.

In recent years, Chantry’s been spreading his vast knowledge and sharp opinions about the design profession (actually, he thinks of it as more of a “trade”) on his Facebook feed.

Now he’s collected some 50 of these essays in the book Art Chantry Speaks: A Heretic’s History of 20th Century Graphic Design.

The format of self-contained short essays, on different but related topics, works well with the disparate roots of Chantry’s visual aesthetic and career philosophy.

He finds inspiration in everything from monster-movie magazines to industrial-supply catalogs, from trade magazines to Broadway show posters, from hot-rod customizers to girlie magazines.

Unlike the late Andy Warhol (to whom he dedicates a praise-filled chapter), Chantry appreciates commercial design without feeling the need to dress it up in “fine art” trappings.

Indeed, Chantry openly and repeatedly scoffs at such trappings.

He upends the “official” history of graphic design, which treats it as a top-down profession dominated by Manhattan designers and ad agencies.

Instead, he sees it as a bottom-up, working-stiffs’ trade, originating with sign painters, printers, and other craftspeople. It’s a living tradition, re-created and adapted everywhere. It’s something that’s both populist and commercial at once. It expresses social and individual values, even as it overtly tries to sell stuff (products, politicians, religions, etc).

And, just as American pop/rock music absorbed and mutated everything that came before it, Chantry’s personal aesthetic absorbed and mutated everything he’d learned to love in the various arts of visual/verbal persuasion.

You won’t find any images of Chantry’s own works in Art Chantry Speaks. For that, look up Some People Can’t Surf: The Graphic Design of Art Chantry, written in 2001 by Julie Lasky. There, you’ll see his famous posters for bands, film screenings, and condom-awareness campaigns; his cover art for The Rocket; and his many record covers and band/label logos.

But, just as there are now drinking-age people who weren’t alive when Nirvana last performed, many of the various production techniques Chantry’s essays discuss have become lost to time, from the lead-cast “hot type” of letterpress to the photo-strip “cold type” of manual pasteup pages.

And much printed ephemera itself (magazines, newspapers, cheap paperbacks, recorded music on physical media, etc.) has declined or disappeared in the digital age.

But Chantry’s observations are still important in our current era, when even web page design is considered an obsolete line of work.

Typography, illustration, color theory, and layout are all part of the visual vocabulary of our world. There are reasons why all these arts developed the way they did.

And, just as many young adults have discovered the great music of the 1980s and ’90s Chantry’s idiosyncratic views about these can teach timeless principles about how things look (or ought to look).

THOSE ENDEARING YOUNG CHARMS, REVISITED
Jun 25th, 2015 by Clark Humphrey

jones 3 bullseye

Over the next few weeks, I’ll discuss some of the things I’ve been doing this past 10 months when I mostly haven’t been blogging.

They include what one might call Internet research rabbit holes, obsessions with obscure corners of pop-culture arcana.

One of these obsessions is a “rabbit hole” in more ways than one.

It starts with something everybody knows, even if it hasn’t been at the pop-cult forefront in recent years.

Warner Bros.’ classic Looney Tunes and Merrie Melodies cartoons haven’t been on broadcast TV in years. The one basic cable channel they’ve been on, Cartoon Network, had lately only shown them on weekday mornings, and only when that time slot wasn’t being used to rerun some Tom & Jerry or Scooby-Doo direct-to-video movie. CN’s not showing them at all now. You have to pay extra for CN’s premium-tier channel Boomerang to see these timeless classics.

Even worse for longtime fans, no LT/MM shorts have been issued on DVD (aside from reissues) since late last year. With the industry-wide collapse of disc sales, Warner Home Video has put any future digital remasters of old cartoons on hold.

The prolific WB cartoon studio made some 1,005 “classic” theatrical shorts over 40 years. Approximately 450 of them have yet to be digitally restored. A lot of those look really dingy in the old TV prints seen online.

Oh yeah: Almost all the LT/MM shorts can be found in unofficial online uploads. WB has gotten some of them removed from YouTube, but they just pop up on more obscure sites. (WB could put them up officially, and get whatever ad revenue there is to get, but mostly hasn’t.)

While I was on my last extended “blog vacation” earlier this year, I set out to watch every darned one of the not-on-DVD Warner cartoons. About half of them feature the studio’s “A list” characters (Bugs, Daffy, Porky, Tweety, etc.). Some of them (in the uploaded versions from old TV prints) look good enough to go on disc as is. Others look dingy, faded, and lo-res.

To keep the LT/MM “franchise” (and its lucrative merchandising) alive, WB needs to (at least) make new digital transfers of these not-on-DVD shorts, from the best existing film materials. This would make the films more viable in today’s hi-def era, for release on broadcast, cable, on-demand, streaming, and download “platforms,” as well as on disc. Perhaps some of the less “commercial” entries (the ones with minor or one-shot characters) could receive less of the labor-intensive digital retouching that was used for the DVD releases.

At the same time as I was re-viewing all those films, I also started to research the music used in them.

The studio’s great music directors, Carl Stalling and Milt Franklyn, incorporated more than 500 pre-existing compositions into their cartoon scores. They ranged from classical and folk pieces, to contemporary hits and songs from Warner feature films, to obscurities that had originally been published as sheet music for silent-music accompanists.

With the aid of several existing online lists of the “sampled” compositions, I put together a YouTube playlist of most of them. It’s currently up to 434 entries. They’re all records or film clips of the original tunes—not the cartoon excerpts of them.

If you know them only from the cartoon versions (and you probably do), you’re in for a few surprises:

  • “Hello Ma Baby,” the first frog-sung tune in One Froggy Evening, was originally a novelty song about a man in love with a woman he knows only as a voice on that then-new gadget, the telephone.
  • “Those Endearing Young Charms,” used in the oft-repeated “exploding xylophone” gag, was originally a sorrowful ballad about a man promising his wife he’ll still love her in sickness and old age.

jones 2 mural and guitar cyclone

Warner might be mismanaging one of its most valuable assets; but other parties remain determined to keep the cartoons in the public eye.

They include the Chuck Jones Center for Creativity, founded by the Spokane boy who became the most famous of the studio’s several cartoon directors.

The Jones Center and the Jones heirs, along with the Smithsonian’s “touring exhibits” division, created What’s Up, Doc?: The Animated Art of Chuck Jones. It’s now at the EMP Museum in Seattle.

It’s got dozens of original art pieces and artifacts from Jones’s Warner, MGM, and indie films.

It’s got one of his most famous works, What’s Opera, Doc?, playing continuously (it never gets tiresome); plus a mysterious minute and a half of music recorded for “unproduced scenes” in that classic. (Wonder what they would have been?)

It’s got excerpts from several other Jones films (and one Tex Avery WB short, the defining Bugs Bunny film A Wild Hare), on flat-screen monitors around the exhibit space.

It’s got a few spots where you can take photos of one another alongside life-size cartoon props, such as under a “precariously” suspended prop anvil. (Photography’s forbidden in the rest of the exhibit.)

It’s got meticulous explanations and documentation about the now-threatened art of 2D animation.

And it’s got plenty of words, pictures, and video footage about Jones (1912-2002).

Besides hundreds of one-reel films for theaters, Jones also worked on TV specials, instructional films, and a couple of animated features (Gay Purr-ee and The Phantom Tollbooth).

At Warner he created his own characters (the Road Runner and Coyote, Pepe le Pew) and developed characters created by or with other directors (Bugs, Daffy, Sylvester).

Later, he adapted works by Dr. Seuss, Walt (Pogo) Kelly, Rudyard Kipling, and his former Warner colleague Frank Tashlin, adjusting all of their individual artistic visions to his own.

Thematically, Jones’ films ranged from Disney-esque sentiment to violent slapstick and back again. Stylistically, they ranged from slick “realism” to almost pure abstraction (and, in his version of Norman Juster’s story The Dot and the Line, total abstraction).

And while many animators were/are soft spoken and shy creatures, Jones was an inveterate and articulate self-promoter. He made books and documentaries about his works. He gave many interviews to animation historians, sometimes embellished for entertainment’s sake.

And with the exhibit, his take on “the art of animation” has an immersible, walk-through incarnation. Viewers get to enjoy the finished films, and to learn in grit-detail about each of the many components that went into them.

Can this help revive interest in “analog” animation?

And, just as importantly, can it help rescue the classic WB shorts from extra-tier-cable-channel purgatory?

THE RACHEL PAPERS
Jun 15th, 2015 by Clark Humphrey

mgm/this tv

Some pseudo-random thoughts about l’Affaire Rachel Dolezal, the just-resigned Spokane NAACP leader who’s claimed at various times to be black, part-black, and Native American, but whose parents claim her to be white (and who have the blonde, blue-eyed childhoood pix to support their claim):

If it weren’t for white people pretending to be black, we’d have no jazz or rock n’ roll or R&B or even hiphop as we know those genres today. American white pop music would still sound like “How Much Is That Doggy in the Window?” British pop music would still sound like “Drink To Me Only With Thine Eyes.”

(We also wouldn’t have sorry minstrel-show acts, macho-baby-boomer blues bands, or fratboy rappers either; but you’ve got to take the bad with the good, right?)

There’s a long-running meme of college-educated white women identifying, or trying to identify, with black women of “lower” castes. It ranges from recent works such as The Help, back to the predominantly white-female audiences for Alice Walker and Toni Morrison. Walker especially depicted Af-Am womanhood as an ultimate embodiment of a specifically feminine wisdom and righteousness.

Could Dolezal, who had Af-Am adopted siblings, have envied their specific “tribal” identity, collective-struggle heritage, etc.? Not for an outsider like me to say.

It can be said that she should have known “being black” involved more than just looks and “soul,” but (as shown gruesomely in recent news items) a continuing legacy on the receiving end of repression, injustice, and brutality. (As Tavis Smiley asks, “Who’d sign up to be black?”)

Dolezal is the second Spokanian to re-invent herself so thoroughly. The first, of course, is Billy Tipton.

Tipton, a small-time jazz pianist and a bio-female who lived as a (hetero) man until his death in 1989, was essentially (in my opinion) a trans who never had reassignment surgery, but who simply tried to create a being and a life for himself and succeeded completely.

Dolezal attempted a similar life-feat, trying to create a present by rewriting her past. Our age of instant information made that ultimately impossible.

There’s nothing wrong, as Smiley’s above-linked essay notes, with being a white person devoted to helping her less race-privileged fellow humans; people who…

…have the courage, conviction and commitment to unapologetically use their white face—and their white voice, hands, feet, head and heart to make America a nation as good as its promise.

The NAACP has (openly) white local and national officers, past and present. More famously, the late Westinghouse and CBS exec Michael H. Jordan (absolutely no relation to the basketball star) was chairman of the United Negro College Fund for a decade.

In the statement announcing her NAACP resignation, Dolezal stated she won’t stop fighting for justice.

Dolezal has been a student, and occasionally a teacher, of Af-Am culture and history. She assuredly knows, both from book-learning and from those in her life, about what black life is really like.

She could have used this knowledge to work at bridging our racial divides.

If she can transcend the unfortunate image of her own “race drag act,” she still can.

Everybody seems to have an opinion or an angle on the tale:

  • Dolezal’s brothers have spoken on camera: “It started out with the hair.” (ABC)
  • The Daily Beast parses out the whole history of Dolezal’s carefully constructed identity.
  • Variety claims a Dolezal biopic “is inevitable,” and postulates whether it will be a comedy or drama or both.
  • Ijeoma Olio proposes a bargain for white people who want to be black: the ability to dance, a history of triumph over diversity, and the looks of white women clutching their purses when you walk past them. (Slog) 
  • Darnell Moore at Mic.com calls the Dolezal affair a “fiasco” and “a glaring example of white privilege in action.”
  • Twitter users are using such hashtags as #transracial and #wrongskin, as other Twitter users ruthlessly mock them. (KING) 
  • A self described “gay Black man” explains the terms “transracial” and “transethnic,” in terms of the furry community. (Fusion.net)
  • Kara Brown at Jezebel: Girl, WHAT?”
  • Explaining the “passing” as a quest for “empathy.” (USAT) 
  • Gyasi Ross at Indian Country Today compares Dolezal to decades’ worth of white folk pretending to be Native Americans.
  • Author Michael P. Jeffries calls the incident “a lesson in how racism works.” (Boston Globe)
  • As you might expect, the social sub-network known as “Black Twitter” has plenty of snarky reactions. (The Culture)
  • Vox has a think piece on how it proves “race” isn’t a cut and dried issue anymore.
  • Salon has a harsher piece by Mary Elizabeth Williams, claiming Dolezal’s “fraud is unforgivable.
  • For compare-and-contrast, here’s the story of local author Mishna Wolff, whose white father “identified” as black for many years. (KUOW)
A G-G-G-G-GHOST!
Jan 25th, 2015 by Clark Humphrey

When I took an unplanned, unscheduled blog break last summer, I also neglected maintenance on the web links at the left side of this page.

I’ve gone back to some of them today.

Turns out I’m not the only one who just drifted away from writing on the Web.

Plenty of the links that had been on this page now lead to “404 Not Found” alerts, or to other enterprises altogether.

Then there were the sites that, like mine for much of last year, were neither closed nor updated.

I’ve removed most of them from the link list.

But there are a couple of more ambitious group sites that I wish would come back:

  1. ArtDish, a lively and insightful guide to major visual-arts events throughout the Northwest region. It premiered a big relaunch early last year, but hasn’t added any new content since then.
  2. Three Imaginary Girls, “Seattle’s Sparkling Pop Press,” a witty and loving chronicle of musical artists in (or touring to) our city. Its Facebook page has new posts (mot of which are links to the site’s old posts), but the site itself hasn’t had anything new up in months.

If their reasons for going away are anything like mine were, these sites’ operators simply had other lives, other things to do (or attempt to do). Continuing to send words and/or pictures out into the ether (or the cloud), with little to no compensation or hope of any, just ain’t something some people want to keep doing forever.

In other words, today’s Web 2.0 status quo isn’t just killing most of the “old media” industries.

It’s also killing creativity in its own online “space.”

THE MIRACLE ON FIELDTURF®
Jan 20th, 2015 by Clark Humphrey

usa today chart listing the odds of a seahawk victory in the nfc championship game at one percent

Of course, I have to write about the Seahawks Miracle Win in Sunday’s NFC championship game.

Even if I don’t have much new to add about it.

You already know the story (or rather, the instant legend):

For most of the game, the Seahawks’ offense could no nothing right. (The team’s only score through three quarters had come from special teams, on a fake field goal executed for a surprise touchdown.)

Then with the clock inexorably winding down toward certain doom, Russell Wilson and co. suddenly could do everything right.

With impossible play after impossible play, they got a touchdown, a successful onside kick, another touchdown, and a two-point conversion, taking a three-point lead with less than a minute and a half left.

After the Packers re-tied it with a field goal in the last minute of regulation, the Seahawks won the coin toss for the first possession in overtime. Then they quickly scored a sudden-death touchdown to win it all, send the Seahawks to their second consecutive Super Bowl Game (the first time in more than a decade any team did that), and cause more jubilation all the way up First Avenue and throughout the region.

KOMO’s Eric Johnson calls it “not a game, but a metaphor for life.”

So what lessons could be learned from it? Perhaps these:

TODAY IN BEST/WORST BAND NAMES
Jun 28th, 2014 by Clark Humphrey

addictedttaddiction.wordpress.com

Following are some of the acts performing today at the Warped Tour, at the White River Amphitheatre outside Auburn:

  • Cute Is What We Aim for
  • Vanna
  • Ice Nine Kills
  • The Devil Wears Prada
  • The Ghost Inside
  • The Story So Far
  • The Word Alive
  • Falling In Reverse
  • For Today
  • Stray From the Path
  • Air Dubai
  • Teenage Bottlerocket
  • Mayday Parade
  • The Protomen
  • Tear Out The Heart
  • Plague Vendor
  • Saves the Day
  • A Skylit Drive
  • I the Mighty
  • Beartooth
  • The Ready Set
  • Chunk! No, Captain Chunk!
  • NiT GriT
  • Issues
  • Survive This!
  • Crown the Empire
  • The Maine
  • Chelsea Grin
  • Bad Rabbits
  • To the Wind
  • Breathe Carolina
  • I Fight Dragons
  • After 8
  • Motionless In White
  • Courage My Love
  • Yellowcard
  • Born of Osiris
  • We Are the In Crowd
  • Beebs and Her Money Makers
  • Thecityshakeup
  • We the Kings
  • Every Time I Die
  • For All Those Sleeping
  • Get Scared
  • Dangerkids
  • Icon for Hire
  • Four Year Strong
  • Monogamy Party
THREE THOTS ON YOOTOOB
Jun 24th, 2014 by Clark Humphrey
  1. Last Friday evening, a long line of excited but patient teenage girls gathered outside the Showbox. They were going to something called “Digitour O2L” (Our 2nd Life). That isn’t an electronic dance music ensemble, but a package tour of hot looking young men who simply post “video diary” monologues onto YouTube. These six idols (ages 15-21) don’t sing; they don’t dance. They just talk about stuff. And, with the nurturing attention of a couple of hotshot promoters, they’re raking in the bucks.
  2. YouTube itself, and its Google masters, are trying to make monetizable sense of a big part of the streaming video site’s offerings. One tactic is a subscription-based music service, to start some time this year. The company’s reached contracts with the Big Three (formerly Big Six) record companies. Smaller labels, though, are balking at YouTube’s proposed terms. As CNet describes the situation, “the massive video site requested the smaller labels automatically give up their royalty rate if a major label agrees to something lower.” YouTube is threatening to remove all videos from its main site by musicians whose labels don’t sign on for the subscription service. This could effect affect as much as 5 percent of all the music tracks on the site. There are plenty of other streaming-clip sites out there where these acts and/or their fans can place clips; but none of them has YouTube’s recognition or market share.
  3. Those other video sites also don’t have the massive inventory of clips YouTube can offer on its “Recommended For You” page, where so many users/viewers first find so much new and/or intriguing stuff. Why, just the other day that page referred me to Two Breaths To…, an educational film produced by Hanna-Barbera for a Hanford Nuclear Reservation contractor. Hanford, Hanna-Barbera, the late beloved Casey Kasem narrating, and gruesome animated deaths—what’s not to love?

Two Breaths To…

COBAIN + 20
Apr 5th, 2014 by Clark Humphrey

Twenty years ago, a sensitive soul apparently felt overwhelmed by the role thrust upon him (and by the addiction he apparently felt unable to overcome).

At the time, he had become the Biggest New Thing in the music business.

At the time, there was such a thing as the “music business.”

Since then, his infant daughter has grown up. Many of his friends and colleagues have continued to make music; others have gone into political activism, accounting, retail, and other endeavors.

The term “rock star” now seems to be applied more often to tech-startup CEOs than to musicians.

The recorded-music industry is now about two-fifths of what it used to be (by sales), and shrinks further every year.

But the Cobain Cult keeps going strong.

People still “re-imagine and re-invent” the man into almost completely fictionalized idealizations. He has been depicted as a demigod, a crucified martyr, a conspiracy victim, a badass, a weeping giant, a rocker, an anti-rocker, a Voice of a Generation, a idiosyncratic loner, etc. etc.

Even in the first days after his death, this had gone on. As Ann Powers quoted C/Z Records owner Daniel House then:

He’s turned into something that represents different things for different people. I understand the press is going to be all over it, but I wish they would leave it alone completely. Because that attention is why Kurt died. He had no life, no peace, constant chaos. He had become a freak.

MISSY JAMES
Feb 11th, 2014 by Clark Humphrey

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.

RANDOM LINKS FOR 2-2-14
Feb 2nd, 2014 by Clark Humphrey

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:

  • Kentucky’s GOP Senators forced Wash. state utilities to buy nuclear power components they don’t really need.
  • Amazon has exercised its option to buy the Belltown block where the Hurricane Cafe has been for 20 years (and the legendary Dog House had been for more than three decades before that).
  • Meanwhile, the Washington State Convention Center is buying the Honda of Seattle block.
  • As we approach five years since the last printed Post-Intelligencer (still missed), we must say goodbye to one of its ol’ mainstays, reporter John Engstrom.
  • If anybody knows what’s still stalling the waterfront tunnel machine, nobody’s telling.
  • There was a “Progressive Radio Summit” in Seattle, in which the keynote speaker claimed “the only sustainable model for broadcasters today is subscription based programming.”
  • The Daybreak Star Indian Cultural Center is still financially desperate.
  • White privilege: it exists, whether it’s visible to you or not.
  • Yes, Macklemore hired an established distribution company (the same one Sub Pop and others use) to get his CD into retail stores. That still qualifies as “not having a record label,” no matter what NPR says.
  • Steve Wilhelm at the Puget Sound Business Journal warns that Boeing’s strong arm tactics against the Machinists Union may cost the company more than it gains.
  • As Paramount becomes the first Hollywood studio to cease distributing movies on film reels to theaters, indie filmmakers take to the proverbial the Star-Off Machine and “reach for 16mm.” Meanwhile, there’s a campaign to “Save Film,” as a medium for both movie production and exhibition.
  • It’s always trouble when typographers attack one another.
I HATE CALIFORNIA. IT’S COLD AND IT’S DAMP.
Jan 17th, 2014 by Clark Humphrey

'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.

RANDOM LINKS FOR 1/15/14
Jan 14th, 2014 by Clark Humphrey

funhousedocumentary.com

  • Some folks have made a documentary about the Funhouse, that greatly-missed bastion of DIY loud n’ live music. It should screen some time this spring.
  • Buried in a list of various cineastes’ top 10s of ’13 is the announcement that SIFF will indeed return to the now-shuttered Egyptian Theater for this year’s festival, and is working to reopen the festival’s traditional “home base” for year-round screenings.
  • Norman Durkee, 1949-2014: Teatro ZinZanni’s original music director was a musical polymath. He produced early punk 45s, put out TV-advertised new age piano LPs, worked on stage musicals and dance performances, and performed recitals of jazz and modern classical tuneage.
  • Seahawks quarterback Russell Wilson was seen in an online video clip with local pompous homophobic/sexist pastor Mark Driscoll. This does not mean Wilson necessarily endorses anything Driscoll says.
  • King County will move forward with Plan C (at least) to save Metro Transit from drastic cuts, declining to wait for the professional Seattle-haters in the State Senate to become sane.
  • Meanwhile, in state-politician-friendly transportation (i.e. cars and roads only), the Waterfront tunnel project has a lot more problems than just a steel pipe in the way.
  • The long-delayed Tacoma Amtrak station now, thankfully, won’t replace half of the Freighthouse Square mini-mall.
  • Finally, a practical use for those “tiny houses” you sometimes see pictures of, cute micro-cottages usually depicted surrounded by pristine countryside with no humans or other buildings in sight. In Olympia, 30 of them are being used as transitional units for the previously homeless.
  • Misadventures in Clickbait Dept.: Two companies supply most of those often-silly “Around the Web” or “Recommended for You” link boxes on otherwise “serious” news sites.
  • Is “Net Neutrality” (the policy that service providers can’t give preferential speed/access treatment to certain websites) really “dead”? No. The FCC simply has to rewrite its rules around the technicalities of a court decision.
  • Fox News anonymously created its own pro-Fox News blog. Yes, it’s hilarious and chock full O’ stereotypes.
RANDOM LINKS FOR 1/10/14
Jan 10th, 2014 by Clark Humphrey

fastcoexist.com

  • The Fast Company folks seem to love Northgate’s Thornton Creek mixed use megaproject.
  • A Seattle architect has re-devoted his career toward aiding the homeless and the recently homeless.
  • One-fourth of Amazon’s Kindle ebook sales in 2012 were for books by indie and self-publishers.
  • Amazon’s warehouses, sometimes infamous for pushing workers hard, are getting robotized.
  • Meanwhile, some guy at the Atlantic’s biz-news site Quartz claims that 3D printing and robotized manufacturing, and the one-of-a-kind manufacturing they can enable, could eventually mean “the end of Walmart and mass-market retail as you know it.”
  • Students at Eastside Catholic High School will keep protesting the firing of a beloved, now gay-married, vice principal.
  • Seattle author David Shields is acting in a movie directed by James Franco.
  • City Councilmember Kshama Sawant, and the Stranger writers who relentlessly pushed her candidacy, were named to the Nation‘s “2013 Progressive Honor Roll.”
  • The gang down at Three Imaginary Girls has a roundup of their favorite (mostly) local music of ’13.
  • Ani DiFranco scheduled a women’s songwriting retreat at a former slave plantation. (The place is now a museum, offering a highly sanitized account of America’s slave-owning heritage.) Some Af-Am women protested online. A smart person would have used this hubbub as a positive “teaching moment.” DiFranco and her associates essentially failed at that.
  • Where They Are Now Dept.: NY punk and underground-film bad girl Lydia Lunch now teaches women’s yoga and “empowerment” workshops in Calif.
  • Right-wing front groups, pretending to be “journalists,” have tried to obstruct investigations into right-wing financial misdealings in Wisconsin.
  • Prostitution is fully legal in Canada (including brothel-keeping and solicitation), sez their Supreme Court. It could be the start of a new (or upgraded) tourism shtick. But I’d like it to mean more respect and personal safety for sex workers, there and here.
RANDOM LINKS FOR 1/6/14
Jan 6th, 2014 by Clark Humphrey

the columbian

  • A “lost roll of film” depicting Mt. St. Helens just weeks before its 1980 eruption, by a newspaper photographer who died while covering it, was found. The paper had to go to a Portland lab, which had to further outsource it to a freelancer, to get the b/w images processed.
  • The Illinois company now calling itself Boeing gets gazillions in Wash. state tax breaks. Workers lose pension protections. The state government’s financial/tax structure became even more un-reformable. This might have been the best we could get. (Now to get some real competition by inviting Airbus to our state.)
  • What’s been stalling the tunnel digging machine on the waterfront? As a certain French painter wouldn’t say, “This actually is a pipe.”
  • Who would pour gasoline down the stairs at Neighbours on Broadway on New Year’s, attempting to destroy Seattle’s “anchor” gay dance club and some 750 revelers? Oh yeah, some heartless bigot (not yet found) who probably thinks it was the “Christian” thing to do.
  • Longtime, legendary, local street trumpeter Richard Peterson has announced his “last day on the street.” For at least the fourth time.
  • The anonymous “trio of mouthy broads” behind local blog Seattlish offers “a retrospective on how Seattle treated Mike McGinn.” Their essential premise: we didn’t deserve him.
  • After winning RuPaul’s Drag Race and starring in a hit production of Hedwig and the Angry Inch, Jinkx Monsoon’s next big thing will be a bio-documentary film.
  • A self described “straight male” fan of first-person-shooter video games says the term “gamer,” and the often-sexist-jerkish subculture it represents, have got to go.
  • National Political Punditry Dept.: Margaret Flowers and Kezin Zeese at Truthout claim the populist-Left movement of “winning over the hearts and minds of the American people” is progressing along just fine; Valerie Tarico at Alternet sez the to-do over a “reality” TV celeb’s homophobia/racism helps prove “religious fundamentalism is going down”; and Mary Bell Lockhart at OpEdNews deconstructs a few of the lies that “ultraconservatives think they know for sure.”
  • First Roger Ebert goes. Now one of the longtime contributors to RogerEbert.com, local film critic and all around good guy Jeff Shannon, succumbed to pneumonia following years of various illnesses. A quadraplegic for most of his life, following an accident during his younger years, he was an advocate for the disabled and once wrote that “Happiness is a choice.”
WHAT’S HIGHER AND LOWER IN TWENTY ONE FO-UR
Jan 4th, 2014 by Clark Humphrey

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.

INSVILLE OUTSKI
Da Vinci’s Inquest Da Vinci’s Demons
Lorde Lard
Mead Gin
Tapatio Sriracha
“Fewer” “Less”
WordPress Flash
CBS This Morning 60 Minutes
Alex Trebek retirement Jay Leno retirement
Baltimore Miami
“Relevant” “Viral”
Margot Robbie (The Wolf of Wall Street) Kristen Stewart
Kacey Musgraves Brad Paisley
Formica Granite
Plum Silver frost
Oscar Isaac Johnny Depp
Mini-tacos Chicken wings
Fly Moon Royalty Robin Thicke
Saving Scarecrow Video Saving the Seattle Times
DailyKos.com Upworthy.com
Bare midriffs “Designer grunge” revival
Voting-rights defenders White people who claim “racism is over”
Elizabeth Warren “Politics by hashtag”
Venice Paris
Burien Bainbridge
Worker rights Working for “the exposure”
End of movies shown on film End of incandescent light bulbs
Games for all ages/sexes/races Macho-asshole “gamer culture”
“You better WORK!” “Because (noun)”
Erin Morgenstern Charlaine Harris
Raising the minimum wage Cutting corporate taxes
NHL in Seattle NBA back in Seattle
Binge viewing Crash dieting
Bolt Bus Airline mergers
Single-payer HMOs
Seahawks 49ers
Girls (still) Dads
Misfits Kardashians
Lovers “Winners”
“-esque” “-ski”
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