Amazon.com Widgets
This is from Sunday’s “Color Run” downtown, a 5K benefitting Ronald McDonald House. Runners were splashed with “color dust” at points along the route. (Note: This is not at all to be confused with the 2005 teen novel The Rainbow Party, or with the false rumor that that novel depicted a real-life fad.)
“Supporting traditional marriage” as an excuse for banning gay marriage is like “supporting lettuce” as an excuse for banning cabbage.
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.
escapistmagazine.com
sonics first-year pennant, available at gasoline alley antiques
foodbeast.com
one of rob vasquez's many out-of-print 45s, via aarongilbreath.wordpress. com
(No snickering jokes from this corner about a certain three-digit number.)
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:
gjenvick-gjonvik archives
Three of the Big Six book publishers (Hachette, News Corp.’s HarperCollins, and CBS’s Simon & Schuster) have settled with the U.S. Justice Dept. in the dispute over alleged e-book price fixing.
The publishers still insist they’re innocent; but they agreed in the settlement to not interfere with, or retaliate against, discounted e-book retail prices.
Apple, Pearson’s Penguin, and Holtzbrinck’s Macmillan have not yet settled; they also insist they did not collude to keep e-book prices up. Bertlesmann’s Random House was not sued.
This is, of course, all really about Amazon, and its ongoing drives to keep e-book retail prices down and its share of those revenues up. The big publishers, and some smaller ones too, claim that’s bad for them and for the book biz as a whole.
In other randomosity:
Most folks who tell you to “think outside the box” really want you to think inside another box. A box they’ve made.
artist's rendering; via kiro-tv
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.
washington beer blog via seattlepi.com
First, thanks to the more than 50 people who crowded Roy St. Coffee and Tea for the History Cafe presentation on old Seattle restaurant menus Thursday evening. And thanks to my fellow panelists Hanna Raskin and Taylor Bowie for making it easy for me. Each of them had so many insights about the old restaurants, their menu designs, their food items, and their respective places in cultural history, that I didn’t have to say much.
Today, go out and celebrate Pi Day (3/14). Tomorrow, learn about pies of the past.
I’m participating in a History Cafe session about old Seattle restaurant menus. It’s 7 p.m. Thursday at Roy Street Coffee (the off-brand Starbucks), Broadway and East Roy on cantilevered Capitol Hill. It’s sponsored by KCTS, HistoryLink.org, MOHAI, and the Seattle Public Library.
Try writing the same line of dialogue three different ways: 1) the quippy version, 2) the version that simply conveys the meaning of the line, and 3) the emotional subtext of the line. And then try to find the version that combines 2) and 3) as much as possible. You might find you end up with a line that’s more quotable than the witty version you originally had.
crypt-orchid.blogspot.com
Today marks David Letterman’s 30th anniversary on late night TV.
Appropriately enough, his principal guest last night was Bill Murray, the first guest on both his NBC (1982) and CBS (1993) premieres.
When the NBC Late Night with David Letterman began, it was a breath of fresh air. It was knowing, it was snide, it respected its audience’s intelligence and its love of the bizarre.
The premiere opened with Calvert DeForrest (descendent of radio pioneer Lee DeForrest) reciting a “be very afraid” spiel in front of the Rainbow Room peacock dancers (yes, female “peacocks,” an actual attraction at the rooftop lounge in the RCA (now GE) Building).
Then came the first mini monologue and the first studio comedy bit (a backstage tour). The Murray segment ended with him and the host suddenly leaving the stage, and the screen switching to old film of the 1973 World Series.
That first episode ended with a comedian reciting the opening scene from an obscure Bela Lugosi movie. By the time I saw that bit, I knew I’d be a fan for life.
•
Letterman, the self-spoofing, genre-busting insurgent, is now the establishment, and has been for some time.
A persona that was once hip-to-be-square is now the grand old curmuddgeon. In this respect, he has become more like his onetime occasional foil Harvey Pekar (as seen above).
A collection of shticks that playfully (or awkwardly) toyed with the established celebrity-talk format has become a well-tuned programming machine, that regularly disseminates well-scrubbed guests plugging their films/shows/CDs.
Little comedy bits that had been cute and playful are now trotted out with slick animated openings and pompous fanfares. More of them these days are pre-taped or assembled from news footage, instead of acted out on stage.
The biggest flaw in Letterman’s current formula is the 12:15 a.m. commercial break, following the first guest spot. It runs between five and eight minutes, stopping the whole proceedings. It essentially begs viewers to shut ‘er down and hit the hay.
Still, there are worse fates to befall a creative performer than to become the sort of bigtime mainstream institution he had once scoffed.
Letterman could have grown old much less gracefully.
Like Leno.
PS: Here are some Letterman guest spots that one entertainment site considers classics. At least one actually is an all-time moment—a totally laugh-free, in-character Andy Kaufman spot from Letterman’s 1980 morning show.
PPS: Letterman began his career on Indianapolis TV in the early 1970s. The ill-fated, Seattle-born actress Frances Farmer ended her career in the same place and time. If I ever meet him, I’ll ask if he’d ever met her.