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lpcoverlover.com
Twenty years ago this week, Seattle unleashed three monumental media products upon the world: Nirvana’s Nevermind, Pearl Jam’s Ten, and the first issue of The Stranger.
Hard to believe, but in what turned out to be the final years before the World Wide Web became a universal thing, when online media still meant pay-by-the-minute AOL and CompuServe, was born what may have turned out to be Seattle’s next-to-last important newsprint periodical (Real Change is a few years younger).
This week’s Stranger makes note of the 20th anniversary of a monumental media product. And the anniversary it makes of is not that of its own debut.
from smelllikedirt.wordpress.com
nordstrom photo, via shine.yahoo.com
Igor Kellor is a multimedia whiz and a very clever person. He’s the creator of the musical Mackris v. O’Reilly and the blog Hideous Belltown.
Now he’s got a CD out (also available online), Greater Seattle.
While billed under the band name Longboat, Keller provides almost all the instrumental sounds (mostly synths) and all the lead vocals.
Don’t expect any perky paeans to tourist vistas and real estate opportunities here. Kellor has more ambitious agendas.
He offers snappy, snarky cabaret ditties about 10 Seattle neighborhoods (including Harbor Island!) and five outlying communities. Each tune is influenced by a different musical genre. Some of the melodies and arrangements match the tone of the lyric tales; others starkly contrast with them.
“Belltown” is a dirge, befitting the chorus of “downtown’s afterthought.”
“Ballard” is a sad sea shanty, about the upscaling away of its entire heritage.
“Fremont” is an uptempo hoedown, even though Keller sings that “To me Fremont will always be/The gateway to Ballard.”
“Downtown” is a brisk calypso-beat tale about the police shooting of John T. Williams.
Some of the songs are more up to date than others. The opening track, “Bellevue,” features the standard stereotype of the Eastside’s largest city as a whitebread conformist nightmare. In real life, it’s becoming more ethnically diverse than Seattle.
Kellor also doesn’t care much for Mercer Island (“It’s clear that money can’t buy taste”), Buren (“Visiting here makes your mind go numb/It’s much like a bug in your cranium”), and Federal Way (depicted as an ideal home for “a violent modern man”).
And he absolutely loathes Edmonds (“A police state/Bad cops rule this town”), recounting a story of “teenage drivers against police cruisers.”
Kellor wraps up all this sharp civic commentary with a sharp change of pace and attitude, a pleasant rendition of “Seattle” (the old Here Come the Brides theme) joined in by a trumpet, trombone and tuba.
Greater Seattle is an ambitious, brusque love letter to the city, warts n’ all.
by marlow harris, http://seattletwist.com
Tuesday’s Nirvana Nevermind 20th anniversary concert at EMP was a total blast.
Even if you weren’t there, thanks to the live stream from, er, Livestream.com.
You can still view it. Though you might want to fast forward some parts. Thanks to band set-up breaks, it took three and a half hours to get through the original CD’s 13 tracks and 10 other Nirvana songs. Each tune was re-created by a different combo. (The exception: the Presidents with Krist Novoselic; they got to perform two, nonconsecutive songs.)
The evening started off with a total sonic blast, as the reunited Fastbacks (above) completely nailed “Smells Like Teen Spirit.” Singer Kim Warnick, like many of the night’s performers, had known Kurt Cobain.
Warnick’s also an ex-roommate of Susie Tennant, the longtime local music scene promoter and publicist. (Tennant had staged the original Nevermind release party at Re-bar.) Tennant has gone through a cancer scare (thankfully apparently over); the concert was a benefit for her treatment and recovery.
The Livestream page had a chat-room corner. Some chatters made snide insults about Warnick’s middle aged appearance. (Just the sort of “fans” Cobain had vocally denounced.)
All the performances were loose, spirited, and enthralling, true to Nirvana’s own rough and tumble gigging.
My own faves included, in no particular order:
no, not *that* ziggy.
designsbuzz.com
• Lake City’s legendary, recently-closed Rimrock Steak House is saved! Well, maybe.
• Starbucks gave away download codes for a “free” ebook. The document turned out to exclude the novel’s ending, telling readers they had to get the paid version to learn what happens.
• Get ready for Sleepless in Seattle, the Musical. In preparation for years, it’s set to open in L.A. next summer.
• The Longview longshoremen’s strike might be ending.
• J.P. Patches, who announced his retirement from public appearances earlier this summer, will make his last one this Saturday at Fishermen’s Terminal.
• Darn. Just when we were getting used to Dennis Kucinich, turns out he’s probably not coming to stay.
• The Republicans have a master plan for winning the White House. It has little to do with actually fielding a mass-appeal candidate (or even a sane candidate), and everything to do with voter suppression and making the Electoral College even more unfair.
• Earlier this week, we discussed an LA Times essay asking where today’s great recession documentarians were. Well, here are two more places to find them—Facing Change and In Our Own Backyard.
The place to be on a perfect mid-September day was the NEPO 5k Don’t Run. It was a series of art exhibits, installations, performances, and conceptual pieces strung along a three-mile route from Pioneer Square to the top of Beacon Hill.
The name came from the fact that the organizers couldn’t get a permit for a running event, which would have required a lot of street closures.
Besides, if you ran you’d miss the smaller, more intimate art along the way, such as Ollie Glatzer’s four Thread and Nail pieces installed on telephone poles.
Some of the art walked along with the walkin’ audience.
And some of the art involved the audience in little games, such as Encounters at the End of Hing Hay Park.
Unfortunately, the event’s official program did not list all the performers, including this dancer who worked with a twenty-foot train in the back of her costume.
(Update: Carrie Clogston’s blog Gingham and Gold identifies her as Keely Isaak Meehan.)
Once the walkers crossed the Jose Rizal (12th Avenue) Bridge, it was a sharp left turn onto the I-90 Trail. That’s where Amy Ellen Trefsger (also known as “Flatchestedmama”) performed A Good Reminder to Sign Your Work, a series of poems delivered via semaphore.
Erin Shafkind turned parts of Equality, a permanent work in the park (co-designed by my ol’ pal Rolon Bert Garner), into mini versions of the Mad Homes installation seen previously this summer on Capitol Hill.
Laura Dean and Ryan Worsley’s Flock of Disproven Theories Written as Facts comprised original black and white drawings pasted into hardcover books, which dangled from trees with plaques describing these theories dangling from the books. This work also included the Don’t Run’s only overtly political statement, as seen above.
Josh Peterson’s Tree-Map re-used audio chips from novelty greeting cards, which played sounds as triggered by the breeze.
As the trail turned left, walkers were instructed to take a soft right onto 18th Avenue South. This longest stretch of the Don’t Run was on a normally quiet residential street, where old and abandoned-looking houses sit next to ultramodern designer homes. Sarah Galvin read narrative poems in front of an unoccupied house. Behind her in the front yard, anonymous performers portrayed a dissolute man (drinking from a gasoline can), his quietly crying wife, and their grass-eating daughter.
Ken Turner’s Red Dot Genuflection Station invited the non-runners to place red dot stickers (the mark of a successful gallery sale)Â on an obelisk entitled Little i. It symbolized money as today’s only standard of success.
Mike Pham, clad in gold lame tights, smoked and drank and pranced on the roof of a ’50s Chrysler in L’apres-midi d’un Pham.
Another re-imagined vehicle was this pedal car, adapted from a 1982 Toyota pickup. By the 18th Avenue stretch, the pedalers needed a little help.
In another unannounced attraction, don’t-runners honked a series of old fashioned horns installed along a pipe at a child’s eye level.
Finally at the foot of 18th, one block actually was closed off, and don’t-runners were asked to run to the finish line—in slow motion.
Jessie Wilson’s You Are Here invited the gathering throng to place badges on a wires labeled with the spectrum of human emotion.
The end of the line was NEPO House (“open” spelled backwards). It’s the actual home of artist Karla Glosova and her family. Glosova has staged exhibits and events in and outside the house for more than a year now. This time, it held music acts and little performance shticks well into the night.
A splendid time was had by all.
And if it turned anyone on to the idea of urban walking adventures, well I’ve got a little something that can help in that regard….
scene from antiwar protest downtown, march 2003
After all the recycled bluster about the police and the firefighters and especially the troops, about the valiant politicians and the flag waving celebrities, about the need to never forget the horrible day which begat the horrible decade of the endless wars and the mass intimidation and the institutionalized fear mongering and the ugly racism and the corruption of democracy, what more is to be said?
Quite a bit.
We can remember the World Trade Center’s Seattle architect, Minoru Yamasaki (1912-1986). His local works include Puget Sound Plaza, Rainier Square, the Pacific Science Center, and the IBM Building (based on his early WTC design work).
Yamasaki didn’t live to see the towers attacked. But he knew the consequences of war-inspired fear and prejudice.
It was only the intercession of an early employer, and the fact that he was working in the northeast at the time, that got him exempted from the WWII internment of western Americans of Japanese ancestry.
We can remember the opportunities for international cooperation to build a safer world. And how those opportunities were deliberately quashed by the Bush-Cheney regime.
We can remember the Patriot Act, the TSA, the “total information awareness” domestic eavesdropping scheme, the media’s ignoring of an initially strong antiwar movement, and all the big and little ways the regime waged war on its own citizens.
We can remember the Americans troops still in harm’s way in Afghanistan and, yes, in Iraq. And those who didn’t make it back. And those who are back home but seriously harmed physically and psychologically, and who have received insufficient care.
We can remember the thousands of Iraqis and Afghanis who had nothing to do with the original attacks but died in the ensuing wars and occupations.
We can remember we still need exit strategies from both occupations, strategies that will protect Iraqis and Afghanis of all sexes and ethnicities.
We can remember the terrible damage wrought on the U.S. budget by war spending, combined with the millionaires’ tax cuts and the rest of the neocon economic misadventure.
And remembering all that, we can say, yes, “never again.”
Never again will we be manipulated by fear, either by foreign civilians or by our own leaders.
Never again will we let peace and reason be treated as dirty words.
Never again will we invade first and ask questions later.
Never again will we strike against entire nations over the horrendous crimes of a few dozen individuals (most of whom had never lived in either invaded nation).
Never again will we allow fear of “Islamic” fundamentalist repression to become an excuse for “Christian” fundamentalist repression.
Never again will we sacrifice our freedoms under the excuse of protecting them.
from alleewillis.com