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via wikipedia
kiro-tv
Known for decades as a cranky reactionary political commentator, you might find it hard to believe he’d started as a Seattle Times art and theater reviewer.
There, and later as managing editor at the P-I, he regularly advocated for the “fine arts” as a civilizing force, a means toward furthering the region’s progress from frontier outpost to respectable conservative community.
When the Seattle World’s Fair ended, Guzzo famously editorialized that the fair grounds (to become Seattle Center) should be devoted entirely toward arts/cultural pursuits. He specifically did not want any amusement-park rides there. He lived to see them finally removed.
One of Guzzo’s closest allies in this education-and-uplifting ideology was Dixy Lee Ray, who ran the Pacific Science Center. He later worked for Ray at the Atomic Energy Commission and during her one term as Washington Governor.
After Ray was primaried out of a re-election bid in 1980, Guzzo became a regular commentator on KIRO-TV. That’s where, in 1986, he delivered a blistering attack against greasy-haired, anti-social punk rockers. (The motivation was the infamous Teen Dance Ordinance, which Guzzo supported.)
In response, a local hardcore combo called the Dehumanizers released a blistering attack on him, in the form of a 45 entitled “Kill Lou Guzzo” (which began with a sample of Guzzo’s original commentary). Guzzo sued the band and its record-label owner David Portnow. Portnow responded by pressing more copies.
After retiring from KIRO at the end of the 1980s, Guzzo started a “voice of reason” website and self-published several books.
the fullbright company
The Penny Arcade Expo (PAX) is one of the video-game industry’s biggest conventions. Appealing to both fans and industry people, it often sells out its annual occurrence at the Washington State Convention Center.
One game company, with a major new product to promote, won’t be there.
The Portland-based Fullbright Company has a “story exploration” title Gone Home. Set in a large, mysterious Oregon house in 1995, it includes musical tracks by ’90s Riot Grrrl-era bands Bratmobile and Heavens to Betsy.
Fullbright got an invite to show off Gone Home at PAX’s “Indie Megabooth,” a portion of the Convention Center show floor dedicated to games from small developers.
Fullbright’s small staff turned the invite down.
They cite several reasons, but basically they’re offended by stances and “jokes” made by PAX founders Jerry Holkins and Mike Krahulik.
•
It’s a long story, but here’s the short version:
PAX, as anyone who’s even thought of going to it knows, is an offshoot of Penny Arcade, a web comic by Holkins and Krahulik. The strip is full of in-jokes about games and gamers.
In August 2010, PA ran a strip called “The Sixth Slave.”
The strip was a one-off gag about user challenges in multi-player games such as World of Warcraft, in which users challenge other users to “kill 10 bad guys” or “save five prisoners” in an allotted amount of time.
In the cartoon, a character pleads with another character to save him from slavery:
…The comic features a (white, male) slave begging for rescue from another character. “Hero!†he pleads. “Please take me with you! Release me from this hell unending! Every morning, we are roused by savage blows. Every night, we are raped to sleep by the dickwolves.†The hero tells him, “I only needed to save five slaves. Alright? Quest complete.†The prisoner protests, “But…†The hero interrupts him, “Hey, pal. Don’t make this weird.â€
The above description comes from a post by guest blogger “Milli A”, at the feminist/political blog Shakesville. As you might expect, she didn’t like the gag at all.
She explained that she didn’t like any reference to rape in a context of attempted humor. Even in meta-fantasy situations; even with a male victim; even when it’s mentioned as a violent crime, within a list of other violent crimes.
Holkins and Krahulik’s attempted explanation in a subsequent strip merely further annoyed critics. Many of these critics interpreted the explanation as the product of game-geeks who didn’t “get” the experiences of real-life victims of violence.
Holkins and Krahulik’s subsequent responses to the increasing controversy seemed to depict their critics as outsiders who didn’t “get” gamer culture and the strip’s humor (which, admittedly, is sometimes morbid and often requires deep knowledge of gamer tropes).
Krahulik, in particular, seems to have gone “extreme” in condescending Twitter and email “jokes” about the critics. It’s as if he were consciously trying to affirm the common stereotypes of male game-geeks (and of male scifi/fantasy geeks in general) as socially-inept dweebs who can’t relate to anyone outside their own subculture, especially if that anyone is a female who’s not wearing spandex.
This is a shame for many reasons. One reason is that PA and PAX have been supportive of female gamers and game creators in the past.
Can they realize, and once-n’-for-all state, that there’s nothing daringly “politically incorrect” about their past statements?
wallyhood.org
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
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.
animalnewyork.com
When you tell someone with depression that they should maybe try harder to be happy, it’s essentially like telling a diabetic that they could totally make an adequate amount of insulin if they just concentrated a little harder.
chris luckhardt via seriouslyforreal.com
thecoffeetable.tv
A big batch-O-randomness today, catching up after several days without it.
To start, there’s yet another indie “webisode” series made here in Seattle. It’s called The Coffee Table. It’s a simple scifi comedy, in which some dudes n’ dudettes are propelled into another dimension by the titular table, which turns out to be “an ancient alien artifact.”
Elsewhere in randomosity:
via spoon-tamago.com
via musicruinedmylife.blogspot.ca
The Fastbacks, the “Seattle Scene’s” most enduring band (and one of its most loveable), recorded lots of great cover songs (originally by the Raspberries, the Sweet, and even Sesame Street!) in addition to their many originals. Some of these were buried on “tribute” compilation CDs. Here’s a list of 17 such tunes, and a slightly longer but still incomplete list.
There is no such thing as a private language. We speak in order to be heard, we write in order to be read. But words also speak through us and, sometimes, are as much a dissolution as an assertion of our identity.
ebay photos, via thestir.cafemom.com
jordan stead, seattlepi.com
collegehumor.com
joshua trujillo, seattlepi.com
messynessychic.com
via theatlantic.com
quickmeme.com
ap via nbc news
While I’ve been busy doing whatever (looking for a new home, etc.), I missed a few big birthdays here in online-land.
Tim Berners-Lee opened the first public World Wide Web site on 4/30/93 at the CERN particle-physics lab in Switzerland. For the occasion, that site has been put back up at its original URL.
Berners-Lee was, and still is, an idealist. In the original CERN site’s documents, he described the WWW as something that could open up information to the masses.
Instead of “walled garden” online networks such as CompuServe, Prodigy, and the original AOL, the Web would be open to all comers and contributors. Anybody could put anything on, or receive anything from, it.
This ultimate “disruptive technology,” creator of LOLcat memes and destroyer of newspapers, record labels, and middle-class livelihoods, got its start with the most noble of intentions.
(Just like many a mad-scientist-movie experiment.)
By pure coincidence, the first issue of Wired magazine was out that same month.
From the start, it was intended to be a lot more important than a mere buying guide to PC gear. It was to chronicle tech as the biggest economic, societal, and even ideological movement of our time.
It posited loudmouth, alpha-male San Franciscan Libertarians as the Voice of the Future. It sneered at governments, residents of “Tired” locales (France, Manhattan, Seattle), and people who dared to think about the well-being of others as backward-thinking parasites.
In the world according to the early Wired, CEOs were the new rock stars, even the new royalty. No social or environmental issue could be discussed in its pages, unless there was a potential solution that would also enrich (or at least never inconvenience) big business.
In the end, the bosses and bosses’ lackeys Wired worshipped got most of their way.
And as cyber-critic Jason Lanier notes, the 99 Percent are still trying to pick up the pieces.
That same week 10 years later, Apple launched the first version of the iTunes Store.
The iTunes application had been around since 2001, when Apple bought and revamped a third-party program called SoundJam MP.
Steve Jobs had identified music (and eventually general media) playback as a technology in which Apple had to lead, for the sake of the company’s survival. Otherwise, Windows-only applications and file formats (remember WinAmp?) would shut out Mac users, threatening Apple’s presence in home environments. By making iTunes, and making a Windows version of it, Jobs and co. stayed in the home-computer game.
Two years later, Windows Media-only file protection schemes were threatening to put a lock on “legal” (commercial) music downloads. Again, the Mac and its users would be shut out. Apple’s response not only had to be Windows-compatible, it had to dominate the market on both platforms.
The iTunes Store did that, and more.
Its stand-alone hardware adjuct, the iPod, quickly dominated the new market of portable digital music machines.
And along the way, iTunes allegedly “killed the old music industry.”
(Of course, many of us felt the old music industry had deserved to die, but that’s not the point here.)
But now, the notion of music downloads seems as archaic as the notion of buying music on little compact discs.
The big hype these days is for streaming music subscriptions, a field which Apple has yet to enter.
Yet through all these industry changes, one thing remains constant.
Most recording artists themselves still get the fiscal shaft.
via geekwire.com
'every driver every time it ever rains ever'
slate