Amazon.com Widgets
The recession has claimed another victim, the Betsey Johnson boutique on Fifth Avenue.
I don’t think you do love America. At least, not as much as you hate everyone in America who isn’t exactly like you.
sobadsogood.com
meowonline.org
Every person I talk to at a signing, every exchange I have online (sometimes dozens a day), every random music video or art gallery link sent to me by a fan that I curiously follow, every strange bed I’ve crashed on… all of that real human connecting has led to this moment, where I came back around, asking for direct help with a record. Asking EVERYBODY.… And they help because they know I’m good for it. Because they KNOW me.
udhcmh.tumblr.com
to earn enough money so that you can behave in a way that makes the very existence of other people irrelevant.… Wall Street is far too self-absorbed to be concerned with the outside world unless it is forced to. But Wall Street is also, on the whole, a very unhappy place. While there is always the whisper that maybe you too can one day earn fuck-you money, at the end of a long day, sometimes all you take with you are your misguided feelings of self-righteousness.
to earn enough money so that you can behave in a way that makes the very existence of other people irrelevant.…
Wall Street is far too self-absorbed to be concerned with the outside world unless it is forced to. But Wall Street is also, on the whole, a very unhappy place. While there is always the whisper that maybe you too can one day earn fuck-you money, at the end of a long day, sometimes all you take with you are your misguided feelings of self-righteousness.
last.fm
Pere Ubu founder, noise-rock legend, and great Clevelander David Thomas is, by his own admission, a middle class boy.
And in a recent interview he claims that…
…all adventurous art is done by middle-class people. Because middle-class people don’t care. Because middle-class people don’t care. “I’m going to do what I want, because I can do something else better and make more money than this.”
At the Collapse Board site (started by ex-Seattleite Everett True), blogger Wallace Wylie begs to disagree:
It surely does not need pointing out that almost every adventurous musical innovation of the 20th Century came from working-class origins. The blues, jazz, country, rock’n’roll, soul, reggae, disco, r&b, hip-hop, techno, house; the list goes on. It would take a mixture of ignorance and arrogance on a monumental scale to appropriate all of these innovations for the middle-classes.
You can probably think of your own exceptions, in music and other artistic fields as well.
Then the Scottish-born Wylie goes on to repeat the longtime meme that most American middle-class teens didn’t know about large swaths of American blues and R&B, until they heard them from British rockers:
…While British bands were playing Chuck Berry, embryonic American garage bands were cutting their chops on ‘Gloria’ by Them. In other words, rock music is a British creation that Americans subsequently copied. Bob Dylan named his fifth album Bringing It All Back Home in reference to the fact that British bands had shown Americans music from their own country that they didn’t know existed and now it was time for an American to take these influences back.
That familiar tale neglects the role American “hip” whites (including Cleveland’s own DJ legend Alan Freed) played in bringing R&B across the color line, leading to the commercial teenybopper variant Freed billed as “rock n’ roll.”
It neglects the white garage bands (such as Tacoma’s own Fabulous Wailers) who studiously covered and imitated their favorite R&B sides, especially during the pre-Beatles years.
Methinks Wylie has his own cultural blinders with which to deal.
irwin allen's 'the time tunnel' (1966), via scaryfilm.blogspot.com
…building businesses whose only way of making money will be through advertising. Are there as many different ways to slice things as all the startups, collectively, would have you believe? And when they’re done, what will happen to them?
joybra.com, via seattlepi.com
j.r. simplot co./idaho dept. of environmental quality, via kplu
painting the needle for its big b-day party
Keith Seinfeld at KPLU recently asked, “Why does Seattle still care about the world’s fair?”
That’s an excellent question.
As international expos go, Seattle’s was relatively small.
And it took place a full half century ago.
Until Mad Men came along, that era was widely considered to have been a dullsville time, a time wtih nothing much worth remembering.
The “Space Age” predicted at the fair would seem would seem ridiculous just a few years later. It predicted domed cities and cheap nuclear power. It predicted computers in the home (in the form of fridge-sized consoles) and video conferencing (with a special “picturephone”), but it didn’t predict the Internet.
It sure didn’t predict the racial, sexual, musical, and social upheavals collectively known as “The Sixties.”
And a lot of the fair’s attractions were so utterly corny, you can wonder why they were taken seriously even then. Attractions such as the world’s largest fruitcake. Or the Bubbleator (essentially just a domed platform on a hydraulic lift). Or the adults-only risqué puppet show (by the future producers of H.R. Pufnstuf).
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Yet a lot of us do care about all that. And not just us old-timers either.
And not just for the physical structures the fair left behind (the Space Needle, the Science Center, etc.).
The fair was the single most important thing that happened in Seattle between World War II and the rise of Microsoft. (The launch of the Boeing 707 was the next most important.)
The fair revved up the whole Northwest tourism industry, just as jet aircraft and Interstate highways were getting more Americans to explore other parts of their nation. This once-remote corner of the country became a top destination.
The fair was a coming-out party for a new Seattle.
A Seattle dominated not by timber and fishing but by tech. Specifically, by aerospace. Boeing had only a secondary role in equipping the U.S. space program, but its planes were already making Earth a seemingly smaller place.
The fair didn’t start the Seattle arts and performance scenes, but it gave them a new oomph.
Seattle Opera and the Seattle Repertory Theatre were immediately established in the fair’s wake.
ACT Theatre came soon after. Visual art here was already becoming famous, thanks to the “Northwest School” painters; the fair’s legacy led to increased local exposure to both local and national artists.
The fair established a foothold for modern architecture here.
Before the fair, there hadn’t been a major change to Seattle’s skyline since the Smith Tower in 1914. (The few new downtown buildings were relatively short, such as the 19-story Norton Building.)
The Space Needle became the city’s defining icon, instantly and forever.
The U.S. Science Pavilion (now Pacific Science Center) established the career of Seattle-born architect Minoru Uamasaki, who later designed the former World Trade Center.
Speaking of tragedy and turmoil, some commentators have described the fair’s era as “a simpler time.”
It wasn’t.
The Cuban missile crisis, revealed just after the fair ended, threatened to turn the cold war hot.
The whole Vietnam debacle was getting underway.
The civil rights and black power movements were quickly gaining traction.
The birth control pill was just entering widespread use.
Rachel Carson’s book Silent Spring, which helped launch the U.S. environmental movement, came out while the fair was on.
So yes, there were big issues and conflicts in 1962.
But there was also something else.
There was optimism.
In every exhibit and display at the fair, there was the notion that humans could work together to solve things.
And, at least at the fair, most everything was considered solveable.
I wrote in 1997, at the fair’s 35th anniversary, that its creators sincerely felt Americas would strive “to ensure mass prosperity (without socialism), strengthen science, popularize education, advance minority rights, and promote artistic excellence.”
It’s that forward-looking confidence that got lost along the road from the Century 21 Exposition to the 21st century.
It’s something many of us would like to see more of these days.
And that, more than Belgian waffles or an Elvis movie, is why Seattle still cares about the World’s Fair.
And why you should too.
(Cross posted with City Living.)
souvenir display at the world's fair anniversary exhibition
foodbeast.com
abc photo via chicago tribune
The “world’s oldest teenager” was originally only a decade or so older than the teens who danced on the first incarnation of American Bandstand.
It had begun as a local Philadelphia show, started and hosted by others. (The first host got fired after he was arrested for drunk driving and implicated in a pimping ring.)
Dick Clark took over the show in 1956. The following year he got it placed in a weekday afternoon slot on ABC, the distant-third-place network at the time.
The next six years could be considered the “high point” of Bandstand, in influence if not ratings. It was telecast live every afternoon. It featured lip-sync performances by nearly every major rock star. It was the only regular national outlet for the music that would define its time. His super-clean-cut good looks and reassuring demeanor helped make that wild teenybopper music parent-friendly–including the music of black artists, who were on the show from the start.
Unlike many producers of the time, Mr. Clark kept kinescope films or videotapes of Bandstand’s entire 33-year run; an invaluable archive of many singers’ first or only U.S. TV appearances.
He quickly expanded into related ventures, including record labels (somehow avoiding implication in the “payola” scandals of the day) and package touring shows (including integrated revues, even in the deep south where such things were just not done).
In the 1963-64 season, when the Beatles (one act that didn’t appear on the show) would change pop music again, Bandstand moved to Saturday mornings and to L.A. These shows were taped in four- to six-episode batches, making them less in tune with the music world’s convulsions.
Once ensconced in Hollywood, Mr. Clark established a production “factory.” His company made Where the Action Is, the telecast of the Golden Globe Awards, the American Music Awards, New Year’s Rockin’ Eve, TV’s Bloopers and Practical Jokes, radio countdown and nostalgia shows, and even the psychedelic-exploitation film Psych-Out. He started rock-nostalgia theme restaurants and American Bandstand venues in Reno and Branson.
He also appeared on other producers’ programs, including 14 years on the Pyramid game shows.
He starred in 1960′s “serious” teensploitation film Because They’re Young. In 1967 he played the killer on the final episode of Perry Mason, symbolizing the youth culture that had made programs like Mason seem passé within the TV industry. And he had cameos on dozens of scripted shows, most notably on Police Squad! (desperately seeking his next fix of “miracle youth cream”).
A 2004 stroke ended his on-camera career, except for annual cameos on New Year’s Rockin’ Eve. But he kept on producing (Boston Legal, Codename: Kids Next Door, So You Think You Can Dance). Dick Clark Productions will continue, one of the last prime-time producers not owned by a network or a movie studio.
Less than two weeks after the death of Mike Wallace, Mr. Clark’s loss further shrinks the number of early TV performers still with is. His legacy as a pre-MTV music introducer lives on in this post-MTV era.
david eskenazi collection via sportspressnw.com
And a happy Friday the 13th (first of the year) and Mariners home opening day to all of you!
It’s called “Control-based Content Pricing,” and the basic idea is dynamic pricing of video content, based on the preferences of the user at any given moment—essentially setting different prices for different functions of the TV remote.
casey mcnerthney, seattlepi.com
…In the long term today’s affordable housing comes from yesterday’s luxury flats, and cutting off the supply of the latter will deny our children the former in the absence of massive, unsustainable public subsidy.
The American parade of pathetic little bigots, who falsely imagine themselves to be valiant crusaders instead of the bullheaded jerks they really are, just goes on and on.
Recent examples:
Thursday’s Oregonian has a rather complex story of violence and desperation, set at a Goodwill outlet store.
It seems the subculture of “professional thrifters,” shopping for stuff to resell on eBay, Amazon and elsewhere, has gotten more extreme, and even brutal, during the Great Recession. Folks are spending all day in the bigger thrift stores, pawing over everything and even pushing other shoppers out of their way.
The story particularly mentions one used-book reseller named Pedro Rolando Reynaud Erazo. Along with his brother and an entourage of assistants, he spent his days grabbing books by the armful at Goodwill outlets (the bigger warehouse stores, where stuff that doesn’t sell in the regular Goodwills gets sent). They used portable bar-code scanners to help find the few volumes with resale value, then tossed all the rest. During these day-long sieges, they’d push other shoppers and even store employees out of their way.
A female shopper charged Erazo with following her around the Hillsboro Goodwill outlet store, yelling and calling her names. And more:
He pushed her on 10 occasions. He punched her. He even warned her: “(y)ou should be afraid of me. They’re not going to stop me. I can do whatever I want.”
The woman applied for, and received, a “stalking” (restraining) order against the aggressive entrepreneur.
But an appeals court reversed the ruling; claiming that…
she hadn’t proven that Erazo subjected her to at least two “contacts” that would cause her to fear for her own safety. The court ruled that while the punch qualified as one contact, the 10 shoves weren’t truly dangerous. What’s more, Erazo’s reported threat didn’t instill “a fear of imminent and serious personal violence.”
Anyway, the article continues, Erazo is no longer a threat to this particular woman, as he’s left the state of Oregon.
He now lives in the Seattle area.
And his organization has reportedly operated the same “hoarding” and “scooping” tactics at thrift stores and used-book sales around here since at least 2010.
One thing this ongoing grossness proves is something I’ve been saying for some time: books really are a big business.
(Note: There are other online pieces about Erazo. But I’m not linking to them because they veer off into stupid racist tirades, under the excuse that he was born in Honduras. His aggression and his attitude problem would be just as icky and dangerous if he were a WASP fratboy.)