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.
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.
charter construction via ronald holden, cornichon.org
Gosh, has it really been more than three weeks since I’ve done this? Time flies when you’re desperately looking for paying work (i.e., absolutely not “for the exposure”).
We have forgotten what this country once understood, that a society based on nothing but selfishness and greed is not a society at all, but a state of war of the strong against the weak.
pelican bay foundation via capitolhillseattle.com
First, another “sorry folks” for not getting something up to the site lately. I know some of you enjoy these li’l linx, even when I don’t have a major essay about something.
For now, back to Randomosity:
art_es_anna at flickr via kplu
…(T)he madness of the GOP is the central issue of our time.
erika j. schultz via twitter
the new yorker
I’ll have stuff to say about the big gay parade and the potential for NHL hockey in Seattle a little later this week. For now, some randomosis:
kenny johnson, the atlantic via io9.com
A lot of Seattleites, especially on Capitol Hill, have things to be happy about this week.
The gay marriage cause, for which a lot of people here worked very hard this past year, received a big boost from the U.S. Supreme Court—just in time for Pride Weekend.
But folks on the Hill, and all over town, still have a sad occasion today.
The Egyptian Theater closes after 33 years of screenings, including most of SIFF’s main shows.
A little history:
The Seattle Masonic Temple opened in 1915. By the 1970s, its big auditorium was regularly used for pro wrestling events.
In late 1975, Daryl McDonald and Dan Ireland leased the Moore Theatre downtown, and renamed it the “Moore Egyptian.” (There had been a previous Egyptian Theater in the U District, which has nothing to do with our story.)
That’s where McDonald and Ireland started SIFF in May 1976, with a short program of 18 screenings.
Four years later, McDonald and Ireland leased the Masonic auditorium and re-christened it the new Egyptian. New management returned the Moore to hosting live concerts and stage shows. SIFF used both rooms for a couple of years, then made the Egyptian its permanent annual home base.
The Masons sold the building to Seattle Central Community College in the mid-1980s. SCCC used the building’s non-auditorium areas for its (also now-ended) film and video program and for assorted offices.
After a few years, the Egyptian came into the Seven Gables chain, founded by local art-house tycoon Randy Finley. He sold his theaters in the mid-’80s. They later went into the national Landmark chain, which in turn was eventually bought by Dallas entrepreneur Mark Cuban. SIFF continued to rent out the Egyptian as its main venue for three and a half weeks each year.
(Cuban also owns the Dallas Mavericks basketball team. In 2008, he was the only NBA owner besides Seattle’s own Paul Allen (representing the Portland TrailBlazers) to vote against moving the Supersonics to Oklahoma.)
Meanwhile, the economics of motion-picture exhibition got steadily sourer.
The Internet, that great Disruptor of All Media, played a part.
So did the consolidation of the big studios and the big theater chains, making things tougher for relatively little guys like Landmark. (Cuban reportedly tried to sell Landmark a couple years ago, but got no takers.)
While the Egyptian was usually full or near-full during SIFF screenings, its 600 seats steadily became harder to fill during the other 48 weeks.
Once this year’s SIFF ended, Landmark quietly told SCCC it wouldn’t keep leasing the space.
The building’s not going away, unlike so many other Pike/Pine landmarks in recent years.
SCCC has fielded applicants to take over the auditorium, but hasn’t announced any new tenant.
SIFF has recently returned to running its own year-round theaters. Would, or could, SIFF add the Egyptian back into its full-time fold?
If SIFF or anyone else wanted to use it for movies, they’d have to get one of those costly digital-cinema projection setups the Hollywood distributors now require, and which have been the focus of “save our theater” fund drives here (Central Cinema, Northwest Film Forum) and elsewhere. Landmark already said it would remove the Egyptian’s digital setup, for re-installation at one of its other properties.
Alternately, the space could become (at least in non-SIFF months) a concert venue or lecture hall. (The stage is too shallow for much live-theater work.)
But, pending any revival as a single-screen cinema, it’s safe to say the Egyptian tradition ends today.
It’s not the last link to Seattle’s 1970s funky art-house aesthetic (the Harvard Exit, Grand Illusion, Guild 45th, and Seven Gables are still with us). But it’s still a loss.