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.
designboom.com
buddy bunting, via prole drift gallery
joybra.com, via seattlepi.com
j.r. simplot co./idaho dept. of environmental quality, via kplu
sonics first-year pennant, available at gasoline alley antiques
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
alliance for pioneer square via seattlepi.com
anti-riaa ad from the electronic frontier foundation; via university of texas
Two reasons why Hilary Rosen, Ann Romney’s recent verbal sparring partner, should not be considered a spokesperson for the Obama campaign or for any “progressive” thing:
(1) She became a PR shill for BP, post-gulf-spill.
(2) and most important: She infamously headed the Recording Industry Association of America during the start of that outfit’s notorious “anti-piracy” extremism.
Rosen didn’t just shut down Napster and Audiogalaxy. She fostered the music-industry lobby group’s policy of punitive aggression in the name of the Almighty Intellectual Property.
After she left the RIAA, the staff she’d hired served all those ridiculous suits for ridiculous sums against lowly individual file-sharers—and against some individuals who’d never shared a file in their lives.
Elsewhere in randomland:
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.
via shelligator.tumblr.com
You will note we posted nothing on 4/1. We’ve had enough trouble over the years with people thinking the stuff posted here’s just made up.
In recent months I have resumed my primary occupation of looking for paid employment.*
During this, I have become all too aware of the dorky buzzwords found in present day employment ads.
One of the most egregious examples is the header “ROCK STARS WANTED.”
It’s seen fronting searches for everything from programmers to marketing trainees to attorneys to chain-restaurant drudges—and occasionally (very occasionally) even for musicians.
So let me get this straight: Major corporations are just dyin’ to fill their ranks with guys possessed by fatally large egos, who swagger about like they’re God’s gift to the universe, who expect every female to want to fuck them, and who stand a great chance of becoming drug casualties.
That’s not a personality profile for a corporate employee.
That’s a personality profile for a corporate executive.
Thanx and a hat tip to Urso Chappell for suggesting this topic.
*Yes, my many, many varied skills (not just “writing”) are available to help your business or nonprofit shine. Email now. Operators are standing by.