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liem bahneman, via komo-tv
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
will deluxe junk's giant plastic hot dog become homeless?
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.)
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.
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:
reramble.wordpress.com
t.j. mullinax, yakima herald-republic
sherriequilt.blogspot.com
via boingboing.net